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Books on the topic 'Literary laughters'

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Author: Grafiati

Published: 22 October 2022

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1

French laughter: Literary humour from Diderot to Tournier. Oxford: Oxford University Press, 2008.

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2

Laughter and derision in Petronius' Satyrica: A literary study. Stockholm: Almqvist & Wiksell, 2000.

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3

Leone, Matthew. Shapes of openness: Bakhtin, Lawrence, laughter. Newcastle: Cambridge Scholars, 2010.

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4

Leone, Matthew. Shapes of openness: Bakhtin, Lawrence, laughter. Newcastle: Cambridge Scholars, 2010.

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5

Hughes-Hallett, Penelope. The immortal dinner: A famous evening of genius & laughter in literary London, 1817. London: Penguin, 2001.

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6

Hughes-Hallett, Penelope. The immortal dinner: A famous evening of genius & laughter in literary London, 1817. Chicago: Ivan R. Dee, 2002.

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7

Hughes-Hallett, Penelope. The immortal dinner: A famous evening of genius & laughter in literary London, 1817. Chicago: New Amsterdam/Ivan R. Dee, 2002.

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8

The immortal dinner: A famous evening of genius & laughter in literary London, 1817. London: Viking, 2000.

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9

Warren, Bernie. Using the creative arts in therapy and healthcare: A practical introduction. 3rd ed. London: Routledge, 2008.

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10

Dobrenko, Evgeny, and Natalia Jonsson-Skradol. State Laughter. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198840411.001.0001.

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The Stalinist reign of terror was not all gloom and darkness. Much of it was, or aimed to be, entertaining, full of laughter and joy. This book explores how, and why, humor was a necessary component of one of the most oppressive regimes of the twentieth century. It covers a variety of genres, from film comedy to satirical theatre, from war caricature to court speeches at show trials, from Stalin’s political writings to traditionally bawdy folk verses and fables. The authors combine close textual analysis with reflections on genres of the comic in general. The book offers the first comprehensive analysis of state-sponsored humoristic genres of popular culture in Stalin’s Soviet Union. Tracing the development of genres associated with official humor, satire, and comedy of the Stalin era from the late 1920s to the early 1950s, the authors argue against the conventional view that humor was a feature mostly of subversive texts of the time. According to the authors, satire and popular humor were a foundational element instilling state ideology and legitimizing Stalinist culture. The book is grounded in Soviet intellectual and cultural history and, more generally, in literary theories of laughter and the comic. The authors introduce, and demonstrate possible applications for, a number of innovative concepts.

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11

Laughter Is the Best Medicine (Literacy Links Plus). Shortland Publications, 2001.

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12

Peterson, Anna. Laughter on the Fringes. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190697099.001.0001.

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This book examines the impact that Athenian Old Comedy had on Greek writers of the Imperial era. It is generally acknowledged that Imperial-era Greeks responded to Athenian Old Comedy in one of two ways: either as a treasure trove of Atticisms, or as a genre defined by and repudiated for its aggressive humor. Worthy of further consideration, however, is how both approaches, and particularly the latter one that relegated Old Comedy to the fringes of the literary canon, led authors to engage with the ironic and self-reflexive humor of Aristophanes, Eupolis, and Cratinus. Authors ranging from serious moralizers (Plutarch and Aelius Aristides) to comic writers in their own right (Lucian, Alciphron), to other figures not often associated with Old Comedy (Libanius) adopted aspects of the genre to negotiate power struggles, facilitate literary and sophistic rivalries, and provide a model for autobiographical writing. To varying degrees, these writers wove recognizable features of the genre (e.g., the parabasis, its agonistic language, the stage biographies of the individual poets) into their writings. The image of Old Comedy that emerges from this time is that of a genre in transition. It was, on the one hand, with the exception of Aristophanes’s extant plays, on the verge of being almost completely lost; on the other hand, its reputation and several of its most characteristic elements were being renegotiated and reinvented.

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13

Jones, Peter J. A. Laughter and Power in the Twelfth Century. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198843542.001.0001.

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Towards the end of the twelfth century, powerful images of laughing kings and saints began to appear in texts circulating at the English royal court. At the same time, contemporaries began celebrating the wit, humour, and laughter of King Henry II (r.1154-89) and his martyred Archbishop of Canterbury, Saint Thomas Becket (d.1170). Taking a broad genealogical approach, Laughter and Power in the Twelfth Century traces the emergence of this powerful laughter through an immersive study of medieval intellectual, literary, social, religious, and political debates. Focusing on a cultural renaissance in England, the book situates laughter at the heart of the defining transformations of the second half of the 1100s. With an expansive survey of theological and literary texts, bringing a range of unedited manuscript material to light in the process, the book exposes how twelfth-century writers came to connect laughter with spiritual transcendence and justice, and how this connection gave humour a unique political and spiritual power in both text and action. Ultimately, the book argues that England’s popular images of laughing kings and saints effectively reinstated a sublime charismatic authority, something truly rebellious at a moment in history when bureaucracy and codification were first coming to dominate European political life.

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14

Morrow, Bradford. Conjunctions: 36, Dark Laughter. Bard College, 2001.

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15

Engel, E. Literary Laughter Being a Treasury of Comic Writings by Chaucer Shaker. Dickens Fellowship, 1991.

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16

Laughter in Ancient Rome Sather Classical Lectures. University of California Press, 2014.

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17

Here Comes the Bride (Chicken Soup for the Soul): 101 Stories of Love, Laughter, and Family. Chicken Soup for the Soul, 2012.

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18

Ferriss-Hill, Jennifer. Horace's Ars Poetica. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691195025.001.0001.

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For two millennia, the Ars Poetica (Art of Poetry), the 476-line literary treatise in verse with which Horace closed his career, has served as a paradigmatic manual for writers. Rarely has it been considered as a poem in its own right, or else it has been disparaged as a great poet's baffling outlier. Here, this book fully reintegrates the Ars Poetica into Horace's oeuvre, reading the poem as a coherent, complete, and exceptional literary artifact intimately linked with the larger themes pervading his work. Arguing that the poem can be interpreted as a manual on how to live masquerading as a handbook on poetry, the book traces its key themes to show that they extend beyond poetry to encompass friendship, laughter, intergenerational relationships, and human endeavor. If the poem is read for how it expresses itself, moreover, it emerges as an exemplum of art in which judicious repetitions of words and ideas join disparate parts into a seamless whole that nevertheless lends itself to being remade upon every reading. This book is a logical evolution of Horace's work, which promises to inspire a long overdue reconsideration of a hugely influential yet misunderstood poem.

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19

Castellanos, Gabriela. Laughter, War and Feminism: Elements of Carnival in Three of Jane Austen's Novels (Writing About Women Feminist Literary Studies, Vol 11). Peter Lang Publishing, 1995.

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20

Jorge, Figueroa-Dorrego, and Larkin-Galinanes Cristina, eds. A source book of literary and philosophical writings about humour and laughter: The seventy-five essential texts from antiquity to modern times. Lewiston: The Edwin Mellen Press, 2009.

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21

A source book of literary and philosophical writings about humour and laughter: The seventy-five essential texts from antiquity to modern times. Lewiston, N.Y: The Edwin Mellen Press, 2009.

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22

1953-, Warren Bernie, ed. Using the creative arts in therapy and healthcare. 3rd ed. Hove, East Sussex: Routledge, 2008.

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23

Using the Creative Arts in Therapy and Healthcare: A Practical Introduction, Third Edition. 3rd ed. Routledge, 2008.

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24

1953-, Warren Bernie, ed. Using the creative arts in therapy and healthcare. 3rd ed. Hove, East Sussex: Routledge, 2008.

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25

Warren, Bernie. Using the Creative Arts in Therapy and Healthcare: A Practical Introduction. Routledge, 2008.

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26

Bullard, Paddy, ed. The Oxford Handbook of Eighteenth-Century Satire. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780198727835.001.0001.

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Eighteenth-century Britain thought of itself as a polite, sentimental, enlightened place, but often its literature belied this self-image. This was an age of satire, and the century’s novels, poems, plays, and prints resound with mockery and laughter, with cruelty and wit. The street-level invective of Grub Street pamphleteers is full of satire, and the same accents of raillery echo through the high scepticism of the period’s philosophers and poets, many of whom were part-time pamphleteers themselves. The novel, a genre that emerged during the eighteenth century, was from the beginning shot through with satirical colours borrowed from popular romances and scandal sheets. This handbook is a guide to the different kinds of satire written in English during the ‘long’ eighteenth century. It focuses on texts that appeared between the restoration of the Stuart monarchy in 1660 and the outbreak of the French Revolution in 1789. Outlier chapters extend the story back to first decade of the seventeenth century, and forward to the second decade of the nineteenth. The scope of the volume is not confined by genre, however. So prevalent was the satirical mode in writing of the age that this book serves as a broad and characteristic survey of its literature. The Handbook of Eighteenth-Century Satire seeks to reflect developments in historical criticism of eighteenth-century writing over the last two decades, and to provide a forum in which the widening diversity of literary, intellectual, and socio-historical approaches to the period’s texts can come together.

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27

Horowitz, Eli, and Ian Huebert. Pickle Index. Sudden Oak Books, 2016.

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28

Horowitz, Eli. The pickle index. 2015.

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