The Idea of Comedy: History, Theory, CritiqueFairleigh Dickinson Univ Press, 2006 - 287 Seiten One of the few constants in Western critical though for over twomillennia has been the inexhaustible fascination with comedy: what itis and how it works. Yet comedy has eluded every definition. Why haveso many of the leading critics and philosophers of the West proposedtheories and counter-theories of comedy while often admitting that itenthralls and baffles the mind in equal measure? The Idea of Comedy: A Critique assembles a rich corpus of materials from differentlanguages and eras to construct a history of the commentaries andreflections, the theoretical postulates and conjectures, and the oftenacrimonious debates about comedy through the centuries from Platoand Aristotle to our contemporaries |
Im Buch
Ergebnisse 1-5 von 83
Seite 16
... comic theory , this book took shape slowly , dur- ing years of reading magisterial studies of comedy by such scholars as Cornford , Pickard - Cambridge , Frye , Whitman , Torrance , with re- spect and admiration , while at certain ...
... comic theory , this book took shape slowly , dur- ing years of reading magisterial studies of comedy by such scholars as Cornford , Pickard - Cambridge , Frye , Whitman , Torrance , with re- spect and admiration , while at certain ...
Seite 17
... book is designed to explore . First , why is it assumed that comedy is a social form ? " The comic mode is social ; the comic stage is not the soul but the world , " reads a standard modernist statement of what I will call the social ...
... book is designed to explore . First , why is it assumed that comedy is a social form ? " The comic mode is social ; the comic stage is not the soul but the world , " reads a standard modernist statement of what I will call the social ...
Seite 19
... comic theory and comic texts in anything less than a text of encyclopedic detail . There- fore in order to suggest ... character of pre - Cartesian Europe , and then tracks both groups ' attempts to wrestle with this character type ...
... comic theory and comic texts in anything less than a text of encyclopedic detail . There- fore in order to suggest ... character of pre - Cartesian Europe , and then tracks both groups ' attempts to wrestle with this character type ...
Seite 22
... Comic theorists , in one way or another , all loop back to their ... book so that the reader may come upon changes in the idea of comedy as these ... book can at least make a first step toward assembling the disparate critical reflections ...
... Comic theorists , in one way or another , all loop back to their ... book so that the reader may come upon changes in the idea of comedy as these ... book can at least make a first step toward assembling the disparate critical reflections ...
Seite 24
... comic protagonist , as a deviant from social norms ( thereby reinforcing superior socio - moral values ) , or we laugh with the comic character as a heroic underdog doing battle with the social establishment ( thereby ratifying the ...
... comic protagonist , as a deviant from social norms ( thereby reinforcing superior socio - moral values ) , or we laugh with the comic character as a heroic underdog doing battle with the social establishment ( thereby ratifying the ...
Inhalt
| 23 | |
| 24 | |
| 31 | |
| 42 | |
Theory and Resistance | 55 |
The Dominant Modernist Conception of Comedy Premises and Elisions | 64 |
Modernist Residua of the Eighteenth and Nineteenth Centuries | 66 |
The Dominant Satiric NeoAristotelian View | 83 |
The Medieval Fool Tradition | 150 |
Fooling Theory | 162 |
The Interlude of Postmodernist Conceptions | 173 |
Late Century Overview | 174 |
The Ludic Terrain of Postmodern Theory | 193 |
Comedy in Contemporary Thought | 205 |
The Butts of Reason | 217 |
The Return of Systems and Aesthetics | 232 |
The Legacy of the Dominant Through 2000 | 98 |
The Late Modernist Conception of Comedy Premises and Elisions | 109 |
The Emergent Populist Theory | 110 |
The Comic Hero and Modernist Legacies | 120 |
Twin Modernist Elisions | 143 |
The Contemporary Idea of Comedy | 247 |
The Idea of Comedy | 253 |
Comedy as an Idea | 259 |
Reference List | 267 |
Index | 279 |
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
aesthetic analysis archetypal argues Aristophanes Aristotelian Aristotle Aristotle's audience Bakhtin Bergson carnival century cial cognitive comedy's comic butt comic canon comic character comic forms comic hero comic mode comic texts comic theory comic writers construct contemporary critical discourse critique culture deviance dominant drama entails ethical Falstaff farce festive Flieger folly fool figure Freud Freudian Frye Frye's function Gelven Genette genres German Romantic Glasgow human humor ical idea of comedy incongruity individual intellectual ironic irony joke language laugh laughter Le Rire literary ludic mask medieval medieval comic medieval fool mocking modern modernist modernist theories Molière moral nature Nietzsche notion philosophical Plato play pleasure plot populist populist view postmodern postmodernist premise psychic Purdie reason Renaissance ridiculous ritual satiric seems Shershow social norms society socio-moral spectator standard structure superego superiority theoretical theorists theory of comedy thesis thought tion Torrance tradition tragedy truth unconscious values
Beliebte Passagen
Seite 90 - What normally happens is that a young man wants a young woman, that his desire is resisted by some opposition, usually paternal, and that near the end of the play some twist in the plot enables the hero to have his will.
Seite 67 - Sudden glory' is the passion which maketh those 'grimaces' called 'laughter'; and is caused either by some sudden act of their own that pleaseth them, or by the apprehension of some deformed thing in another by comparison whereof they suddenly applaud themselves.
Seite 43 - ... the ideal of a spirit who plays naively — that is, not deliberately but from overflowing power and abundance — with all that was hitherto called holy, good, untouchable, divine; for whom those supreme things that the people naturally accept as their value standards, signify danger, decay, debasement, or at least recreation, blindness, and temporary self-oblivion; the ideal of a human, superhuman well-being and benevolence4 that will often appear inhuman — for example, when it confronts...
Seite 71 - Laughter arises from the view of two or more inconsistent, unsuitable or incongruous parts or circumstances, considered as united in one complex object or assemblage...
Seite 157 - For since in the wisdom of God the world through its wisdom did not know him, God was pleased through the foolishness of what was preached to save those who believe.
Seite 157 - Do not deceive yourselves. If any one of you thinks he is wise by the standards of this age, he should become a "fool" so that he may become wise. For the wisdom of this world is foolishness in God's sight. As it is written: "He catches the wise in their craftiness"; and again, "The Lord knows that the thoughts of the wise are futile.
Seite 189 - Something has changed, and the Faustian, Promethean (perhaps Oedipal) period of production and consumption gives way to the "proteinic" era of networks, to the narcissistic and protean era of connections, contact, contiguity, feedback and generalized interface that goes with the universe of communication.
Seite 49 - All that is serious in life comes from our freedom. The feelings we have matured, the passions we have brooded over, the actions we have weighed, decided upon and carried through, in short, all that comes from us and is our very own, these are the things that give life its ofttimes dramatic and generally grave aspect.
Seite 188 - Like surveillance and with it, normalization becomes one of the great instruments of power at the end of the classical age. For the marks that once indicated status, privilege, and affiliation were increasingly replaced — or at least supplemented — by a whole range of degrees of normality...
Seite 92 - Comedy grows out of the same ritual, for in the ritual the tragic story has a comic sequel. Divine men do not die: they die and rise again. The ritual pattern behind the catharsis of comedy is the resurrection that follows the death, the epiphany or manifestation of the risen hero.
Verweise auf dieses Buch
Feminine Discourse in Roman Comedy: On Echoes and Voices Dorota M. Dutsch Eingeschränkte Leseprobe - 2008 |