Relevant bibliographies by topics / The comedy

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'The comedy'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "The comedy"

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Chattoo, Caty Borum. "A funny matter: Toward a framework for understanding the function of comedy in social change." HUMOR 32, no. 3 (August 27, 2019): 499–523. http://dx.doi.org/10.1515/humor-2018-0004.

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Abstract Despite its cultural reach and influence, comedy may not be well-understood in communication and public engagement efforts for social justice challenges. Research about comedy’s influence in social issues exists across disciplines and lacks common language. This article creates a practical framework toward the understanding of mediated comedy in social change communication by presenting a typology of distinct formats of comedy – scripted entertainment, satire news, humorous ads, and stand-up comedy – and synthesizing multidisciplinary scholarship that deals with the role of comedy in audience understanding of civic and social issues. The resulting framework for comedy’s influence in social justice includes: attracting attention, persuasion, offering a way into complex issues, dissolving social barriers, and encouraging message sharing. Implications for leveraging comedy in social change public engagement efforts, as well as directions for future innovation and research, are discussed.
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McKeague, Matthew. "Lyrical lessons: The potential of informative comedy music as supplementary teaching material." European Journal of Humour Research 6, no. 3 (November 13, 2018): 30. http://dx.doi.org/10.7592/ejhr2018.6.3.mckeague.

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The comedic arts have provided opportunities for humourists to spread information to audiences, sometimes intentionally and other times as a side effect while trying to create laughter. Educators have also found success incorporating comedy into the classroom with humorous activities. While research regarding comedy as a tool to spread information or educate audiences has focused primarily on literature, broadcast media, and film, the area of informative comedy implemented through music remains relatively unexplored. In this paper, the researcher defines ‘informative comedy’ and takes a critical literacy approach analysing song samples of comedy musician “Weird Al” Yankovic—one of the notable comedic music artists in the 20th and 21st centuries—and discusses how his music could be used in a classroom setting. While comedy such as Yankovic’s is not designed to be an educational tool, the researcher suggests that his songs could be used as supplementary materials in the classroom to reinforce concepts specifically regarding cultural issues through commentary as well as lessons in science and grammar. A central aspect of this exploratory paper involves Yankovic’s mix of comedy andinformative content focused on culture in the United States, using the popular music genre to convey ideas in ways that may be more palatable for wider audiences and that could be used to assist classroom instruction.
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Kim, Jennifer. "Racism’s Back Door: A Mixed-Methods Content Analysis of Transformative Sketch Comedy in the US from 1960-2000." Journal of Ethnic and Cultural Studies 7, no. 3 (October 4, 2020): 142. http://dx.doi.org/10.29333/ejecs/392.

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Comedy that challenges race ideology is transformative, widely available, and has the potential to affect processes of identity formation and weaken hegemonic continuity and dominance. Outside of the rules and constraints of serious discourse and cultural production, these comedic corrections thrive on discursive and semiotic ambiguity and temporality. Comedic corrections offer alternate interpretations overlooked or silenced by hegemonic structures and operating modes of cultural common sense. The view that their effects are ephemeral and insignificant is an incomplete and misguided evaluation. Since this paper adopts Hegel’s understanding of comedy as the spirit (Geist) made material, its very constitution, and thus its power, resides in exposing the internal thought processes often left unexamined, bringing them into the foreground, dissecting them, and exposing them for ridicule and transformation. In essence, the work of comedy is to consider all points of human processing and related structuration as fair game. The phenomenological nature of comedy calls for a micro-level examination. Select examples from The Smothers Brothers Comedy Hour (1968), The Richard Pryor Show (1977), Saturday Night Live (1990), and Chappelle’s Show (2003) will demonstrate representative ways that comedy attacks and transforms racial hegemony.
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Kuszak, Kinga. "Komizm w poezji dla dzieci. Jego rola i wartość edukacyjna." Problemy Wczesnej Edukacji 36, no. 1 (February 21, 2017): 65–74. http://dx.doi.org/10.5604/01.3001.0010.1999.

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The article tackles the subject of comedy in children’s literature. The author begins her reflections with a clarification of the ideas that form the focus of her narration: comedy, humour, and word play, referring to selected works on the subject. Next, adopting her chosen typology of creating comedy in children’s literature, she presents selected examples of literary works which employ the aforementioned linguistic tools to achieve a comedic effect. Contemporary authors’ works are used to illustrate the thesis. The article closes with reflections on the educational role of comedy in children’s literature.
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Brown, Stephanie. "Open Mic?" Feminist Media Histories 6, no. 4 (2020): 42–67. http://dx.doi.org/10.1525/fmh.2020.6.4.42.

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This article draws on ethnographic interviews conducted between May 2016 and May 2017 with stand-up comics in Chicago and Urbana-Champaign, Illinois, all of whom described the experience of being marked as, or associated with, women within the historically masculine comedic space. Drawing on feminist comedy studies, production studies, and fan studies, the article explores the cultural logics of comedic authenticity and their material effects on embodied performances of marked comics in local live comedy. It argues that marked bodies are rarely able to achieve the ideal performance of “authenticity.” While stand-up comedy is often theorized optimistically as a fruitful site from which to subvert assumptions about identity, gendered or otherwise, comics paradoxically feel pressure to conform to appropriate gender expression on stage in order to be legible to audiences and other comics historically influenced by masculine comedic taste.
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Westwood, Robert. "Comic Relief: Subversion and Catharsis in Organizational Comedic Theatre." Organization Studies 25, no. 5 (June 2004): 775–95. http://dx.doi.org/10.1177/0170840604042414.

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There has been a growth of interest in the role of humour in organizations from both practitioner and academic perspectives. Various claims for the functionality of humour have been made, ranging from stress reduction to helping form and cement corporate cultures. Latching on to these presumed benefits, businesses and consultants have begun to employ humour and comedy in a direct and explicit manner. However, there is a counterpoint, which suggests that humour cannot always be managed and in fact has subversive qualities. This article addresses the issue of the subversive potential of comedy in organizational contexts. It draws illustratively on the case of a successful corporate comedian to do so. The article argues, through an analysis of the case, the history and philosophy of comedy, and theories of the comedic, that while comedy has inherent subversive potential, it most often is contained. Indeed, it suggests that comedy works by intruding as a potential threat to mundane reality, but offers comic relief when it is apparent that the threat will not be actualized and the status quo ante prevails. Implications for using corporate comedy are drawn.
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Krist, Gary, Jane Smiley, Martin Amis, Melanie Sumner, William Boyd, and Cathleen Schine. "Comedy." Hudson Review 48, no. 4 (1996): 679. http://dx.doi.org/10.2307/3852015.

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Putri, Maharani Widya, Erwin Oktoma, and Roni Nursyamsu. "FIGURATIVE LANGUAGE IN ENGLISH STAND-UP COMEDY." English Review: Journal of English Education 5, no. 1 (December 1, 2016): 115. http://dx.doi.org/10.25134/erjee.v5i1.396.

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This descriptive qualitative research was about the analysis of figurative language in English stand-up comedy. The purposes of this study were to identify the types of figurative language and to describe the functions of figurative language found in the selected video of stand-up comedy show. The data source was taken from one of selected videos of Russell Peters stand-up comedy show. Russell Peters’s speech contained about figurative language in the video is observed. The data were collected through content analysis technique by collecting the verbal language used by Russell Peters. The first research questions was analyzed by McArthur (1992) theory and supported by Crystal (1994) theory to find out the types of figurative language found in English stand-up comedy. To answer the second research questions about the functions of figurative language found in English stand-up comedy was analyzed by Chunqi (2014) theory and suppoted by Kokemuller (2001) theory and Turner (2016) theory. After analyzing data, it was found that Irony was the most dominant figurative language used by Russell Peters in “Russell Peters Comedy Now! Uncensored” with 29.94%. It was happened because the kind of topics used by Russell Peters in that show were about ethnics (canadian, white people, black people, brown people and asian), society case (beating child) and culture (accent and life style of various ethnics in the world, habitual of various ethnics in the world). Irony and Hyperbole were needed dominantly in the performance, to entertain the audiences in the stand-up comedy show. The function of eleven types of figurative language which were used by Russell were concluded. The functions were to amuse people in comedic situations, to expand meaning, to explain abstract emotions, to make sentence interesting represented and give creative additions. Keywords: Figurative Language, Stand-Up Comedy, English Stand-Up Comedy
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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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Hays, Michael. "Comedy as Being/Comedy as Idea." Studies in Romanticism 26, no. 2 (1987): 221. http://dx.doi.org/10.2307/25600648.

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Dissertations / Theses on the topic "The comedy"

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Lüssmann, Nina. "Persönlichkeitsschutz und "Comedy"." München M-Press Meidenbauer, 2007.

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Stewart, Nicholas. "Abstraction and comedy." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/9922/.

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The thesis, consisting of an extended artwork (Toy Zoo) and a theoretical text, aims to explore a concept of abstraction and relate this concept to an affect of comedy. The proposal of the thesis is that abstraction, looked at in a proper way, is funny. Abstraction is imagined not as the absence of ‘content’ or the generalization of form, but as a condition of language occasioned by a categorical loss, the loss of the ground that attaches meaning to a thing. The work takes this dissonance in language as its subject-matter. In a series of photographic images, representations of mental or conceptual objects whose mode of representation alters the meaning of the term, it presents abstraction not as a formal reduction or the presentation of a higher order but as the historical view of a void subject-position. Its argument is that the view from this position is comic. The text develops a concept of abstraction from Hegel’s description of ‘the abstract work of art’. This ‘absolute’ abstraction, a condition in society to which art responds, is the premise through which various forms of abstract production, in art and elsewhere, are read. The generic forms of the epic, tragedy and comedy, as analyzed by Hegel, provide models that are applied in the context of ‘real abstraction’ and to certain positions in art. An analysis of value in capital aims to identify the logic of this form of production with the structure of tragedy. Against this ‘ready-made’ abstraction of modernity, the non-dialectical relationship of abstract necessity and the individual, the text argues for a form of comedy. Comedy, as a genre in art, proposes a subject-position that, recognizing itself in abstraction, recognizes abstraction not, as in ‘real abstraction’, as necessity but as the condition of its own freedom.
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Olson, J. Kirby. "Klossowski and comedy /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/9483.

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McRae, Calista Anne. "Lyric as Comedy." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493550.

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Although the twentieth-century lyric poem might seem to intensify a genre of sentiment into a genre of meditative or tumultuous solipsism, John Berryman, Robert Lowell, A. R. Ammons, Lucie Brock-Broido, and Terrance Hayes write lyrics that are funny, on several planes. Each of these poets enacts a self-revealing comedy of the mind and its often labored, blinkered, or illogical cognitive processes; each also creates a comedy of style, where language and form exceed and confound paraphrase. This thesis brings out such comedies, arguing that lyric is a livelier, more paradoxical, and certainly less solipsistic genre than is yet recognized. While most theories of the comic emphasize superiority, incongruity, or subversion, lyric poetry suggests that comedy originates in something miraculously apt and failed, at once: the comedy of lyric springs from deflected, or misdirected, perfection, and from the miraculous achievement of a less-than-sublime end. Berryman, who sets formal wildness in a fixed stanza, provides an opening instance of how comedy balances between the decidedly flawed and the marvelous. Lowell’s incongruities, which undermine every quality that threatens to dominate a poem, surprise by the unlooked-for harmonies they produce. Ammons turns his concerns about inarticulate failing into a comedy of ineptness, enacting the workings of an inconsistent mind with precision. Brock-Broido’s humor appears as utter doubleness, requiring that we see the beautiful and the ludicrous together; her comedy does not extinguish her Romantic postures, but suffuses them. Hayes enacts the luck of the erratic, associative mind, as it takes in, is altered by and transforms its surroundings: disparate styles, tones, devices, and allusions come together to convey something beyond their semantic point.
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Friedman, Sam. "Comedy and distinction." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/28072.

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Comedy plays an increasingly central role in British cultural life. Defying the recent economic downturn, it has grown into a booming multi-million pound industry, both on TV and on the live circuit. Despite this, sociology has traditionally afforded comedy little scholarly attention. Indeed, the art form has been largely omitted from large-scale sociological studies of British cultural production and consumption. Even in the most comprehensive assessment of British cultural tastes, Bennett et al's (2009) highly significant Culture, Class, Distinction, comedy was either ignored or defined problematically as a 'middlebrow' television sub-genre. The central aim of this thesis is to plug this conspicuous gap in the literature. In particular, it aims to examine the patterning of contemporary British comedy taste and understand how this relates to general patterns of socio-cultural division and inequality. Drawing on a large-scale survey and in-depth interviews collected at the 2009 Edinburgh Festival Fringe, it argues that comedy now represents an emerging field for younger generations of the culturally privileged to activate their cultural capital resources. Using the innovative methodological instrument of Multiple Correspondence Analysis (MCA), it shows that such individuals carefully select and reject forms of British comedy, favouring the most legitimate 'highbrow' items and deliberately snubbing the most 'lowbrow'. However, unlike most studies of cultural capital and taste, the thesis finds that field-specific 'comic cultural capital' is mobilised less through taste for certain 'objects' of comedy and more through the expression of rarefied and largely 'disinterested' styles of comic appreciation. In short, it is the embodied currency of possessing a 'good' sense of humour, rather than certain objectified comedy preferences, that most distinguishes the privileged in the field of comedy. Such evidence of comedy taste functioning as cultural capital is significant because it challenges recent suggestions that the British are becoming increasingly culturally tolerant and omnivorous. Instead, in the case of comedy, this thesis finds that taste acts as a powerful marker of cultural and class identity. Eschewing the kind of openness described in other cultural areas, comedy audiences make a wide range of negative aesthetic, moral and political judgments on the basis of comedy taste, inferring that one's sense of humour reveals deep-seated aspects of their personhood. Reflecting on this, the thesis argues that future analysis of popular cultural consumption must be willing to examine not just taste for specific items of culture, but also the accompanying styles of appreciation that frame consumption. It is here, in the specific way culture is consumed, that it is possible to discern how contemporary cultural forms are implicated in the redrawing of class boundaries and the pursuit of distinction.
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Turner, Matthew R. "Signs of Comedy: A Semiotic Approach to Comedy in the Arts." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1126899710.

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Miles, Sarah N. "Strattis, tragedy, and comedy." Thesis, University of Nottingham, 2009. http://eprints.nottingham.ac.uk/10887/.

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This study comprises a translation, textual commentary, and discussion of the fragments of the Old comic dramatist Strattis which engage with tragedy. It forms the centre of a wider examination of the art of paratragedy and tragic parody in Old Comedy because paratragedy represents the earliest reception of tragedy and one that is contemporary with the initial live performances of tragic plays. Ancient and modern scholarship alike has viewed Aristophanes as the dominant figure in the art of paratragedy and tragic parody. Strattis, a contemporary of Aristophanes, was active in the late fifth and early fourth centuries BC and the fragments of his comedies indicate a sustained and wide ranging interaction with contemporary tragedy which is rivalled only by Aristophanic comedy. This is particularly remarkable since the extant corpus of Strattis numbers less than ninety fragments. This work explores the phenomenon of paratragedy beyond Aristophanic paratragedy and raises awareness of the importance of Strattis in this respect. It begins with a survey of paratragedy in other non-Aristophanic fragments of Old Comedy and it examines the various ways that comedy engages with tragedy, indicating the depth and breadth of paratragedy in comic fragments. This provides the foundations on which to examine the fragments of Strattis through a text, translation and commentary on those fragments that engage with tragedy. It leads to a discussion of the works of Strattis overall for their use of tragedy and myth, which allows us to note characteristics of Strattis’ work. This enables a comparison of the paratragedy in the comedies of Strattis and Aristophanes which allows us to reassess the uniqueness of Aristophanic paratragedy and to consider reasons for the popularity of paratragedy in the late fifth century BC.
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Robinson, Rebecca Grace. "Scottish television comedy audiences." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1177/.

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This study explores how Scottish people feel about representations of Scottishness in contemporary television comedy. The thesis is in two related parts, articulating an exploration of genre, comedy and Scottish television texts with the theory, methodology and analysis of empirical audience research. The thesis begins by exploring how current television comedy is poorly served by critical literature beyond notions of genre although this field of study too fails to indicate significant contemporary permeabilities between comedy sub-genres, and between comedy and other kinds of leisure shows. The second chapter explores historical approaches to Scottish cultural criticism and literary myths (Tartanry, Kailyardism, Caledonian anti-syzygy, Clydesidism) and sets these against contemporary mythologising by individual Scottish comedy practitioners. The second half of the thesis marks a shift from textual studies toward audience research, and in particular develops a discussion about the problematics of researching comedy and audiences qualitatively. The first part of the second half is a literature survey of selected examples of audience research which is translated from theory and epistemology, to methodology and technique in the next section which comprises a discussion of the model for the empirical data collection. The next section presents data from a quantitative survey and qualitative focus-group discussions. The last part of the second section interprets the data through triangulation although this is limited by lack of comparable critical materials. The whole attempts to explore concepts of national identity in Scottish television comedy with audiences, but also develops the additional problematic of empirical quantitative research and comedy themes.
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Dow, Stephanie B. "Prostitution in city comedy." Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399631.

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Collings, Rebecca. "Shedding light on dark comedy : humour and aesthetics in British dark comedy television." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/59450/.

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The term ‘dark comedy’ is used by audiences, producers and academics with reference to an array of disparate texts, yet attempts to actually define it perpetuate a sense of confusion and contradiction. This suggests that although there is a kind of comedy that is common enough to be widely noted, and different enough from other types to require separation, how and why this difference can be perceived could be better understood. Accordingly, I investigate what is enabling the recognition and distinction in respect of British dark comedy programmes, and use this as a basis for considering how this type of comedy works. I argue that the programmes may be distinguished primarily by aesthetic features, placing their rise on British television in a broader context of aesthetic trends towards a display of visual detail, spectacle, and excess that puts the private and the taboo on greater show. Using the theories of Freud, Bakhtin, and Bergson about taboo, the uncanny, the grotesque, and the appearance of mechanical actions in humans, I examine in detail examples of British comedy television programmes that are typically referred to as ‘dark’, demonstrating their consistent depiction of subjects that are often repressed or avoided, particularly those around which taboo restrictions and prohibitions have evolved (such as violence and death, illness, and transgressive sexuality). These areas are strongly linked with the body and physicality, and are also ones which occasion negative feelings of unease and denial that are connected to concerns about mental and corporeal fragility and fallibility. I conclude therefore that dark comedies provide a space where viewers may confront and ultimately minimise fears surrounding the human condition, enabling a ‘safe’ exploration of them that can be enjoyed as humorous.
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Books on the topic "The comedy"

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Alighieri, Dante. Comedy. Morrisville, NC: Pluramon, 2006.

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Lowe, N. J. Comedy. Cambridge: Published for the Classical Association [by] Cambridge University Press, 2008.

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Stott, Andrew. Comedy. New York, N.Y: Routledge, 2005.

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Comedy. London: Routledge, 2005.

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Romantic comedy. New York: Routledge, 2010.

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Dante's comedy. Brookline Village, MA: Branden Pub. Co., 1985.

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Sam, Bobrick, ed. Weekend comedy. New York: S. French, 1987.

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Improv comedy. Hollywood, CA: Samuel French, 1991.

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Meunier, Pierre Eugène. Barriers: (comedy). Samaru, Zaria [Nigeria]: Space 2000, Pace Publishers, 1992.

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Slapstick comedy. New York: Routledge, 2010.

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Book chapters on the topic "The comedy"

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Marsh, Huw. "Comedy." In The Routledge Companion to Twenty-First Century Literary Fiction, 67–79. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge companions to literature series: Routledge, 2019. http://dx.doi.org/10.4324/9781315880235-7.

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Cantrell, Tom, and Christopher Hogg. "Comedy." In Acting in British Television, 145–207. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1057/978-1-137-47022-5_4.

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King, Bruce. "Comedy?" In Coriolanus, 97–98. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20207-2_30.

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Gill, Richard. "Comedy." In Mastering Shakespeare, 89–106. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-14551-5_5.

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Dyer, Richard. "Comedy." In Nino Rota, 128–52. London: British Film Institute, 2010. http://dx.doi.org/10.1007/978-1-349-92421-9_5.

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Mills, Brett, Ian Wilkie, Steve Neale, John Hartley, Jane Feuer, Glen Creeber, and Brett Mills. "Comedy." In The Television Genre Book, 89–111. London: British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_4.

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Potter, Lois. "Comedy." In Twelfth Night, 62–72. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-06462-5_9.

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Nagel, Armin. "Comedy." In Handbuch Populäre Kultur, 138–42. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05001-4_24.

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Gill, Richard. "Comedy." In Mastering, 236–46. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-20852-0_21.

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Cohn, Lee Michael. "Comedy." In Directing Actors, 152–80. New York, NY: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003090991-12.

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Conference papers on the topic "The comedy"

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Li, Maolin. "Supporting Comedy Writers: Predicting Audience’s Response from Sketch Comedy and Crosstalk Scripts." In Proceedings of the First Workshop on Computational Approaches to Discourse. Stroudsburg, PA, USA: Association for Computational Linguistics, 2020. http://dx.doi.org/10.18653/v1/2020.codi-1.5.

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Feig, Anthony D., Timothy A. Bennett-Huxtable, and Heather L. Petcovic. "COMEDY IN THE GEOSCIENCES I." In GSA Annual Meeting in Denver, Colorado, USA - 2016. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016am-283203.

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Bennett-Huxtable, Timothy A., Anthony D. Feig, and Heather L. Petcovic. "COMEDY IN THE GEOSCIENCES II." In GSA Annual Meeting in Denver, Colorado, USA - 2016. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016am-283260.

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Vilk, John, and Naomi T. Fitter. "Comedy by Jon the Robot." In HRI '20: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3371382.3378201.

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Rich, John. "USING COMEDY TO TEACH RESEARCH DESIGN." In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/iceri.2016.0223.

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Rangacharyulu, Chary. "Higgs Boson: God particle or Divine comedy?" In SPIE Optical Engineering + Applications, edited by Chandrasekhar Roychoudhuri, Al F. Kracklauer, and Hans De Raedt. SPIE, 2013. http://dx.doi.org/10.1117/12.2027833.

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Aybar-Cabezudo, Oscar, Lorena Espinoza-Robles, and Eliana Gallardo-Echenique. "COMEDY AS A SUCCESS FORMULA IN PERUVIAN CINEMA." In 14th International Technology, Education and Development Conference. IATED, 2020. http://dx.doi.org/10.21125/inted.2020.1872.

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Luo, Yi. "Study on the Current Patterns of Chinese Comedy Films." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.230.

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Nishimura, Yoshie, and Kohzoh Yoshino. "Amusement assessment of Japanese comedy Manzai using physiological signals." In 2022 IEEE 4th Global Conference on Life Sciences and Technologies (LifeTech). IEEE, 2022. http://dx.doi.org/10.1109/lifetech53646.2022.9754739.

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Molnar, Andreea, and Cristina Hava Muntean. "COMEDY: Viewer trade off between multimedia quality and monetary benefits." In 2013 IEEE International Symposium on Broadband Multimedia Systems and Broadcasting (BMSB). IEEE, 2013. http://dx.doi.org/10.1109/bmsb.2013.6621787.

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Reports on the topic "The comedy"

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Hidalgo-Marí, T., A. Tous Rovirosa, and LF Morales Morante. Family models in Spanish television comedy (1990-2010). Revista Latina de Comunicación Social, January 2019. http://dx.doi.org/10.4185/rlcs-2019-1318en.

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2

McMillan, Robert S. Spacewatch Survey for Asteroids and Comets. Fort Belvoir, VA: Defense Technical Information Center, November 2005. http://dx.doi.org/10.21236/ada443974.

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McMillan, Robert S. Spacewatch Survey for Asteroids and Comets. Fort Belvoir, VA: Defense Technical Information Center, July 2003. http://dx.doi.org/10.21236/ada416015.

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Yocom, Ken, and Delia Lacson. Gary Comer Youth Center. Landscape Architecture Foundation, 2011. http://dx.doi.org/10.31353/cs0210.

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Seybold, Patricia. What Comes After CRM? Boston, MA: Patricia Seybold Group, November 2001. http://dx.doi.org/10.1571/bp11-8-01cc.

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Gennaioli, Nicola, and Andrei Shleifer. What Comes to Mind. Cambridge, MA: National Bureau of Economic Research, June 2009. http://dx.doi.org/10.3386/w15084.

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7

Warta, Katharina, Tobias Dudenbostel, María del Carmen Calatrava Moreno, Francesca Guadagno, Simon Zingerle, Sandra Skok, and Harald Grill. Evaluierung des COMET-Programms. Technopolis Group - Austria, June 2021. http://dx.doi.org/10.22163/fteval.2022.524.

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Abstract:
Technopolis wurde im Mai 2020 vom Bundesministerium für Klimaschutz, Umwelt, Energie, Mobilität, Innovation und Technologie (BMK) und dem Bundesministerium für Digitalisierung und Wirtschaftsstandort (BMDW) mit der Evaluierung des COMET-Programms beauftragt. Die vorliegende Evaluierung bezieht sich auf die 25 aktuell existierenden Zentren. Der Fokus der Evaluierung liegt auf der Charakterisierung der COMET-Zentren und auf dem Monitoring- und Kennzahlensystem von COMET. Im Jahr der Corona-Pandemie wurden die Methoden angepasst, Interviews mit Stakeholdern und den Zentren wurden meist per Videocalls oder telefonisch geführt, geplante on-site Visits sowie internationale Workshops konnten nicht durchgeführt werden. Zentrale Quellen der Evaluierung sind eine Befragung der Zentren und der Unternehmens- und Wissenschaftspartner sowie die Datenbasis der FFG, die wir durch diverse Harmonisierungsschritte für neuwertige Auswertungen nutzbar machten. Dies umfasst insbesondere einen historischen Rückblick sowie eine Cluster- und Netzwerkanalyse. Die Auswartungen sind in zwei Dashboards angelegt, das Dashboard zur COMET-Befragung ist anonymisiert und daher öffentlich zugänglich.
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Seybold, Patricia. Smart Customization Comes of Age. Boston, MA: Patricia Seybold Group, January 2009. http://dx.doi.org/10.1571/bp01-08-09cc.

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9

Hatton, Timothy, and Jeffrey Williamson. Late-Comers to Mass Emigration: The Latin Experience. Cambridge, MA: National Bureau of Economic Research, June 1993. http://dx.doi.org/10.3386/h0047.

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10

Hills, J. G., M. P. Goda, and J. C. Solem. Close Encounters of Asteroids and Comets to Planets. Office of Scientific and Technical Information (OSTI), July 1999. http://dx.doi.org/10.2172/759193.

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