The Idea of Comedy: History, Theory, CritiqueFairleigh Dickinson University 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 |
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Seite 91
... ironic comedy , " in which the society itself is absurd , a " plain dealer " character articulates the norm , “ when the tone is ironic enough to get the audience confused about its sense of the social norm ” ( 176 ) . Norms are clear ...
... ironic comedy , " in which the society itself is absurd , a " plain dealer " character articulates the norm , “ when the tone is ironic enough to get the audience confused about its sense of the social norm ” ( 176 ) . Norms are clear ...
Seite 137
... ironic tension between them " ( 20 ) . To so patently draw our attention to the ropes and pulleys of the deus ex machina is to suggest that this is not how things would happen : As the comic conception of character expresses an ...
... ironic tension between them " ( 20 ) . To so patently draw our attention to the ropes and pulleys of the deus ex machina is to suggest that this is not how things would happen : As the comic conception of character expresses an ...
Seite 158
... ironic form . “ For as a dramatic character the fool was multiform ... [ and could be used ] to embody almost any point of view ; but above all fools were capable of embodying a conflict between opposing values " ( Arden 1980 , 162 ) ...
... ironic form . “ For as a dramatic character the fool was multiform ... [ and could be used ] to embody almost any point of view ; but above all fools were capable of embodying a conflict between opposing values " ( Arden 1980 , 162 ) ...
Inhalt
Acknowledgments | 9 |
Twin Modernist Elisions | 143 |
The Interlude of Postmodernist Conceptions | 173 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
aesthetic analysis archetypal argues Aristophanes Aristotle audience becomes Bergson butt called canon century characters comic character comic hero comic texts comic theory common concept Concerning construct contemporary continued critical culture defined developed discourse dominant effect ethical example farce festive figure finds folly fool forms French Freud Frye function genres human humor idea of comedy ideal incongruity individual intellectual ironic joke kind language later laugh laughter less literary matter means medieval mind mode modernist moral nature notes notion object opposition original particular perhaps play pleasure plot populist position postmodern premise primary principle reading reality reason reflection relation Renaissance ridiculous ritual Romantic satiric says seems sense social norm society specific standard structure suggests superiority theoretical theorists thesis thinking thought tion Torrance tradition tragedy truth turn types unconscious universal values writers
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