This new edition of Andrew Stott’s Comedy builds on themes presented in the first edition such as focusing on the significance of comic 'events' through study of various theoretical methodologies, including deconstruction, psychoanalysis and gender theory, and provides case studies of a number of themes, ranging from the drag act to the simplicity of slipping on a banana skin. This new edition features: updates to reflect new research the field new chapters on Women in Comedy and Race and Ethnicity a broader range of literary and cultural examples. Written in a clear and accessible style, this book is ideal introduction to comedy for students studying literature and culture.
Author: David L. Hirst
Release Date: 2017-07-20
Genre: Literary Criticism
First published in 1979, this book traces comedy of manners from the 1660s to the then present — a scope beyond the traditional focus on the Restoration and early twentieth century. It uncovers an underestimated subversive potential and socially critical force in this particularly English dramatic form, emphasising the distinctive subjects and style that distinguish it from more general forms of witty social satire. The author discusses the major comic dramatists of the post-Restoration period; reassesses the significance of Sheridan, Wilde and Coward; and examines the continuation of the tradition in modern writers. This book will be of interest to students of English literature and drama.
Author: Andrew Horton
Publisher: John Wiley & Sons
Release Date: 2015-12-14
Genre: Performing Arts
This wide-ranging celebration of the variety and complexity of international film comedy covers work from the days of silent movies to the present on a global scale, including Europe, the Middle East and Asia as well as the United States.
Publisher: Penguin UK
Release Date: 2006-09-28
From the fifth to the second century BC, innovative comedy drama flourished in Greece and Rome. This collection brings together the greatest works of Classical comedy, with two early Greek plays: Aristophanes' bold, imaginative Birds, and Menander's The Girl from Samos, which explores popular contemporary themes of mistaken identity and sexual misbehaviour; and two later Roman comic plays: Plautus' The Brothers Menaechmus - the original comedy of errors - and Terence's bawdy yet sophisticated double love-plot, The Eunuch. Together, these four plays demonstrate the development of Classical comedy, celebrating its richness, variety and extraordinary legacy to modern drama.
Author: Matthew Hodgart
Release Date: 2017-07-28
Genre: Language Arts & Disciplines
Satire, according to Jonathan Swift, is a mirror where beholders generally discover everybody's face but their own. and over twenty-four centuries the mirror of satirical literature has taken on many shapes. Yet certain techniques recur continually, certain themes are timeless, and some targets are perennial. Politics (the mismanagement of men by other men) has always been a target of satire, as has the war between sexes.The universality of satire as a mode and creative impulse is demonstrated by the cross-cultural development of lampoon and travesty. Its deep roots and variety are shown by the persistence of allegory, fable, aphorism, and other literary subgenres. Hodgart analyzes satire at some of its most exuberant moments in Western literature, from Aristophanes to Brecht. His analysis is supplemented by a selection and discussion of prints and cartoons.Satire continues to help us make sense of the conventions that seem to have been almost genetically transmitted from their satiric ancestors to our digital contemporaries. This is especially evident in Hodgart's repeated references to satire's predilection for the ephemeral, for camouflaging itself among the everyday, for speaking to the moment, and thus for integrating itself as deeply as possible into society. Brian Connery's new introduction places Hodgart's analysis in its proper place in the development of twentieth-century criticism.
The term ‘lyric’ has evolved, been revised, redefined and contested over the centuries. In this fascinating introduction, Scott Brewster: traces the history of the term from its classical origins through the early modern, Romantic and Victorian periods and up to the twenty-first century demonstrates the influence of lyric on poetic practice, literature, music and other popular cultural forms uses three aspects -- the lyric ‘self’, love and desire and the relationship between lyric, poetry and performance -- as focal points for further discussion not only charts the history of lyric theory and practice but re-examines assumptions about the lyric form in the context of recent theoretical accounts of poetic discourse. Offering clarity and structure to this often intense and emotive field, Lyric offers essential insights for students of literature, performance, music and cultural studies.
This second edition of John Frow’s Genre offers a comprehensive and accessible introduction to the area. Genre is a key means by which we categorize the many forms of literature and culture, but it is also much more than that: in talk and writing, in music and images, in film and television, genres actively generate and shape our knowledge of the world. Understanding genre as a dynamic process rather than a set of stable rules, this book explores: the relation of simple to complex genres the history of literary genre in theory the generic organisation of implied meanings the structuring of interpretation by genre the uses of genre in teaching. John Frow’s lucid exploration of this fascinating concept has become essential reading for students of literary and cultural studies, and the second edition expands on the original to take account of recent debates in genre theory and the emergence of digital genres.
Author: Jessica Milner Davis
Release Date: 2017-07-05
Genre: Performing Arts
Farce has always been relegated to the lowest rung of the ladder of dramatic genres. Distinctions between farce and more literary comic forms remain clouded, even in the light of contemporary efforts to rehabilitate this type of comedy. Is farce really nothing more than slapstick-the "putting out of candles, kicking down of tables, falling over joynt-stools," as Thomas Shadwell characterized it in the seventeenth century? Or was his contemporary, Nahum Tate correct when he declared triumphantly that "there are no rules to be prescribed for that sort of wit, no patterns to copy; and 'tis altogether the creature of imagination"? Davis shows farce to be an essential component in both the comedic and tragic traditions. Farce sets out to explore the territory of what makes farce distinct as a comic genre. Its lowly origins date back to the classic Graeco-Roman theatre; but when formal drama was reborn by the process of elaboration of ritual within the mediaeval Church, the French term "farce" became synonymous with a recognizable style of comic performance. Taking a wide range of farces from the briefest and most basic of fair-ground mountebank performances to fully-fledged five-act structures from the late nineteenth century, the book reveals the patterns of comic plot and counter-plot that are common to all. The result is a novel classification of farce-plots, which serves to clarify the differences between farce and more literary comic forms and to show how quickly farce can shade into other styles of humor. The key is a careful balance between a revolt against order and propriety, and a kind of Realpolitik which ultimately restores the social conventions under attack. A complex array of devices in such things as framing, plot, characterization, timing and acting style maintain the delicate balance. Contemporary examples from the London stage bring the discussion u
Reception introduces students and academics alike to the study of the way in which texts are received by readers, viewers, and audiences. Organized conceptually and thematically, this book provides a much-needed overview of the field, drawing on work in literary and cultural studies as well as Classics, Biblical studies, medievalism, and the media history of the book. It provides new ways of understanding and configuring the relationships between the various terminologies and theories that comprise reception study, and suggests potential ways forward for study and research in the light of such new configurations. Written in a clear and accessible style, this is the ideal introduction to the study of reception.