Yeni Sağ Siyaset, Ekonomi ve Toplum Anlayışının Türk Sinemasındaki İzleri: Politik Komedi Filmleri Odağında Bir Değerlendirme by Betül Sarı

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Komizm w poezji dla dzieci. Jego rola i wartość edukacyjna by Kinga Kuszak

“…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. …”
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RUSSIAN AND LITHUANIAN TRANSLATION OF HUMOUR IN THE ANIMATED SITCOM “THE SIMPSONS” by Živilė Nemickienė, Dovilė Urbonienė, Ričardas Povilaitis

“…Created in the USA, the sitcom (an abbreviated version of the situation comedy) has always been an extremely popular genre of a television show. …”
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Mocking Andromeda in Julia Constance Fletcher’s The Fantasticks (1900) by Rebecca Nesvet

“…A particularly aloof and arch intervention in fin-de-siècle gender politics is Fletcher’s stage comedy The Fantasticks (1900). An adaptation of Edmond Rostand’s 1894 comedy Les Romanesques, The Fantasticks has attracted hardly any scholarly attention. …”
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Conflits, féminité et identités diasporiques. Le pouvoir de la représentation chez Pratibha Parmar et Gurinder Chadha by Amandine Ducray

“…Meant to make everyone laugh, Bhaji on the Beach, her first mainstream comedy, produced a reconciled, all-inclusive portrait of Britain, as did Bend It Like Beckham (2002) and Bride and Prejudice (2004) years later. …”
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“A Hollow Sham”: The Representation of War in Bernard Shaw’s Victorian Plays by Stéphane Guy

“…A fierce opponent to war prompted by passion, Bernard Shaw saw the contemporary stage as the source of the Victorians’ misconception of the battlefield. In his plays, comedy and derision debunk the warped view of fighting that flows from ideals, the thirst for revenge and an incompetent ruling class. …”
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Retourner à Tara. Revoir Gone With the Wind (réal. Victor Fleming, 1939) by Sarah Hatchuel

“…Based on studies about re-reading and Stanley Cavell’s reflections on the comedy of remarriage, but also on my own memories of seeing the film repeatedly, this essay will attempt to understand the reasons for this general re-viewing of Gone With the Wind.…”
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Parody, Controversy, Commercial Opportunity: Samuel Foote’s The Minor (1760) and Its Reception by Pierre Labrune

“…This article studies Samuel Foote’s comedy The Minor, created in 1760, and the controversy it provoked. …”
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THE GROTESQUENESS IN VIETNAMESE FOLK JOKES by Quoc Minh Duong Dang

“… Grotesqueness exploits laughter, exaggeration, and unusual contrasts between the imaginary and the real, beauty and ugliness, tragedy and comedy. Grotesqueness is prevalent in folk jokes, especially in tales about gluttony, henpecked husbands, and sexual desire. …”
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Stand-up preaching by W. Wessels

“…I must admit that Myers engages with contemporary comedians and the theory of comedy, as far as I can discern, in the most thorough manner possible in a single book. …”
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Texte, trame, signe : les ficelles de l’art selon Dante Gabriel Rossetti by Laurence Roussillon-Constanty

“…The point is to show that beyond the personal context of its creation and through the model of Dante’s Divine Comedy, Rossetti is pushing the limits of both forms of art—painting and poetry—thereby creating a new aesthetics where text and image merge into a musical form, where the work of art is an endless dialogue of the soul with itself.…”
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Mel et sal. Suavité et sévérité de la voix dans Twelfth Night by François Laroque

“…In Twelfth Night, the characters’ voices, now acerbic, now suave, turn language into a real chamber of echoes when the sounds and songs of carnival, charivari, buffoonery and folly are alternately heard besides the sweet musical strains. Shakespeare’s comedy thus presents itself like an acoustic maze where identities and genres get blurred. …”
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Using counterfactuals to display facts – the case of satirical humor by Maslo Adi

“…Examples of political satire are selected from Comedy Central’s The Daily Show.…”
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From Chicago to Hollywood: the Metamorphosis of V.I. Warshawski by Nicole Décuré

“…The body becomes object (for the male gazer), the woman is minimized in her enterprises through ridicule or cheap, sometimes gross, comedy. Fortunately, the film turned out to be a commercial failure.…”
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Le désert des héros : récits de vies solitaires dans les séries américaines de fiction by Joseph Belletante

“…In a post-critic perspective, this article offers a portrait of human “states of mind” that will restitute the spectator his symbolic autonomy, through singular solitudes or the loneliness of a group as is shown by four television series that are no longer in production (Friends, The Sopranos, The West Wing and Ally McBeal) in order to allow a global interpretation and that correspond to the main genres of fiction broadcasted by the American network (comedy, drama, and dramedy).…”
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« Mon seul Shakespeare » by Jacques Nichet

“…To each measure of tragedy a measure of comedy is being added! All the horrible requirements of the tyrant are accepted by the false friar. …”
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Newman’s Poetry: The Heart of a Victorian Renaissance Project  by Dampi Somoko

“…This is particularly true of the poetic dream in The Dream of Gerontius, which borrows characteristics from both the anonymous Old English poem The Dream of the Rood and Dante’s Divine Comedy. This creative recourse to old literary and aesthetic sources as an inspiration is marked by porosity, hybridity, and subversion when the mutation of the character takes place in a gradual process from de-personification to kenosis. …”
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Coda: The War of Poetry: Duncan’s Heresies by Michael Heller

“…This essay focuses on Duncan’s Tribunals: Passages 31-35, originally published as a separate chapbook in 1970, and the prose surrounding it, such as the earlier “The Sweetness and Greatness of Dante’s Divine Comedy” of 1964, as a central focus of the struggle of Duncan’s war with and for form, the site of risk, undoing and resolution. …”
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“All shadow and silence in it” (3.1.247-48): Reticence in Measure for Measure by Denis Lagae-Devoldere

“…The bed-trick, one of the play’s central episodes – in both senses of its plot-related importance and its significant structural position – may be construed as a powerful marker of the interplay between silence and discourse, redeployed in specific stage terms. Shakespeare’s last comedy may thus be seen as an exploitation and exploration of aposiopesis in all its varied structural, dramatic, linguistic, political or philosophical nuances or “measures.” …”
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