Showing papers on "Comedy published in 1988"
Book•
01 Jan 1988
TL;DR: In this paper, the authors examine how collective beliefs and experiences are shaped, transferred from one medium to another, concentrated in manageable form, and offered to the public on the stage.
Abstract: The author has been at the centre of a shift in literary interpretation towards a critical method that places cultural creation in historical context. This book exemplifies the method in an examination of how collective beliefs and experiences are shaped, transferred from one medium to another, concentrated in manageable form, and offered to the public on the stage. As well as providing a new way of understanding Shakespeare, the book is an original analysis of a cultural process. The first chapter introduces the methods and purposes of the new historicism, and later chapters consider the types of cultural negotiation that shape the four main genres of Shakespearean drama: history, comedy, tragedy and romance. Particular reference is made to "Henry IV", "Henry V", "Twelth Night", "King Lear" and "The Tempest", and the book includes analyses of such aspects of early modern culture as exorcism, cross-dressing, colonial propaganda and martial law codes.
597 citations
Book•
01 Nov 1988
TL;DR: Basinger as mentioned in this paper provides a revealing, perceptive and highly readable look at the combat film genre, discussing over one thousand movies and using them to define the meaning of genre itself.
Abstract: One of America's most renowned film scholars, Jeanine Basinger, offers a revealing, perceptive and highly readable look at the combat film. Discussing over one thousand movies, Basinger covers in-depth the key examples of the genre and uses them to define the meaning of genre itself. From "Bataan" to "Battleground" to "The Dirty Dozen" to "Saving Private Ryan," the book traces the evolution of the combat genre, as its recurring characters, plots and events are used and reused over time. There is also a section outlining what happens when women replace men in combat and when the subject is treated as comedy. First published in 1986, this updated and expanded edition of the book contains a new introduction, a new chapter on "Saving Private Ryan" and an updated filmography. This is an essential text for anyone seriously interested in genre, movies, and with 38 photographs, as much a treat to look at as it is to read.
143 citations
Book•
01 Dec 1988
TL;DR: In this paper, the Burney family tree is described and a list of short titles for the family's works is given.List of illustrations Acknowledgements Abbreviations and short titles A Burney Family Tree Introduction 1. Frances: or, a young lady's entrance into life 2. Evelina: or A Young Lady's Entrance into the World 3. The Witlings: the finished comedy 4. Cecilia: or Memoirs of an Heiress 5. Love, loss, and imprisonment: the Windsor and Kew tragedies 6. Marriage,
Abstract: List of illustrations Acknowledgements Abbreviations and short titles A Burney family tree Introduction 1. Frances: or, a young lady's entrance into life 2. Evelina: or A Young Lady's Entrance into the World 3. The Witlings: the finished comedy 4. Cecilia: or, Memoirs of an Heiress 5. Love, loss, and imprisonment: the Windsor and Kew tragedies 6. Marriage, 'Clarinda', and Camilla: or, A Picture of Youth 7. Camilla: mysteries, clues, and guilty characters 8. Incest, bereavement, and the late comic plays 9. The Wanderer: or, Female Difficulties: revolution, the Rights of Women, and 'The Wild Edifice' 10. End of story Conclusion Notes Index Index of works.
122 citations
Book•
21 Jul 1988
TL;DR: The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press.
Abstract: Unlike the contrast between the sacred and the taboo, the opposition of "comic" and "tragic" is not a way of categorizing experience that we find in cultures all over the world or even at different periods in Western civilization. Though medieval writers and readers distinguished stories with happy endings from stories with unhappy endings, it was not until the sixteenth and seventeenth centuries--fifteen hundred years after Sophocles, Euripides, Plautus, and Terence had last been performed in the theaters of the Roman Empire--that tragedy and comedy regained their ancient importance as ways of giving dramatic coherence to human events. Ancient Scripts and Modern Experience on the English Stage charts that rediscovery, not in the pages of scholars' books, but on the stages of England's schools, colleges, inns of court, and royal court, and finally in the public theaters of sixteenth-and seventeenth-century London.In bringing to imaginative life the scripts, eyewitness accounts, and financial records of these productions, Bruce Smith turns to the structuralist models that anthropologists have used to explain how human beings as social creatures organize and systematize experience. He sets in place the critical, physical, and social structures in which sixteenth-and seventeenth-century Englishmen watched productions of classical comedy and classical tragedy. Seen in these three contexts, these productions play out a conflict between classical and medieval ways of understanding and experiencing comedy's interplay between satiric and romantic impulses and tragedy's clash between individuals and society.Originally published in 1988.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
55 citations
46 citations
Book•
01 Jan 1988
TL;DR: In this paper, Mehl et al. describe the transmission of Shakespeare's text on the stage from 1660 to 1900, and the critical approaches to Shakespeare from 16 60 to 1904.
Abstract: 1. The life of Shakespeare S. Schoenbaum 2. Shakespeare and the thought of his age W. R. Elton 3. Shakespeare the non-dramatic poet Robert Ellrodt 4. Shakespeare and the arts of language Inga-Stina Ewbank 5. Playhouses and players in the time of Shakespeare Peter Thomson 6. Shakespeare And the theatrical conventions of his time Alan C. Dessen 7. Shakespeare and the traditions of comedy David Daniell 8. Shakespeare and the traditions of tragedy G. K. Hunter 9. Shakespeare's use of history R. L. Smallwood 10. The transmission of Shakespeare's text MacD. P. Jackson 11. Shakespeare on the stage from 1660 to 1900 Russell Jackson 12. Critical approaches to Shakespeare from 1660 to 1904 Harry Levin 13. Twentieth-century Shakespeare criticism: a. the comedies Lawrence Danson b. the tragedies Kenneth Muir c. the histories Edward Berry 14. Shakespeare on the twentieth-century stage Roger Warren 15. Shakespeare on film and television Robert Hapgood 16. Shakespeare and new critical approaches Terence Hawkes 17. Shakespeare reference books Dieter Mehl Index.
38 citations
TL;DR: In this paper, the playwright in the comedies of Aphra Behn was identified as a prostitute and the prostitute in the play "Last Laughs" was described as a playwright.
Abstract: (1988). Who was that masked woman? The prostitute and the playwright in the comedies of Aphra Behn. Women's Studies: Vol. 15, Last Laughs: Perspectives on Women and Comedy, pp. 23-42.
34 citations
TL;DR: Levin this article presents a study of the whole world of comedy, focusing on playwrights through the centuries, from Aristophanes and Plautus in classical times to Bernard Shaw and Bertolt Brecht and their recent successors.
Abstract: Harry Levin-one of America's major literary critics-offers a brilliant and original study of the whole world of comedy, concentrating on playwrights through the centuries, from Aristophanes and Plautus in classical times to Bernard Shaw and Bertolt Brecht and their recent successors. Viewing the comic repertory as a richly varied yet broadly unified whole, Levin provides a synthesis of theories and practice. Isolating two fundamental aspects of comedy-the ludicrous and irreverent \"playboy,\" whom we laugh with, and the ridiculous and forbidding \"killjoy,\" whom we laugh at-he traces the dialectical interplay of these components throughout history and across various cultures and media. While mainly focusing on the plays and the stage, with discussions of such major dramatists as Shakespeare, Ben Jonson, Moliere, and William Congreve, Levin also includes essays on such related topics as humor, satire, and games.
Book•
01 Feb 1988
TL;DR: In the first account of the entire period for more than a decade, Richard Bevis argues that none of these questions can be answered without an understanding of Augustan and Georgian history as mentioned in this paper.
Abstract: What were the causes of Restoration drama's licentiousness? How did the elegantly-turned comedy of Congreve become the pointed satire of Fielding? And how did Sheridan and Goldsmith reshape the materials they inherited? In the first account of the entire period for more than a decade, Richard Bevis argues that none of these questions can be answered without an understanding of Augustan and Georgian history. The years between 1660 and 1789 saw considerable political and social upheaval, which is reflected in the eclectic array of dramatic forms that is Georgian theatre's essential characteristic.
Book•
01 Jan 1988
TL;DR: Balancing theology with literary criticism, the authors explores the comic vision in the works of four American novelists, Flannery O'Connor, Walker Percy, John Updike and Peter De Vries.
Abstract: Balancing theology with literary criticism, this work explores the comic vision in the works of four American novelists, Flannery O'Connor, Walker Percy, John Updike and Peter De Vries.
TL;DR: Liebman et al. as discussed by the authors pointed out that the absence of German films in German cinemas seems to be an all too common occurrence. But they did not specify the reasons for this.
Abstract: Stuart Liebman: Two months from now, that is in February 1987, German filmmakers can celebrate the twenty-fifth anniversary of the Oberhausen Manifesto,' a mythical moment of birth for the New German Cinema. Yet any visitor to Munich today who is interested in German film must be struck by the fact that there are only two German films now playing in local cinemas. One is a popular comedy, Mdnner [Men], while the other is a curious "art film," Paradies [Paradise]; both are by a young woman filmmaker, Dorris D6rrie. Unfortunately, this absence of German films in German cinemas seems to be an all too common
Book•
01 Jan 1988
TL;DR: In this paper, the author asks what if Desdemona and Juliet were allowed to live, and the answer is, "They would be hellions full of surprises" and "hellions are not shrinking violets."
Abstract: In this exuberant comedy, MacDonald asks, What if Desdemona and Juliet were allowed to live? Constance Ledbelly, a tweedy academic, has ghostwritten the papers of her mentor for years, when suddenly he announces he's marrying a riva.. Escaping into her research, Constance decodes the Gustav Manuscript, and discovers a pair of comedies that she believes are the source for Shakespeare's "Othello" and "Romeo and Juliet." Transported into the world of her theory, she comes face-to-face with Desdemona and Juliet and discovers that, far from shrinking violets, they are hellions full of surprises. What follows is a riotous retelling of theatrical legend that brings Constance out of her gloom and straight into a new and confident self.
Book•
22 Jun 1988
TL;DR: Gehring as mentioned in this paper describes a satire of the movie "Screwball Comedy" by W. D. Gehring and describes a movie version of "Populist Comedy" and "Black Humor".
Abstract: Preface Introduction by Wes D. Gehring Action/Adventure Genres The Adventure Film by Thomas Sobchack The Western by Thomas Schatz The Gangster Film by John Raeburn Film Noir by Jack Nachbar The World War II Combat Film by Kathryn Kane Comedy Genres Screwball Comedy by Wes D. Gehring Populist Comedy by Wes D. Gehring Parody by Wes D. Gehring Black Humor by Wes D. Gehring Clown Comedy by Wes D. Gehring The Fantastic Horror Film by Gerald C. Wood Science Fiction by Vivian Sobchack Fantasy by Wade Jennings Songs and Soaps The Musical by James M. Collins Melodrama by Steven N. Lipkin NonTraditional Genres The Social Problem Film by Charles J. Maland Biographical Film by Carolyn Anderson The Art Film by William C. Siska Index
Book•
01 Jun 1988
TL;DR: A Trivial Comedy for Serious People as discussed by the authors is the best summary of a play that is the theatrical equivalent of a butterfly, whose verbal brilliance hides deep anxieties about social and personal identity: Jack Worthing, found as a baby in a handbag at Victoria Station and named after a railway ticket, is prepared to be re-christened to obtain the Christian name - Earnest - his beloved Gwendolen requires in a husband; he then has to confront the stigma of being the illegitimate child of a servant, before fortune, and a benevolent dramatist, reveal
Abstract: 'A Trivial Comedy for Serious People': its subtitle is the best summary of a play that is the theatrical equivalent of a butterfly. The verbal brilliance of its highly self-conscious characters hides deep anxieties about social and personal identity: Jack Worthing, found as a baby in a handbag at Victoria Station and named after a railway ticket, is prepared to be re-christened to obtain the Christian name - Earnest - his beloved Gwendolen requires in a husband; he then has to confront the stigma of being the illegitimate child of a servant, before fortune, and a benevolent dramatist, reveal his true and entirely respectable identity. This is the only one-volume edition of the play to include an appendix with earlier versions and additional scenes that allow an appreciation of Wilde's creative process.
TL;DR: In this article, a cross-class analysis of status and anarchic humor is presented, with a focus on women and women's roles in the arts and the media, in the context of women's studies.
Abstract: (1988). Between women: A cross‐class analysis of status and anarchic humor. Women's Studies: Vol. 15, Last Laughs: Perspectives on Women and Comedy, pp. 135-148.
Book•
07 Mar 1988
TL;DR: In this paper, the authors present a survey of the early Jacobean plays, including Shakespeare, Jonson, Middleton, Rowley and Coates, and Caroline Drama.
Abstract: 1. Introduction PART ONE: Shakespeare 2. Early Plays. 3. History and Comedy. 4. Tragedy. 5. Later Comedies. PART Two: Early Jacobean Drama 6. The Early Jacobeans. 7. Jonson. 8. Middleton. 9. Webster. 10. Popular Drama. PART THREE: Later Jacobean and Caroline Drama 11. Fletcher and Company. 12. Middleton, Rowley and Company. 13. Ford. 14. Caroline Drama. Epilogue
Book•
06 Sep 1988
TL;DR: In this paper, the authors of the 'liars' look at eight Australian fiction writers who crossed the boundary between reality and fiction, in FICTIONS WHICH are FANTASTIC, COMIC, SURREALISTIC, and Zany.
Abstract: 'LIARS' LOOKS AT EIGHT CONTEMPORARY AUSTRALIAN NOVELISTS - PETER CAREY, ELIZABETH JOLLEY, DAVID IRELAND, MURRAY BAIL, DAVID FOSTER, NICHOLAS HASLUCK, PETER MATHERS AND GERALD MURNANE - WHO ARE BREAKING AWAY FROM THE CONVENTIONAL NOVEL AND OPENING STRANGE NEW TERRITORIES IN POST-MODERNIST FICTIONS, FULL OF CONTRADICTIONS, ARTIFICE AND COMEDY. ALL CROSS THE BOUNDARIES BETWEEN REALITY AND FICTION, IN FICTIONS WHICH ARE FANTASTIC, COMIC, SURREALISTIC AND ZANY. THEIR WORK IS FULL OF LIES AND INVENTIONS, AND THEY CONSCRIPT THE READER INTO THE FICTION AS COLLABORATOR. THE BIZARRE WORLDS OF THE NEW NOVEL IN AUSTRALIA OPENS UP STARTLING NEW PERSPECTIVES ON CONTEMPORARY AUSTRALIAN SOCIETY AND CONTEMPORARY REALITY.
Book•
01 Jan 1988
TL;DR: The complete text of the scripts from the 12 TV comedy series, Fawlty Towers, is described in this paper. But it does not describe the relationships between the characters in the series.
Abstract: The complete text of the scripts, from the 12 programmes which made up the TV comedy series, "Fawlty Towers". The scripts of the programmes that turned Basil and Sybil, Polly, the Major and the hapless Manuel into international cult figures, are complemented by photographs.
Book•
01 Jan 1988
TL;DR: The Tempest, Marriage A-la-Mode, The Spanish Fryar, and other plays are examined as consumer products offering a variety of potentially satisfying images of the world at a time when social and personal values were confused, precarious, and heterogeneous.
Abstract: "The Tempest, Marriage A-la-Mode, The Spanish Fryar, "and other plays are examined as consumer products offering a variety of potentially satisfying images of the world at a time when social and personal values were confused, precarious, and heterogeneous. Many of the comedies permit the viewer to enjoy forbidden, glamorous behavior without feeling guilty.
TL;DR: In Decline and Fall, Pennyfeather's concluding comment in particular, at face value, as a Kiplingesque plea for what Alvin Kernan calls the need for a "ceaselessly maintained wall... protecting sense, order, and meaningful life from riot and savagery" as mentioned in this paper.
Abstract: But should one take this passage, and Pennyfeather's concluding comment in particular, at face value, as a Kiplingesque plea for what Alvin Kernan calls the need for a "ceaselessly maintained wall . .. protecting sense, order, and meaningful life from riot and savagery" (199-201)? Pennyfeather's sentiments seem out of place in a novel written with the brio of Decline and Fall. They seem, in fact, to belong to the older Waugh, who in Brideshead Revisited replaced the anarchic comedy of his early work with an assertive Catholicism, a vision of the Roman church as civilization's only defense against the terrors of the modern world. This passage does provide a foreshadowing of Waugh's later beliefs, but one need not in reading Decline and Fall take its implications seriously, need not view it as a condemnation of the world in which the novel is set. For while Waugh's work, as Terry Eagleton writes, is built around a "conflict ... between a sense of morality and a sense of style" (43), the young Waugh sees no need to resolve that conflict.
TL;DR: In a manuscript dating from about 1635,1 Richard James reported that "A young Gentle Ladie... having read ye works of Shakespeare, made me this question. How Sir Jhon Falstaffe, could be dead in Harrie ye fifts time and againe Hue in ye time of Harrie, ye sixt to be banisht for cowardize" as discussed by the authors.
Abstract: husband in Thomas Middleton's A Mad World, My Masters felt compelled to take \"all her wanton Pamphlets\" including Venus and Adonis away from his young lascivious wife (B2v). In a manuscript dating from about 1635,1 Richard James reported that \"A young Gentle Ladie . . . having read ye works of Shakespeare, made me this question. How Sir Jhon Falstaffe, could be dead in Harrie ye fifts time and againe Hue in ye time of Harrie ye sixt to be banisht for cowardize.\" In a letter to a friend, written on January 21, 1639, Ann Merricke regretted her lack of access to other \"gentile recreationes\": \"I must content my selfe here, with the studie of Shackspeare, and the historie of woemen\" (Munro 1: 443). The texts these first women readers read were all created and mediated by men. The works were written by Shakespeare and various male collaborators; copied by male scribes; annotated in the theater by male prompters, regulating the performances of male actors; edited in the printing shop by male publishers; set into type by male composi-
Book•
25 Feb 1988
TL;DR: The best of the best anthology of contemporary British writers as mentioned in this paper contains stories of love and crime, stories touched with comedy and the supernatural, stories set in London, Los Angeles, Bucharest and Tokyo.
Abstract: This anthology is in many was a 'best of the best', containing gems from thirty-four of Britain's outstanding contemporary writers. It is a book to dip into, to read from cover to cover, to lend to friends and read again. It includes stories of love and crime, stories touched with comedy and the supernatural, stories set in London, Los Angeles, Bucharest and Tokyo. Above all, as you will discover, it satisfies Samuel Butler's anarchic pleasure principle: 'I should like to like Schumann's music better than I do; I daresay I could make myself like it better if I tried; but I do not like having to try to make myself like things; I like things that make me like them at once and no trying at all...'