Bibliografie tematiche / Comedy

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Letteratura scientifica selezionata sul tema "Comedy"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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Articoli di riviste sul tema "Comedy"

Rousseau, Francois Waldeck. "Comedy as resource for learning culture in EFL." Journal of Language and Culture in Education 2, no. 2 (2025): 181–95. https://doi.org/10.5281/zenodo.15455300.

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This study explores the potential of comedy as a pedagogical tool for teaching culture in the English as Foreign Language (EFL) classroom. Through a qualitative content analysis of sample materials from three popular comedic genres—situational comedy, sketch comedy, and stand-up comedy—this research demonstrates how comedy can engage learners with cultural norms, cultural stereotypes, popular culture, and socio-cultural critique, making cultural learning accessible and engaging in a foreign language context. Pedagogically, the findings suggest that integrating comedic content into

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Loera-Wiggins, Julianna. "The Chingonas of Comedy: Latina Stand-Up and Testimonio in Chicago." Diálogo 25, no. 1 (2022): 41–49. http://dx.doi.org/10.1353/dlg.00005.

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Abstract: This article examines how the Chicago-based Latina stand-up comedy group Las Locas Comedy disrupts the representation of the well-behaved Latina. By performing once a month for the Chingona Comedy Hour showcase at the Laugh Factory, Latinas work to change and challenge Chicago stand-up comedy by increasing the visibility of Latina comedic talent. I extend the Latinx written tradition of testimonio to determine that comedy can reclaim, highlight, and celebrate dimensions of Latina identity and promote feminist insights. As they navigate Chicago’s robust comedy scene, Latina comedians

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Zhang, Yi-chi. "Research on the Correlation Between Northeastern Dialect and Comedy." Society for Chinese Humanities in Korea 89 (April 30, 2025): 93–113. https://doi.org/10.35955/jch.2025.04.89.93.

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This paper explores the relationship between the Northeastern Chinese dialect and comedy based on its linguistic and cultural characteristics. The Northeastern dialect is characterized by a strong intonation, unique vocabulary, and a direct yet humorous way of expression, which enhances individuality in comedy and maximizes comedic effects. This study analyzes the linguistic features and cultural significance of the Northeastern dialect as expressed in comedy and examines its role through representative comedic works featuring this dialect. Compared to other dialects, the Northeastern dialect

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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 (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 critic

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Mahmud, Mohammad, and Ninuk Riswandari. "Konstruksi Konsep Diri Dalam Realitas Sosial Pada Anggota Komunitas Stand-Up Indo Pasuruan." Brand Communication 3, no. 3 (2024): 250–63. https://doi.org/10.70704/bc.v3i3.311.

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This research explores how the comedy genres chosen by comics from the Stand Up Indo Pasuruan community reflect their self-concept construction. This research focuses on three comics, namely Resti Natasya, Mukti Irawan, and Ginaris Gangsar Pangestu, who each use the genres of dark/black comedy, observational comedy, and blue comedy as a medium to express their identity, personal experiences, and worldview. Using a qualitative approach with a case study method, data was collected through in-depth interviews, performance observation, and analysis of comedy material performed by the comics. The r

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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 (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 evaluatio

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Kuszak, Kinga. "Komizm w poezji dla dzieci. Jego rola i wartość edukacyjna." Problemy Wczesnej Edukacji 36, no. 1 (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

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Natanael, Christian, and Annita Annita. "ANALYSIS OF HUMOR LANGUAGE IN “NGENEST THE MOVIE” COMEDY SCENE." VCD 7, no. 1 (2022): 1–10. http://dx.doi.org/10.37715/vcd.v7i1.2902.

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Humor language is verbal humor created through words, the meaning of words, and jargon. Directors use language humor to build comedy scenes, introduce the characters, or give the impression of a scene. However, sometimes, excessive techniques will be insufficient for the scene itself. Therefore, this study aims to find how language humor in comedy scenes in a film is overused and eventually dries the comedy. Research material was selected from a comedy movie entitled "Ngenest," produced in 2015, directed by Ernest Prakasa, who has a comical background and often uses comedic techniques in his f

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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 “authent

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Parisot, Eric. "Pity the Fool: Satire, Sentiment, and Aristocratic Vice in George Colman’s The Suicide." Eighteenth-Century Fiction 34, no. 4 (2022): 393–414. http://dx.doi.org/10.3138/ecf.34.4.393.

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The Suicide, A Comedy (1778) by George Colman (the Elder) is a sophisticated comedic response to the scourge of fashionable suicide in late eighteenth-century Britain. The play simultaneously operates on two comedic planes: (1) it aims the purgative power of contemptible and socially aversive satire at the bon-ton by insinuating the scandalous suicide of high-profile aristocrat John Damer (1744–76); and (2) the reformation of Tobine—the middle-class protagonist who aspires to fashionable self-destruction—invests in the socially rehabilitative and compassionate humour of sentimental comedy. Two

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Tesi sul tema "Comedy"

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 prob

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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 concep

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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 le

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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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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 an

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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. T

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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 th

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Più fonti

Libri sul tema "Comedy"

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

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Stott, Andrew. Comedy. Routledge, 2005.

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Alighieri, Dante. Comedy. Pluramon, 2006.

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M, Welsh James, ed. Comedy/serious comedy/Woody Allen. Salisbury State College, 1991.

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Aristophanes. Classical Comedy. Penguin Group UK, 2010.

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Nikulin, Dmitri. Comedy, Seriously. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137415141.

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Gilbert, Norwood. Greek Comedy. Routledge, 2022. http://dx.doi.org/10.4324/9781003270096.

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Bucaria, Chiara, and Luca Barra, eds. Taboo Comedy. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59338-2.

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Demastes, William W. Comedy Matters. Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230612426.

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Carroll, Nol, ed. Comedy Incarnate. Blackwell Publishing, 2007. http://dx.doi.org/10.1002/9780470754931.

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Capitoli di libri sul tema "Comedy"

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

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

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

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

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Mills, Brett, Ian Wilkie, Steve Neale, et al. "Comedy." In The Television Genre Book. British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_4.

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Harriott, Rosemary. "Comedy." In Greek and Latin Literature. Routledge, 2024. http://dx.doi.org/10.4324/9781003482901-7.

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Marsh, Huw. "Comedy." In The Routledge Companion to Twenty-First Century Literary Fiction. Routledge, 2019. http://dx.doi.org/10.4324/9781315880235-7.

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

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

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Cohn, Lee Michael. "Comedy." In Directing Actors. Routledge, 2021. http://dx.doi.org/10.4324/9781003090991-12.

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Atti di convegni sul tema "Comedy"

Supriyono, Aji Prasetya Wibawa, Suyono, and Fachrul Kurniawan. "Multimodal Deep Learning for Y ouTube Stand-Up Comedy Transcription in Indonesian Language." In 2025 17th International Conference on Knowledge and Smart Technology (KST). IEEE, 2025. https://doi.org/10.1109/kst65016.2025.11003373.

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Romanowski, Adrianna, Pedro H. V. Valois, and Kazuhiro Fukui. "From Punchlines to Predictions: A Metric to Assess LLM Performance in Identifying Humor in Stand-Up Comedy." In Proceedings of the Workshop on Cognitive Modeling and Computational Linguistics. Association for Computational Linguistics, 2025. https://doi.org/10.18653/v1/2025.cmcl-1.6.

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Girtz, Suzann, and James Hunter. "CREATING AN UNDERGRADUATE FIRST YEAR SEMINAR TO ATTRACT DIVERSE FUTURE TEACHERS USING THE AMERICAN COMEDY SHOW ABBOTT ELEMENTARY." In 17th annual International Conference of Education, Research and Innovation. IATED, 2024. https://doi.org/10.21125/iceri.2024.0024.

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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. 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. ACM, 2020. http://dx.doi.org/10.1145/3371382.3378201.

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Jiwandono, Haryo Pambuko. "Crash-N-Comedy: Slapstick Comedy in Crash Bandicoot N.Sane Trilogy and Crash Tag Team Racing." In Proceedings of DiGRA 2022 Conference: Bringing Worlds Together. Digitial Games Research Association DiGRA, 2022. https://doi.org/10.26503/dl.v2022i1.1317.

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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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Sun Park, Eun. "Contextualizing Comedy Techniques for Speculative Design: Unraveling Futures Cone from Sketch Comedy Series, ‘2032/2033 Futures'." In DRS2024: Boston. Design Research Society, 2024. http://dx.doi.org/10.21606/drs.2024.433.

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Rapporti di organizzazioni sul tema "Comedy"

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

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PODDUBSKAYA, O. N., and N. R. ROMANOV. LEXICO-SEMANTIC FIELD “FOOD” IN THE SERIES OF NOVELS BY J. GALSWORTHY “THE FORSYTE SAGA” AND “MODERN COMEDY”. Science and Innovation Center Publishing House, 2022. http://dx.doi.org/10.12731/2077-1770-2021-14-1-3-69-76.

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The article is devoted to the research of lexical-semantic field “Food” based on the study and analysis of the vocabulary on the topic in the novels “The Forsyte Saga” and “Modern Comedy” by J. Galsworthy, as well as the menu of restaurants in modern Britain. The relevance of the article is in the study of the difference between the lexical-semantic fields, which allows to determine how the “food code” of the nation changed at a certain stage of the society development.

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Coslovsky, Salo, Roberto Smeraldi, and Manuele Lima dos Santos. Amazônia: Territórios da comida. Amazônia 2030, 2021. http://dx.doi.org/10.59346/report.amazonia2030.202111.ed16.

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

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

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Smeraldi, Roberto. Conhecendo o sistema comida na Amazônia. Amazônia 2030, 2021. http://dx.doi.org/10.59346/report.amazonia2030.202110.ed12.

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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? Patricia Seybold Group, 2001. http://dx.doi.org/10.1571/bp11-8-01cc.

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

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Warta, Katharina, Tobias Dudenbostel, María del Carmen Calatrava Moreno, et al. Evaluierung des COMET-Programms. Technopolis Group - Austria, 2021. http://dx.doi.org/10.22163/fteval.2022.524.

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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 Videoc

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