Journal articles: 'Restoration comedy of manners'

1

Stathis, James J., and Sarup Singh. "Family Relationships in Shakespeare and the Restoration Comedy of Manners." Shakespeare Quarterly 37, no. 2 (1986): 265. http://dx.doi.org/10.2307/2869974.

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2

Thomas, Claudia Newel. "Interpreting Ladies: Women, Wit, and Morality in the Restoration Comedy of Manners by Pat Gill." Comparative Drama 29, no. 4 (1995): 523–26. http://dx.doi.org/10.1353/cdr.1995.0031.

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3

Kim , Dongwook. "A Study of `Wit` in Comedy of Manners During the English Restoration Age － Emphasis on William Congreve`s The Way of the World －." Journal of Humanities 65 (May 30, 2017): 95–134. http://dx.doi.org/10.31310/hum.065.04.

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4

Polsby, Nelson W., and George F. Will. "Restoration Comedy." Yale Law Journal 102, no. 6 (April 1993): 1515. http://dx.doi.org/10.2307/796976.

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5

McNeil, Jean, Joyce Elbrecht, and Lydia Fakundiny. "Restoration Comedy." Women's Review of Books 11, no. 7 (April 1994): 22. http://dx.doi.org/10.2307/4021829.

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6

Greene, A. "THE NEW COMEDY OF MANNERS." Theater 23, no. 3 (June 1, 1992): 79–83. http://dx.doi.org/10.1215/01610775-23-3-79.

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7

Poornima, T., M. Priyanga, and K. Swarnamuki. "Parallel between Comedy of Humours and Comedy of Manners." International Journal of Trend in Scientific Research and Development Volume-2, Issue-3 (April 30, 2018): 2292–93. http://dx.doi.org/10.31142/ijtsrd11349.

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8

Wilson, Michael S., and J. L. Styan. "Restoration Comedy in Performance." Theatre Journal 40, no. 1 (March 1988): 124. http://dx.doi.org/10.2307/3207803.

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9

Canfield, J. Douglas, and J. L. Styan. "Restoration Comedy in Performance." Eighteenth-Century Studies 21, no. 4 (1988): 508. http://dx.doi.org/10.2307/2738909.

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10

Love, Harold, and J. L. Styan. "Restoration Comedy in Performance." Modern Language Review 84, no. 4 (October 1989): 930. http://dx.doi.org/10.2307/3731182.

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11

Yoon, Jeongyong. "Arcadia as a Type of Comedy of Manners." Journal of East-West Comparative Literature 56 (June 30, 2021): 151–79. http://dx.doi.org/10.29324/jewcl.2021.6.56.151.

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12

Kokila, Mrs M., and Mrs S. Abarna. "Comedy of Manners in the Importance of Being Earnest." International Journal of Trend in Scientific Research and Development Volume-3, Issue-2 (February 28, 2019): 710–11. http://dx.doi.org/10.31142/ijtsrd21454.

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13

Nazare, Joseph. "Enter Touchstone: Manners of Comedy in James's The Europeans." Henry James Review 18, no. 2 (1997): 149–60. http://dx.doi.org/10.1353/hjr.1997.0019.

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14

Pierson, David P. "A Show about Nothing:Seinfeldand the Modern Comedy of Manners." Journal of Popular Culture 34, no. 1 (June 2000): 49–64. http://dx.doi.org/10.1111/j.0022-3840.2000.3401_49.x.

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15

Belenkiy, Yuri Mikhaylovich. "Sitcom Genre Features." Journal of Flm Arts and Film Studies 4, no. 1 (February 15, 2012): 120–32. http://dx.doi.org/10.17816/vgik41120-132.

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The article deals with the main features of sitcom that make it an independent genre. The term “situation comedy” is compared to other comedy subgenres, such as comedy of manners and comedy of intrigue in its first sense etc. The emergence of TV sitcom properties is analyzed from the historic prospective. During all the years of its existence sitcom has managed to retain the combination of theatrical aesthetics and the nature of television which makes it not only an independent genre, but also a unique television product in a sense.

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16

Leicht, Kathleen. "Dialogue and Duelling in Restoration Comedy." Studies in Philology 104, no. 2 (2007): 267–80. http://dx.doi.org/10.1353/sip.2007.0009.

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17

Kim, Immanuel. "North Korean Comedy of Manners : Day at the Amusement Park." S/N Korean Humanities 1, no. 1 (March 15, 2015): 85–106. http://dx.doi.org/10.17783/ihu.2015.1.1.85.

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18

Springer, Mary Doyle. "Daisy Miller: A Dark Comedy of Manners (review)." Henry James Review 13, no. 1 (1992): 99–102. http://dx.doi.org/10.1353/hjr.2010.0191.

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19

Bacon, Jon Lance. "Wives, Widows, and Writings in Restoration Comedy." Studies in English Literature, 1500-1900 31, no. 3 (1991): 427. http://dx.doi.org/10.2307/450855.

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20

Snider, Alvin, and Edward Burns. "Restoration Comedy: Crises of Desire and Identity." Eighteenth-Century Studies 23, no. 3 (1990): 340. http://dx.doi.org/10.2307/2738804.

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21

Burling, William J., and Edward Burns. "Restoration Comedy: Crises of Desire and Identity." South Atlantic Review 54, no. 1 (January 1989): 114. http://dx.doi.org/10.2307/3200079.

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22

Jang, KeumHee. "The Tradition and Breakdown of Menandrian New Comedy in The New-Comedy of Manners of Joe Orton." Journal of Modern British & American Language & Literature 37, no. 3 (August 31, 2019): 145–65. http://dx.doi.org/10.21084/jmball.2019.08.37.3.145.

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23

Greene, Jane M. "Manners Before Morals: Sophisticated Comedy and the Production Code, 1930–1934." Quarterly Review of Film and Video 28, no. 3 (April 15, 2011): 239–56. http://dx.doi.org/10.1080/10509200802641119.

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24

Mahmoud, Ali Ahmad. "Ahmad Shauqi's Al-Sitt Huda as a Satirical Comedy of Manners." Journal of Arabic Literature 19, no. 2 (January 1, 1988): 183–91. http://dx.doi.org/10.1163/157006488x00083.

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25

Whitton, David, and Harold C. Knutson. "The Triumph of Wit: Moliere and Restoration Comedy." Theatre Journal 41, no. 4 (December 1989): 563. http://dx.doi.org/10.2307/3208031.

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26

Motten, Jean-Pierre van der. "J.L. Styan, Restoration Comedy in Performance. Cambridge 1986." Documenta 8, no. 1 (May 3, 2019): 44–48. http://dx.doi.org/10.21825/doc.v8i1.11052.

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27

Gaines, James F., and Harold C. Knutson. "The Triumph of Wit: Moliere and Restoration Comedy." South Central Review 5, no. 2 (1988): 121. http://dx.doi.org/10.2307/3189589.

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28

Smith, Christopher, and Harold C. Knutson. "The Triumph of Wit: Moliere and Restoration Comedy." Modern Language Review 86, no. 2 (April 1991): 453. http://dx.doi.org/10.2307/3730592.

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29

Moss, Brian, Laurence Carvalho, and Joanne Plewes. "The lake at Llandrindod Wells?a restoration comedy?" Aquatic Conservation: Marine and Freshwater Ecosystems 12, no. 2 (2002): 229–45. http://dx.doi.org/10.1002/aqc.503.

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30

Hughes, Derek. "Restoration Comedy in Performance by J. L. Styan." Comparative Drama 22, no. 2 (1988): 174–76. http://dx.doi.org/10.1353/cdr.1988.0050.

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31

Anderson, Misty G. "Restoration Comedy by Amy Freed (review)." Restoration: Studies in English Literary Culture, 1660-1700 37, no. 1 (2013): 94–97. http://dx.doi.org/10.1353/rst.2013.0008.

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32

Springer, Mary Doyle. "Women of Grace: James's Plays and the Comedy of Manners (review)." Henry James Review 8, no. 2 (1987): 150–52. http://dx.doi.org/10.1353/hjr.2010.0044.

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33

Williams, Carolyn D., and J. Douglas Canfield. "Tricksters & Estates: On the Ideology of Restoration Comedy." Modern Language Review 94, no. 2 (April 1999): 498. http://dx.doi.org/10.2307/3737134.

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34

Holland, Peter, and Gerald M. Berkowitz. "Sir John Vanbrugh and the End of Restoration Comedy." Modern Language Review 80, no. 2 (April 1985): 422. http://dx.doi.org/10.2307/3728690.

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35

Rosenthal, Laura J. (Laura Jean). ""All injury's forgot": Restoration Sex Comedy and National Amnesia." Comparative Drama 42, no. 1 (2008): 7–28. http://dx.doi.org/10.1353/cdr.2008.0016.

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36

Marsden, Jean I. "Coyness and Crime in Restoration Comedy by Peggy Thompson." Scriblerian and the Kit-Cats 46, no. 2 (2014): 177–79. http://dx.doi.org/10.1353/scb.2014.0004.

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37

NELSON, T. G. A. "THE IMAGE OF THE CHILD IN ENGLISH RESTORATION COMEDY." Journal of the Australasian Universities Language and Literature Association 67, no. 1 (May 1987): 102–14. http://dx.doi.org/10.1179/aulla.1987.67.1.007.

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38

Watkins, Shawn J. "Groping in the Dark: Reading Touch in Restoration Comedy." Restoration: Studies in English Literary Culture, 1660-1700 45, no. 1 (2021): 61–81. http://dx.doi.org/10.1353/rst.2021.0006.

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39

Lever, Susan. "From Vance Palmer's The Passage to Susan Johnson's The Landing." Queensland Review 24, no. 2 (November 17, 2017): 191–201. http://dx.doi.org/10.1017/qre.2017.30.

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AbstractThis article compares Vance Palmer's classic novel, The Passage (1930), set in Caloundra, with Susan Johnson's The Landing (2015), a comic novel of manners set at the northern end of the contemporary Sunshine Coast. It considers the novels’ different perspectives on Australian society and changing values, including attitudes to nature, arguing that Palmer's novel now seems more idealistic than realist while Johnson's cynicism about Australian life shows some disturbing elements beneath the comedy.

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40

Rizk, Beatriz J. "The Colombian New Theatre and Bertolt Brecht: A Dialectical Approach." Theatre Research International 14, no. 2 (1989): 131–41. http://dx.doi.org/10.1017/s0307883300006106.

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The struggle to eradicate naturalism from the theatre (or its satiric counterpart, the comedy of manners strongly rooted in the Latin American dramatic tradition and still very much alive), led the Colombian New Theatre forerunners consciously to seek new approaches to reality in their work. At the same time, there was the need, from the very beginning, to turn their practice into a functional system flexible enough to adapt to the needs and challenges of every new play.

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41

Edwards, Leslie Collins. "Poetic Values and Poetic Technique in Aristophanes." Ramus 19, no. 2 (1990): 143–59. http://dx.doi.org/10.1017/s0048671x00002897.

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AtWasps57-66, Aristophanes distinguishes his comedy from humor of the vulgar (phortikē) Megarian sort. Elsewhere he boasts that his comedy is more intellectual, for it is clever and wise (Clouds548, 522); and alleges that his rivals write comedy which aims only at laughs and relies for this purpose on vulgar props and language, while his comedy is primarily verbal (epea, Clouds544), conceptual (ideai, dianoiai, Clouds547;Peace750; etc.), innovative (kainon ti, Wasps1044, 1053;Clouds547), and infused with modesty (sōphrosunē, Knights545,Clouds537; etc.). It goes without saying that any and all of these claims, made within a comedy, ought not to be taken entirely innocently. Nor, however, ought they to be dismissed as mere nonsense, for they contain what is an important contradiction within the logic of the dialectic between old and new so fundamental to comedy; it is a contradiction which runs throughout Aristophanes' discussion of his comedy, yet which is encapsulated in the first parabasis ofClouds. Here the poet identifies with the avant-garde; yet his poetry is modest (sōphron) and he scorns the manners — the hairstyle, to be exact (ou komō, 545) — of the affected or decadent young of his day, although a sign of being refined (kompsos). Aristophanes in his posture of innovator shows impatience with the traditional inasmuch as it is repetitive; yet he also claims a position of priority and moral sensibility incompatible with the posture of innovator within the terms of his own comedy. Moreover, Aristophanes situates the antithesis between old and new within an overt hierarchy in which the old, although preferred for its moral authority, is continually being usurped by the new: sophistic rhetoric has appropriated the vocabulary which both sides of the opposition must employ and has, by controlling the terms and context, informed the debate between them.

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42

Dharwadker, Aparna. "Authorship, Metatheatre, and Antitheatre in the Restoration." Theatre Research International 27, no. 2 (June 18, 2002): 125–35. http://dx.doi.org/10.1017/s0307883302000214.

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Restoration theatre theory, polemic, and practice are closely concerned with questions of value, although they have received little attention in recent criticism that considers the formation of the English canon up to and during the eighteenth century. The main issue addressed concerns the legitimacy of dramatic form, which dominates the metatheatre of 1668–75, but also appears unexpectedly in the political drama (especially the comedy) of the early 1660s and the antitheatrical rhetoric of the 1690s. In all these instances, the complexity, integrity, and completeness of drama-in-performance are seen to determine the value of plays as well as playwriting. While the attack on heroic drama in metatheatrical plays such as Shadwell's The Sullen Lovers (1668) and Buckingham's The Rehearsal (1671) is directed by authors of one persuasion against another, Thomas Duffett's burlesque attack on the theatre of spectacle in the 1670s paradoxically is reinforced by the self-criticism of his targets. Moreover, Jeremy Collier's antitheatrical offensive in the late 1690s shows an atypical concern with specific dramatic content, especially in comedy, suggesting that both metatheatre and antitheatre in the Restoration focus their oppositional energies on the particulars of genre.

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43

Yeung Ah Kim. "The Rover and Aphra Behn’s Revision of the Restoration Comedy." Medieval and Early Modern English Studies 17, no. 2 (August 2009): 317–40. http://dx.doi.org/10.17054/memes.2009.17.2.317.

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44

Jones Nakanishi, Wendy. "A Severed Head: As Freudian Drama and as Restoration Comedy." English Studies 91, no. 8 (December 2010): 884–92. http://dx.doi.org/10.1080/0013838x.2010.488848.

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45

DE MOURGUES, ODETTE. "LOVE IN MOLIERE AND IN RESTORATION COMEDY: LITERATURE OR SOCIOLOGY?" Seventeenth Century 1, no. 1 (January 1986): 57–67. http://dx.doi.org/10.1080/0268117x.1986.10555250.

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46

Cantero García, Víctor. "Del dominio de los fundamentos de la comedia de buenas costumbres a la práctica exitosa: Contigo pan y cebolla (1833) de Manuel Eduardo de Gorostiza." Literatura Mexicana 32, no. 1 (January 20, 2021): 69–95. http://dx.doi.org/10.19130/iifl.litmex.2021.1.26853.

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Until now, eighteenth-century Spanish theater scholars and critics have considered Manuel Eduardo de Gorostiza (1789-1857) a minor playwright. In the present collaboration we intend to demonstrate that such an assertion does not conform to the truth. Through a contrastive study between El señorito mimado (1787) by Tomás de Iriarte and Contigo pan y cebolla (1833) by Gorostiza, we mean to show that the latter one became a renowned author of comedies of good manners on his own merits and not for being a mere follower of the guidelines of the neoclassical comedy established by Nicolás Fernandez de Moratín and consolidated by Tomás de Iriarte. In essence, the contents and arguments set forth in this article are clear evidence that Gorostiza conceived comedies that achieved a public and critical acclaim and made him worthy of occupying a relevant position both among the enlightened liberals of Hispanic origin as well as among the authors of comedies of good manners.

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47

Krueger, Misty. "The Ravishing Restoration: Aphra Behn, Violence, and Comedy (review)." Restoration: Studies in English Literary Culture, 1660-1700 35, no. 2 (2011): 66–68. http://dx.doi.org/10.1353/rst.2011.0009.

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48

Sakellaridou, Elizabeth. "Awakening the Dead: teaching Restoration comedy to contemporary cross-cultural audiences." Studies in Theatre Production 13, no. 1 (January 1996): 5–16. http://dx.doi.org/10.1080/13575341.1996.10806922.

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49

Doan Lien Khe, Vu. "Edo Shigusa- A system of behavior manners for Japanese merchants in Edo period." Science & Technology Development Journal - Social Sciences & Humanities 3, no. 4 (April 2, 2020): 200–206. http://dx.doi.org/10.32508/stdjssh.v3i4.531.

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Edo Shigusa was a system of behavior manners for Japanese merchants, was taught in the late Edo period. In the process of forming and developing this manner, the Edo-period instructors encountered many objections from the Tokugawa shogunate because they thought that its syllabus risked influence on the politics of the nation, causing Edo merchants not publicly but only in the form of word of mouth. Professor Shiba Mitsuakira was the instructor of Edo Shigusa, who is considered as the last surviving member of Edo Shigusa instructors, holded the seminar "Looking back to the good points of Edo Shigusa" in 1974. He synthesized all of syllabus in the Edo period, calling these manners are "Merchant manners", "Prosperity rules", "Edo Shigusa business philosophers" and finally, named them as “Edo Shigusa”. After restoration and development since 1980, Edo Shigusa has become a common standard in communication, a measure of manners not only for Japanese businessmen but also for ordinary people today. This study, from a cultural point of view, outlines some manners for Japanese merchants in the Edo period, influences in today's era, and analyzes its good and bad sides to explain the general information of Japanese businessmen in particular and Japanese people in general.

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50

Gardner, Kevin J. "Theatrum Belli: Late-Restoration Comedy and the Rise of the Standing Army." Theatre Survey 36, no. 1 (May 1995): 37–54. http://dx.doi.org/10.1017/s0040557400006475.

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“Plays are but the Mirrours of our Lives,” wrote Colley Cibber in 1707, recognizing the special relevance of a timeless metaphor to the theatre of his own day. A man generally given to hyperbole, Cibber here underestimates the theatre's affective power for influencing and transforming society. Of all the many reflections and transformations one may see in the mirror of late-Restoration theatre, however, the most important, I believe, are the images of warfare. In the early eighteenth century, the theatrum mundi was indeed a theatrum belli, for the theatre of war was not confined to Vigo, Blenheim, and Malplaquet, to the fields of Sanders or Spain, but was enacted on the proscenium stages of Drury Lane, Lincoln's Inn fields, and the Haymarket. Nearly every new play written and produced on the London stages in the first decade of the eighteenth century has a Redcoat or a Tar in its dramatis personae or has topical references to the War of the Spanish Succession, to disbandment, to conscription, or to the debate over the issue of a standing army. Concurrent with the theatre's reflection of the nation's concern over the rise of the standing army is a transformation in the representation of army officers in stage comedies. After 1700, portrayals of military men shift so dramatically that they seem to attain an ideological significance; the historical causes and the aesthetic effects of this shift—which are the focal points of the ensuing essay—suggest a widespread ideological effort by writers to enlist public sympathy not only for the soldier but also for the notion of a standing army.

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Journal articles on the topic 'Restoration comedy of manners'

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