“‘I will open my lips in vain’ (3.1.192): l’échec rhétorique dans Measure for Measure” by Mickaël Popelard

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Amateurs de comédie musicale hollywoodienne sur Internet : renouvellement d’un genre classique par les pratiques spectatorielles de l’ère numérique by Fanny Beure

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Cinematografo: uno spettacolo delle maschere (traduzione di Olga Trukhanova) by Mykola Ljadov

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‘Bang-whang-whang goes the drum’ : Robert Browning ou l’énergie comique de l’homme-orchestre by Yann Tholoniat

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How Tourism Imaginary has been Updated in the New Spanish Sun-and-Beach Comedy: Fin de curso, Atasco en la nacional and Benidorm, mon amour by Salvador Martínez Puche, Antonio Martínez Puche

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“Me will homa to France and no be hanged in a strange country”: Comic French Villains in Late Elizabethan Drama by Charles Whitworth

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Tempering Feydeau: Twisting and Guilty Pleasures on the London Stage (1893-1897) by Violaine Heyraud

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„Prosta metoda jak skutecznie rzucić rosyjski”. Metalingwizm i autobiografizm we wschodnioeuropejskim stand-upie podczas wojny by Yaraslava Ananka

Subjects: “…stand-up comedy…”
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Borrowing another voice or the Cyrano complex by Julie Vatain

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“There she was, looking at me with those eyes of her”: l’animal mis en regard dans le théâtre d’Edward Albee by Valentine Vasak

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The Power of Parody: Went With the Wind (1976), a Film Classic Revisited by The Carol Burnett Show (CBS, 1967-1978) by Taïna Tuhkunen

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alchimia dall’inferno al paradiso nella divina commedia. l’influsso su dante dell’opera alchemica aurora consurgens, parzialmente attribuita a san tommaso d’aquino by Marino Alberto Balducci

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Combination of a monofocal and one type of extended depth-of-focus (zonal refractive) intraocular lens (COMEDI) in bilateral cataract surgery protocol: a monocentric, randomised, parallel group trial in cataract surgery by Sorcha Ní Dhubhghaill, Silke Oellerich, Wilfried Cools, Heleen Delbeke, Iva Krolo, Karolien Termote, Roger Van Schoor

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‘What a perennial delight is in hearing the French language spoken!’: Class, Language and Taste in the Maison de Molière’s French Performances in London (1871–1893) by Ignacio Ramos Gay

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The Polyphonic Structure of John Lyly’s Plays by Francis Guinle

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L’historiographie ou la « comédie de l’identité ». Une contribution à l’étude du concept de représentation en histoire à partir des réflexions de Michel de Certeau by Diana Napoli

“…Instead, we have tried to find, in the de Certeau’s work, a use of the concept of representation capable of interrogating the meaning of the historiographical act in a presentist regime of historicity in which, under the hold of the dimension of the presence, the historical and memorial discourses seem to confound themselves and to compete with each other in order to apprehend the past.Certeau has notably envisaged, from a reading of Freud, representation that history uses as a comedy of the identity that a society, in a relation an almost schizophrenic relation with the past, plays in order to establish itself in the present. …”
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Entre fidélité et adaptation : la traduction en chinois de la chanson « Penser l’impossible » dans Mozart, l’opéra rock by Miao Li

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Back to the roots? Namíbia, Não!, de Aldri Anunciação by Henry Thorau

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Kibar Feyzo ve Organize İşler Filmlerinde Merkezi İktidar ile Çevrenin Toplumsal Analizi by Koray Çankaya

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LIVIUS ANDRONICUS VE LATİN EDEBİYATI’NDAKİ YERİ VE ÖNEMİ by Mehmet Basalak

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