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Journal articles on the topic 'The comedy'

Author: Grafiati

Published: 24 April 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Meerzon, Yana. "From melancholic to happy immigrant: Staging simpleton in the comedies of migration." Performing Ethos: International Journal of Ethics in Theatre & Performance 9, no. 1 (November 1, 2019): 23–35. http://dx.doi.org/10.1386/peet_00003_1.

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Abstract This article examines devices of comedy, laughter and dramatic humour as technologies of ethics when it comes to staging migration in contemporary theatre. Looking at a tragic farce Hunting Cockroaches (1985), written by the Polish theatre artist Janusz Głowacki during his American exile, and a domestic melodrama Kim's Convenience (2012), written by a Korean Canadian Ins Choi, this article examines comedy as a particular dramatic model that can challenge staging migrants as agentless and voiceless victims. It asks, what happens when theatre artists begin to use stereotype to stage the trauma of displacement? To what extent is comedy truly capable of rendering the complexity of migration? And how ethical can the comedic representation of a migrant be?

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12

Schaffer, Gavin. "Fighting Thatcher with Comedy: What to Do When There Is No Alternative." Journal of British Studies 55, no. 2 (March 11, 2016): 374–97. http://dx.doi.org/10.1017/jbr.2015.229.

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AbstractThis article offers a history of British alternative comedy as a case study of political challenge and opposition in the 1980s and considers the role of humor in political campaigning more broadly. It explores left-wing thinking on culture as a potential political weapon, and questions how this informed the development and impact of alternative comedy as a genre. The article observes that pioneering alternative comedians went some way to change British comedy values and inform political discussions. However, it also argues that the complex operation of jokes and the tendency of comedians to become “incorporated” within the political and cultural mainstream ensured that the impacts of radical alternative material were limited and ambiguous. It contends that the practice of alternative comedy was undermined by business and political values that were often influenced by Thatcherism, and that alternative comedians mostly failed to capture the imaginations of working-class Britons. These communities retained instead an affection for more traditional, differently rebellious, comedic voices. Ultimately, this article frames alternative comedy within a longer history of radical humor, drawing out broader lessons concerning the revolutionary potential of jokes and the relationship between comedians, their audiences, and politics.

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13

Branfman, Jonathan. "“Plow Him Like a Queen!”: Jewish Female Masculinity, Queer Glamor, and Racial Commentary in Broad City." Television & New Media 21, no. 8 (June 27, 2019): 842–60. http://dx.doi.org/10.1177/1527476419855688.

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Starring raunchy Jewish women, Comedy Central’s Broad City (2014–2019) invites feminist comedy theory to better address race and ethnicity. Feminist comedy theory has long used Kathleen Rowe’s model of the unruly woman, which neglects racial/ethnic dimensions of unruliness. When discussing Jewish comedian Roseanne Barr, for instance, Rowe does not mention transgressive stereotypes about Jewish femininity like the “beautiful Jewess,” a historical stock figure depicting Jewish women as racially exotic and masculine-yet-seductive. Likewise, studies of the Jewess have not yet integrated Rowe’s lens of unruly womanhood. Broad City highlights these gaps: the series calls its stars “Jewesses,” and tropes of the beautiful Jewess fuel their comedic boundary violations between femininity/masculinity, whiteness/nonwhiteness, and racism/antiracism. By analyzing Broad City, I clarify how racial tropes of unruliness shape plotlines and social critiques in women’s comedy. This article also invites feminist studies more broadly to address Jewishness as a salient form of difference.

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Asiah, Nur, Julie Rostina, and Nanny Harmani. "Efektiftas Stand Up Comedy Sebagai Media Peningkatan Pengetahuan Perilaku Seksual Berisiko pada Remaja di RPTRA (Ruang Publik Terpadu Ramah Anak)." ARKESMAS (Arsip Kesehatan Masyarakat) 3, no. 1 (June 1, 2018): 1–6. http://dx.doi.org/10.22236/arkesmas.v3i1.2517.

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Pengetahuan remaja tentang kesehatan reproduksi belum memadai. SDKI 2012 menyebutkan bahwahanya 35,3% remaja perempuan dan 31,2% remaja laki-laki usia 15 – 19 tahun yang mengetahui bahwaperempuan dapat hamil dengan satu kali berhubungan seksual. Stand Up Comedy merupakan bentuk senikomedi atau melawak yang disampaikan secara sederhana. Selain sebagai hiburan, Stand Up Comedy dapatdigunakan sebagai media informasi yang sangat komunikatif di masyarakat, dan dapat dipakai sebagaisarana untuk meningkatkan pengetahuan pada penontonnya. Penelitian ini bertujuan untuk mengetahuiefektiftas metode Stand up Commedy sebagai media peningkatan pengetahuan tentang perilaku seksualberisiko pada remaja di RPTRA (Ruang Publik Terpadu Ramah Anak). Desain Penelitian adalah quasieksperimental. Populasi dan sampel adalah remaja di RPTRA. Kelompok kontrol penelitian ini adalahremaja SMA usia 15 – 19 tahun yang beraktivitas di RPTRA Manunggal. Sedangkan kelompok kasusadalah remaja SMA usia 15 – 19 tahun yang beraktivitas di RPTRA Mawar. Keduanya berlokasi diJakarta Selatan. Analisis bivariat menggunakan Uji Paired sample t-test pada masing-masing kelompok.Selain itu, juga dilakukan uji t independen untuk melihat efektiftas metode ceramah dibandingkan denganmetoda Stand Up Comedy. Pretest pengetahuan antar kelompok tidak menunjukkan adanya perbedaanyang signifkan, nilai rata-rata kasus 55.4000 dan rata-rata kontrol 55.4467, artinya tingkat pengetahuansebelum perlakuan adalah setara pada masing-masing kelompok. Sedangkan uji statistik pada hasil posttestantar kelompok menunjukkan ada perbedaan yang bermakna antara pengetahuan kelompok kontrol dengankelompok kasus yang mendapatkan penyuluhan dengan metode Stand Up Comedy. Upaya peningkatanpengetahuan dengan metode Stand Up Comedy lebih efektif dibandingkan dengan metode ceramah.

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15

Lockyer, Sharon. "From comedy targets to comedy-makers: disability and comedy in live performance." Disability & Society 30, no. 9 (October 21, 2015): 1397–412. http://dx.doi.org/10.1080/09687599.2015.1106402.

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16

Shih, Evelyn. "Doubled Over 007: “Aryu Pondŭ” and Genre-Mixing Comedy in Korea." Journal of Korean Studies 22, no. 2 (September 1, 2017): 365–88. http://dx.doi.org/10.1215/21581665-4226487.

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Abstract This paper contends that genre mixing in comedy films of the 1960s in South Korea had the potential to interrupt filmic codes, which were increasingly propagandistic following the tightening of film law. The advent of the James Bond films as a global cultural phenomenon stimulated local production of spy films, where the villain was typically North Korean. These films were welcomed by cultural regimes of the time due to their anticommunist orientation, but a small hybrid genre, the “spy comedy,” undermined their absolutism. Based in the vernacular comedy traditions of slapstick film performance, stage comedy, and radio, these “spy comedies” spoofed aspects of both the James Bond franchise and the local action thrillers that imitated Bond. This was often accomplished by overlaying the narrative of a rustic with that of a spy. The comedies reveal a synchronicity between development and urbanization, which displaced large numbers of people, and the othering of North Koreans, which led to spy paranoia about those who were out of place. This paper argues that global genres played a particular role for South Korean comedy in the 1960s: they enabled oblique treatments of sensitive social issues through play. Generic heterogeneity defined comedic films of this era.

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17

Cartlidge, Ben. "JUVENAL 5.104: TEXT AND INTERTEXT." Classical Quarterly 69, no. 1 (May 2019): 370–77. http://dx.doi.org/10.1017/s0009838819000508.

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This paper draws on Juvenal's intertextual relationship with comedy to solve a textual crux involving fish-names. The monograph by Ferriss-Hill will no doubt warn scholarship away from the treatment of Roman satire's intertextuality with Old Comedy for a time. Yet, Greek comedy's influence on Roman satire is far from exhausted, and this paper will show that this influence goes more widely, and more deeply, than is usually seen. In time, one might hope for a renewed monographic treatment of the subject.

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Leonardo, Reynord, and Ahmad Junaidi. "Kritik Sosial dalam Stand Up Comedy (Analisis Semiotika Show “Pragiwaksono World Tour”)." Koneksi 4, no. 2 (October 1, 2020): 185. http://dx.doi.org/10.24912/kn.v4i2.8077.

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This study discusses the stand up comedy that is popular among the people. Stand up comedy itself is a singular comedic art whose contents from ordinary jokes contain social criticism. Pandji Pragiwaksono is one example of a comic where he likes to bring stand up comedy material containing social criticism where there are some social problems that we are experiencing in the form of comedy. The theory used by researchers is the theory of mass communication, mass media, social criticism, stand up comedy. This study uses a qualitative approach with the semiotic analysis technique method Ferdinand De Saussure which divides the selected sign into two namely signifier and signified. In this study it was found that the show stand up comedy made by Pandji Pragiwaksono namely Pragiwaksono World Tour slipped a number of social criticisms in which social criticisms were presented including criticism of children's names, criticism of children 's Youtubers, critics of PSSI chairmen, critics of the profession of people, criticisms of humanity , criticism about fans, criticism about animals, and criticism of the attitude of Indonesian citizens. The result is stand up comedy is not just a tool to entertain the public but can also slip social criticism in the form of comedy criticism delivered by Pandji made with satire and comedy so that the message received can be captured easily by his listeners.Penelitian ini membahas tentang stand up comedy yang sedang populer dikalangan masyarakat. Stand up comedysendiri merupakan seni melawak secara tunggal di mana isi dari lawakan berupa kritik sosial. Pandji Pragiwaksono menjadi salah satu contoh komika di Indonesia yang membawakan materi stand up comedyberisi kritik sosial terhadap beberapa masalah sosial. Teori dan konsep yang digunakan peneliti adalah komunikasi massa, media massa, kritik sosial, stand up comedy. Penelitian ini menggunakan pendekatan kualitatif dengan metode teknik analisis semiotika Ferdinand De Saussure yang membagi tanda menjadi dua yaitu signifierdansignified. Penelitian ini menemukan bahwa pertunjukan stand up comedyPandji Pragiwaksono yaitu Pragiwaksono World Tourmenyelipkan beberapa kritik sosial antara lain kritik nama anak, kritik youtuberanak-anak, kritik ketua PSSI, kritik tentang profesi orang, kritik kemanusiaan, kritik tentang fans, kritik tentang satwa, dan kritik sikap warga Indonesia. Kesimpulan dari penelitian ini yaitu stand up comedybukan menjadi alat untuk menghibur masyarakat namun juga menyelipkan kritik sosial dalam bentuk komedi kritik yang dibuat dengan satir dan komedi sehingga pesan yang diterima dapat ditangkap dengan mudah oleh pendengarnya.

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19

Osborne-Thompson, Heather. "Channeling Totie Fields." Feminist Media Histories 3, no. 2 (2017): 57–77. http://dx.doi.org/10.1525/fmh.2017.3.2.57.

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Although Totie Fields enjoyed considerable visibility on American television in the 1960s and 1970s, her contributions to women's television comedy have been obscured both by her untimely death in 1978 and by her self-deprecating style of humor. This article reconsiders Fields's comedic persona, which forced audiences to confront the realities of voices and bodies that did not conform to classical ideals, in the context of more recent theoretical work on the economy of charged humor (Rebecca Krefting) and the place of women's comedy within contemporary culture (Linda Mizejewski, Kathleen Rowe Karlyn). Ultimately it argues that, rather than constituting a “ghost of women's comedy past,” Fields's persona in feminized TV spaces such as the daytime talk show has more in common with the work of contemporary female comedians than has been previously acknowledged.

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20

Kehler, Dorothea. ""The Comedy of Errors" as Problem Comedy." Rocky Mountain Review of Language and Literature 41, no. 4 (1987): 229. http://dx.doi.org/10.2307/1347291.

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21

Abbotson. "Comedy of a Common Man: Miller's Comedic Chops." Arthur Miller Journal 15, no. 1 (2020): 3. http://dx.doi.org/10.5325/arthmillj.15.1.0003.

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Segal, Erich, and David Konstan. "Roman Comedy." Classical World 79, no. 3 (1986): 206. http://dx.doi.org/10.2307/4349863.

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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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Randall, Margaret, and Barbara Kingsolver. "Human Comedy." Women's Review of Books 5, no. 8 (May 1988): 1. http://dx.doi.org/10.2307/4020209.

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Vernon, Mark. "Cliquey comedy." Philosophers' Magazine, no. 38 (2007): 90. http://dx.doi.org/10.5840/tpm20073872.

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Rist, Thomas. "Topical Comedy." Ben Jonson Journal 7, no. 1 (January 2000): 65–87. http://dx.doi.org/10.3366/bjj.2000.7.1.5.

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Sidwell, Keith, and Ian C. Storey. "Old Comedy." Classics Ireland 12 (2005): 62. http://dx.doi.org/10.2307/25528418.

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Newnham, David. "Comedy gold." Nursing Standard 28, no. 47 (July 23, 2014): 29. http://dx.doi.org/10.7748/ns.28.47.29.s33.

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Matt Cohn. "Sicyonian Comedy." Classical Journal 112, no. 1 (2016): 1. http://dx.doi.org/10.5184/classicalj.112.1.0001.

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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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31

heath, Malcolm. "Aristotelian Comedy." Classical Quarterly 39, no. 2 (December 1989): 344–54. http://dx.doi.org/10.1017/s0009838800037411.

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My aim in this paper is to reconsider a number of aspects of Aristotle's thinking on comedy in the light of the acknowledged Aristotelian corpus. I shall have nothing to say about theTractatus Coislinianus, an obscure and contentious little document which must (despite Janko's energetic attempt to restore its credit) remain an inappropriate starting-point for discussion. There is still, I believe, something to be learnt from the extant works.

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32

Wordsworth, Jonathan. "Wordsworthian Comedy." Wordsworth Circle 22, no. 3 (June 1991): 141–50. http://dx.doi.org/10.1086/twc24042892.

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33

Middleton, Jason. "Documentary Comedy." Media International Australia 104, no. 1 (August 2002): 55–66. http://dx.doi.org/10.1177/1329878x0210400108.

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While documentaries like Roger and Me and mock documentaries such as This is Spinal Tap differ in terms of the ontological status of their referents, they share many formal characteristics, particularly in their editing strategies. This essay examines the editing techniques in these two influential films of the 1980s in order to theorise exactly how film-makers combine conventions of documentary with those of comedy in an attempt to produce laughter in audiences. Having demonstrated the formal qualities of an editing technique prevalent in these films which I term ‘cutting on the absurd’, the essay then explores the broader implications of this comic style in more recent documentary film-making. With a particular focus on Chris Smith and Sarah Price's American Movie (1999), it examines how the editing strategies in documentary films characterised as ‘offbeat character studies' alternately position viewers to laugh at and laugh with the subjects, to occupy a position that can be at once derisory and empathetic.

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Ritchie, Chris. "Against Comedy." Comedy Studies 1, no. 2 (January 2010): 159–68. http://dx.doi.org/10.1386/cost.1.2.169_1.

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Trinacty, Christopher V. "Tibullus’ Comedy." Mnemosyne 70, no. 6 (October 26, 2017): 1051–58. http://dx.doi.org/10.1163/1568525x-12342389.

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Rowe, Amy. "DIVINE COMEDY." Review of Faith & International Affairs 7, no. 4 (December 2009): 83–85. http://dx.doi.org/10.1080/15570274.2009.9523419.

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Lesser, Wendy. "Serious Comedy." Hudson Review 40, no. 4 (1988): 661. http://dx.doi.org/10.2307/3851148.

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Sagona, Alex. "Equals Comedy." Colorado Review 47, no. 2 (2020): 50–67. http://dx.doi.org/10.1353/col.2020.0051.

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39

MacCary, W. Thomas, and David Konstan. "Roman Comedy." American Journal of Philology 107, no. 3 (1986): 448. http://dx.doi.org/10.2307/294710.

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40

Manuwald, Gesine. "Roman Comedy." Brill Research Perspectives in Classical Poetry 1, no. 2 (April 22, 2020): 1–88. http://dx.doi.org/10.1163/25892649-12340002.

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Abstract This contribution provides an introduction to all varieties of ‘Roman comedy’, including primarily fabula palliata (‘new comedy’, as represented by Plautus and Terence) as well as fabula togata, fabula Atellana, mimus and pantomimus. It examines the major developments in the establishment of these dramatic genres, their main characteristics, the performance contexts for them in Republican Rome, and their reception. The presentation of the key facts is accompanied by a description of the influential turns and recent trends in scholarship on Roman comedy. The essay is designed for scholars, teachers and (graduate) students who have some familiarity with Roman literature and are looking for (further) orientation in the area of Roman comedy.

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Donougho. "Hegelian Comedy." Philosophy & Rhetoric 49, no. 2 (2016): 196. http://dx.doi.org/10.5325/philrhet.49.2.0196.

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Wellwarth, George E. "ON COMEDY." South African Theatre Journal 2, no. 1 (January 1988): 3–16. http://dx.doi.org/10.1080/10137548.1988.9687954.

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Sutcliffe, W. Dean. "‘Classical’ comedy." Early Music 43, no. 4 (October 9, 2015): 697–99. http://dx.doi.org/10.1093/em/cav089.

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Ligda, Kenneth. "Orwellian Comedy." Twentieth-Century Literature 60, no. 4 (2014): 513–37. http://dx.doi.org/10.1215/0041462x-2014-1005.

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Gehring, Wes D. "Screwball Comedy." Journal of Popular Film and Television 13, no. 4 (January 1986): 178–85. http://dx.doi.org/10.1080/01956051.1986.10662006.

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Mirsky, Steve. "Divining Comedy." Scientific American 286, no. 3 (March 2002): 103. http://dx.doi.org/10.1038/scientificamerican0302-103.

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Hammond, P. "Medical comedy." BMJ 315, no. 7106 (August 23, 1997): 2. http://dx.doi.org/10.1136/bmj.315.7106.2.

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Xiaoying, Chen. "Comedy Prism." Film，Television and Theatre Review 1, no. 1 (2021): 1–5. http://dx.doi.org/10.35534/fttr.0101002.

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Cohn, Matt. "Sicyonian Comedy." Classical Journal 112, no. 1 (2016): 1–24. http://dx.doi.org/10.1353/tcj.2016.0051.

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Muro Munilla, Miguel Ángel. "La debatible existencia de una “comedia romántica”: “Muérete… ¡y verás!”, de Bretón de los Herreros, como parodia y pastiche de los dramas románticos." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 1149. http://dx.doi.org/10.5944/signa.vol28.2019.25114.

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Abstract:

Este artículo participa en la polémica sobre la noción de comedia romántica. Después de revisar de forma crítica los argumentos de las aportaciones más relevantes sobre este asunto, se centra en la obra de Bretón de los Herreros Muérete… ¡y verás! —presentada por varios especialistas como ejemplo acabado de comedia romántica— y defiende que se trata, en realidad, de una curiosa mezcla de parodia y pastiche de los dramas románticos.This article participates in the controversy about the notion of romantic comedy. After critically reviewing the most relevant contributions to these notions, it focuses on the play by Bretón de los Herreros’ Muérete… ¡y verás! —presented by several specialists as a perfect example of romantic comedy—. It also defends that it is, in fact, a curious mixture of parody and pastiche of romantic dramas.

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