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Letteratura scientifica selezionata sul tema "Comedy"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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Articoli di riviste sul tema "Comedy"

McKeague, Matthew. "Lyrical lessons: The potential of informative comedy music as supplementary teaching material". European Journal of Humour Research 6, n. 3 (13 novembre 2018): 30. http://dx.doi.org/10.7592/ejhr2018.6.3.mckeague.

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The comedic arts have provided opportunities for humourists to spread information to audiences, sometimes intentionally and other times as a side effect while trying to create laughter. Educators have also found success incorporating comedy into the classroom with humorous activities. While research regarding comedy as a tool to spread information or educate audiences has focused primarily on literature, broadcast media, and film, the area of informative comedy implemented through music remains relatively unexplored. In this paper, the researcher defines ‘informative comedy’ and takes a critical literacy approach analysing song samples of comedy musician “Weird Al” Yankovic—one of the notable comedic music artists in the 20th and 21st centuries—and discusses how his music could be used in a classroom setting. While comedy such as Yankovic’s is not designed to be an educational tool, the researcher suggests that his songs could be used as supplementary materials in the classroom to reinforce concepts specifically regarding cultural issues through commentary as well as lessons in science and grammar. A central aspect of this exploratory paper involves Yankovic’s mix of comedy andinformative content focused on culture in the United States, using the popular music genre to convey ideas in ways that may be more palatable for wider audiences and that could be used to assist classroom instruction.

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Kim, Jennifer. "Racism’s Back Door: A Mixed-Methods Content Analysis of Transformative Sketch Comedy in the US from 1960-2000". Journal of Ethnic and Cultural Studies 7, n. 3 (4 ottobre 2020): 142. http://dx.doi.org/10.29333/ejecs/392.

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Comedy that challenges race ideology is transformative, widely available, and has the potential to affect processes of identity formation and weaken hegemonic continuity and dominance. Outside of the rules and constraints of serious discourse and cultural production, these comedic corrections thrive on discursive and semiotic ambiguity and temporality. Comedic corrections offer alternate interpretations overlooked or silenced by hegemonic structures and operating modes of cultural common sense. The view that their effects are ephemeral and insignificant is an incomplete and misguided evaluation. Since this paper adopts Hegel’s understanding of comedy as the spirit (Geist) made material, its very constitution, and thus its power, resides in exposing the internal thought processes often left unexamined, bringing them into the foreground, dissecting them, and exposing them for ridicule and transformation. In essence, the work of comedy is to consider all points of human processing and related structuration as fair game. The phenomenological nature of comedy calls for a micro-level examination. Select examples from The Smothers Brothers Comedy Hour (1968), The Richard Pryor Show (1977), Saturday Night Live (1990), and Chappelle’s Show (2003) will demonstrate representative ways that comedy attacks and transforms racial hegemony.

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Kuszak, Kinga. "Komizm w poezji dla dzieci. Jego rola i wartość edukacyjna". Problemy Wczesnej Edukacji 36, n. 1 (21 febbraio 2017): 65–74. http://dx.doi.org/10.5604/01.3001.0010.1999.

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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. Next, adopting her chosen typology of creating comedy in children’s literature, she presents selected examples of literary works which employ the aforementioned linguistic tools to achieve a comedic effect. Contemporary authors’ works are used to illustrate the thesis. The article closes with reflections on the educational role of comedy in children’s literature.

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Natanael, Christian, e Annita Annita. "ANALYSIS OF HUMOR LANGUAGE IN “NGENEST THE MOVIE” COMEDY SCENE". VCD 7, n. 1 (15 giugno 2022): 1–10. http://dx.doi.org/10.37715/vcd.v7i1.2902.

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Humor language is verbal humor created through words, the meaning of words, and jargon. Directors use language humor to build comedy scenes, introduce the characters, or give the impression of a scene. However, sometimes, excessive techniques will be insufficient for the scene itself. Therefore, this study aims to find how language humor in comedy scenes in a film is overused and eventually dries the comedy. Research material was selected from a comedy movie entitled "Ngenest," produced in 2015, directed by Ernest Prakasa, who has a comical background and often uses comedic techniques in his films. The research method chosen is qualitative, with content analysis to identify the value of integrated humor and scenes in the movie "Ngenest.” Keywords: humor, humor language, scene, comedy

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Brown, Stephanie. "Open Mic?" Feminist Media Histories 6, n. 4 (2020): 42–67. http://dx.doi.org/10.1525/fmh.2020.6.4.42.

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This article draws on ethnographic interviews conducted between May 2016 and May 2017 with stand-up comics in Chicago and Urbana-Champaign, Illinois, all of whom described the experience of being marked as, or associated with, women within the historically masculine comedic space. Drawing on feminist comedy studies, production studies, and fan studies, the article explores the cultural logics of comedic authenticity and their material effects on embodied performances of marked comics in local live comedy. It argues that marked bodies are rarely able to achieve the ideal performance of “authenticity.” While stand-up comedy is often theorized optimistically as a fruitful site from which to subvert assumptions about identity, gendered or otherwise, comics paradoxically feel pressure to conform to appropriate gender expression on stage in order to be legible to audiences and other comics historically influenced by masculine comedic taste.

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Parisot, Eric. "Pity the Fool: Satire, Sentiment, and Aristocratic Vice in George Colman’s The Suicide". Eighteenth-Century Fiction 34, n. 4 (1 giugno 2022): 393–414. http://dx.doi.org/10.3138/ecf.34.4.393.

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The Suicide, A Comedy (1778) by George Colman (the Elder) is a sophisticated comedic response to the scourge of fashionable suicide in late eighteenth-century Britain. The play simultaneously operates on two comedic planes: (1) it aims the purgative power of contemptible and socially aversive satire at the bon-ton by insinuating the scandalous suicide of high-profile aristocrat John Damer (1744–76); and (2) the reformation of Tobine—the middle-class protagonist who aspires to fashionable self-destruction—invests in the socially rehabilitative and compassionate humour of sentimental comedy. Two comedic strategies are aimed at two different audiences, with both strategies working to reinforce middle-class values. The result is a comedy that merges two kinds of laughter to form a benign affective antidote to interclass suicidal contagion. This comedic antidote functions as an early demonstration of the positive value of narratives that depict the overcoming of suicidal intent—or what modern sociologists call the Papageno effect.

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Vishal, Raj, e Priya Himangi. "I am a Comedian, That’s My Job:". University of Bucharest Review Literary and Cultural Studies Series 13, n. 1 (20 ottobre 2023): 66–80. http://dx.doi.org/10.31178/ubr.13.1.6.

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In an epoch characterized by rapid digitalization, the proliferation of disinformation, and the deepening schisms within society, the significance of stand-up comedy has assumed unprecedented prominence. Its popularity is burgeoning on a global scale, and concurrently, the Indian comedy landscape has witnessed a remarkable influx of talent over recent decades. Among this exceptional cohort of comedic voices, Vir Das emerges as a prominent figure. Known for his incisive humour, he ventures far beyond light-hearted humour, delving into the heart of pivotal societal issues. This article discusses the profound impact of comedy and satire in catalysing socio-critical transformations through a discerning analysis of select jokes from Vir Das’s repertoire. As such, it is organized into three distinct sections, each contributing to the overarching objective. The initial section offers a concise exploration of the historical evolution of comedy, with a particular focus on its development within the Indian context. Subsequently, the second section delves into the core concept of stand-up comedy as a potent medium for activism, grappling with fundamental questions regarding the gravity and consequential influence of comedic discourse. Lastly, the concluding section meticulously conducts a comprehensive thematic analysis of Vir Das’s body of work, accentuating his pivotal role as a stand-up activist.

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Westwood, Robert. "Comic Relief: Subversion and Catharsis in Organizational Comedic Theatre". Organization Studies 25, n. 5 (giugno 2004): 775–95. http://dx.doi.org/10.1177/0170840604042414.

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There has been a growth of interest in the role of humour in organizations from both practitioner and academic perspectives. Various claims for the functionality of humour have been made, ranging from stress reduction to helping form and cement corporate cultures. Latching on to these presumed benefits, businesses and consultants have begun to employ humour and comedy in a direct and explicit manner. However, there is a counterpoint, which suggests that humour cannot always be managed and in fact has subversive qualities. This article addresses the issue of the subversive potential of comedy in organizational contexts. It draws illustratively on the case of a successful corporate comedian to do so. The article argues, through an analysis of the case, the history and philosophy of comedy, and theories of the comedic, that while comedy has inherent subversive potential, it most often is contained. Indeed, it suggests that comedy works by intruding as a potential threat to mundane reality, but offers comic relief when it is apparent that the threat will not be actualized and the status quo ante prevails. Implications for using corporate comedy are drawn.

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Putri, Maharani Widya, Erwin Oktoma e Roni Nursyamsu. "FIGURATIVE LANGUAGE IN ENGLISH STAND-UP COMEDY". English Review: Journal of English Education 5, n. 1 (1 dicembre 2016): 115. http://dx.doi.org/10.25134/erjee.v5i1.396.

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This descriptive qualitative research was about the analysis of figurative language in English stand-up comedy. The purposes of this study were to identify the types of figurative language and to describe the functions of figurative language found in the selected video of stand-up comedy show. The data source was taken from one of selected videos of Russell Peters stand-up comedy show. Russell Peters’s speech contained about figurative language in the video is observed. The data were collected through content analysis technique by collecting the verbal language used by Russell Peters. The first research questions was analyzed by McArthur (1992) theory and supported by Crystal (1994) theory to find out the types of figurative language found in English stand-up comedy. To answer the second research questions about the functions of figurative language found in English stand-up comedy was analyzed by Chunqi (2014) theory and suppoted by Kokemuller (2001) theory and Turner (2016) theory. After analyzing data, it was found that Irony was the most dominant figurative language used by Russell Peters in “Russell Peters Comedy Now! Uncensored” with 29.94%. It was happened because the kind of topics used by Russell Peters in that show were about ethnics (canadian, white people, black people, brown people and asian), society case (beating child) and culture (accent and life style of various ethnics in the world, habitual of various ethnics in the world). Irony and Hyperbole were needed dominantly in the performance, to entertain the audiences in the stand-up comedy show. The function of eleven types of figurative language which were used by Russell were concluded. The functions were to amuse people in comedic situations, to expand meaning, to explain abstract emotions, to make sentence interesting represented and give creative additions. Keywords: Figurative Language, Stand-Up Comedy, English Stand-Up Comedy

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Meerzon, Yana. "From melancholic to happy immigrant: Staging simpleton in the comedies of migration". Performing Ethos: International Journal of Ethics in Theatre & Performance 9, n. 1 (1 novembre 2019): 23–35. http://dx.doi.org/10.1386/peet_00003_1.

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Abstract This article examines devices of comedy, laughter and dramatic humour as technologies of ethics when it comes to staging migration in contemporary theatre. Looking at a tragic farce Hunting Cockroaches (1985), written by the Polish theatre artist Janusz Głowacki during his American exile, and a domestic melodrama Kim's Convenience (2012), written by a Korean Canadian Ins Choi, this article examines comedy as a particular dramatic model that can challenge staging migrants as agentless and voiceless victims. It asks, what happens when theatre artists begin to use stereotype to stage the trauma of displacement? To what extent is comedy truly capable of rendering the complexity of migration? And how ethical can the comedic representation of a migrant be?

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Tesi sul tema "Comedy"

Friedman, Sam. "Comedy and distinction". Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/28072.

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Comedy plays an increasingly central role in British cultural life. Defying the recent economic downturn, it has grown into a booming multi-million pound industry, both on TV and on the live circuit. Despite this, sociology has traditionally afforded comedy little scholarly attention. Indeed, the art form has been largely omitted from large-scale sociological studies of British cultural production and consumption. Even in the most comprehensive assessment of British cultural tastes, Bennett et al's (2009) highly significant Culture, Class, Distinction, comedy was either ignored or defined problematically as a 'middlebrow' television sub-genre. The central aim of this thesis is to plug this conspicuous gap in the literature. In particular, it aims to examine the patterning of contemporary British comedy taste and understand how this relates to general patterns of socio-cultural division and inequality. Drawing on a large-scale survey and in-depth interviews collected at the 2009 Edinburgh Festival Fringe, it argues that comedy now represents an emerging field for younger generations of the culturally privileged to activate their cultural capital resources. Using the innovative methodological instrument of Multiple Correspondence Analysis (MCA), it shows that such individuals carefully select and reject forms of British comedy, favouring the most legitimate 'highbrow' items and deliberately snubbing the most 'lowbrow'. However, unlike most studies of cultural capital and taste, the thesis finds that field-specific 'comic cultural capital' is mobilised less through taste for certain 'objects' of comedy and more through the expression of rarefied and largely 'disinterested' styles of comic appreciation. In short, it is the embodied currency of possessing a 'good' sense of humour, rather than certain objectified comedy preferences, that most distinguishes the privileged in the field of comedy. Such evidence of comedy taste functioning as cultural capital is significant because it challenges recent suggestions that the British are becoming increasingly culturally tolerant and omnivorous. Instead, in the case of comedy, this thesis finds that taste acts as a powerful marker of cultural and class identity. Eschewing the kind of openness described in other cultural areas, comedy audiences make a wide range of negative aesthetic, moral and political judgments on the basis of comedy taste, inferring that one's sense of humour reveals deep-seated aspects of their personhood. Reflecting on this, the thesis argues that future analysis of popular cultural consumption must be willing to examine not just taste for specific items of culture, but also the accompanying styles of appreciation that frame consumption. It is here, in the specific way culture is consumed, that it is possible to discern how contemporary cultural forms are implicated in the redrawing of class boundaries and the pursuit of distinction.

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Lüssmann, Nina. "Persönlichkeitsschutz und "Comedy"". München M-Press Meidenbauer, 2007.

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Stewart, Nicholas. "Abstraction and comedy". Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/9922/.

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The thesis, consisting of an extended artwork (Toy Zoo) and a theoretical text, aims to explore a concept of abstraction and relate this concept to an affect of comedy. The proposal of the thesis is that abstraction, looked at in a proper way, is funny. Abstraction is imagined not as the absence of ‘content’ or the generalization of form, but as a condition of language occasioned by a categorical loss, the loss of the ground that attaches meaning to a thing. The work takes this dissonance in language as its subject-matter. In a series of photographic images, representations of mental or conceptual objects whose mode of representation alters the meaning of the term, it presents abstraction not as a formal reduction or the presentation of a higher order but as the historical view of a void subject-position. Its argument is that the view from this position is comic. The text develops a concept of abstraction from Hegel’s description of ‘the abstract work of art’. This ‘absolute’ abstraction, a condition in society to which art responds, is the premise through which various forms of abstract production, in art and elsewhere, are read. The generic forms of the epic, tragedy and comedy, as analyzed by Hegel, provide models that are applied in the context of ‘real abstraction’ and to certain positions in art. An analysis of value in capital aims to identify the logic of this form of production with the structure of tragedy. Against this ‘ready-made’ abstraction of modernity, the non-dialectical relationship of abstract necessity and the individual, the text argues for a form of comedy. Comedy, as a genre in art, proposes a subject-position that, recognizing itself in abstraction, recognizes abstraction not, as in ‘real abstraction’, as necessity but as the condition of its own freedom.

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McRae, Calista Anne. "Lyric as Comedy". Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493550.

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Although the twentieth-century lyric poem might seem to intensify a genre of sentiment into a genre of meditative or tumultuous solipsism, John Berryman, Robert Lowell, A. R. Ammons, Lucie Brock-Broido, and Terrance Hayes write lyrics that are funny, on several planes. Each of these poets enacts a self-revealing comedy of the mind and its often labored, blinkered, or illogical cognitive processes; each also creates a comedy of style, where language and form exceed and confound paraphrase. This thesis brings out such comedies, arguing that lyric is a livelier, more paradoxical, and certainly less solipsistic genre than is yet recognized. While most theories of the comic emphasize superiority, incongruity, or subversion, lyric poetry suggests that comedy originates in something miraculously apt and failed, at once: the comedy of lyric springs from deflected, or misdirected, perfection, and from the miraculous achievement of a less-than-sublime end. Berryman, who sets formal wildness in a fixed stanza, provides an opening instance of how comedy balances between the decidedly flawed and the marvelous. Lowell’s incongruities, which undermine every quality that threatens to dominate a poem, surprise by the unlooked-for harmonies they produce. Ammons turns his concerns about inarticulate failing into a comedy of ineptness, enacting the workings of an inconsistent mind with precision. Brock-Broido’s humor appears as utter doubleness, requiring that we see the beautiful and the ludicrous together; her comedy does not extinguish her Romantic postures, but suffuses them. Hayes enacts the luck of the erratic, associative mind, as it takes in, is altered by and transforms its surroundings: disparate styles, tones, devices, and allusions come together to convey something beyond their semantic point.
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Olson, J. Kirby. "Klossowski and comedy /". Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/9483.

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Turner, Matthew R. "Signs of Comedy: A Semiotic Approach to Comedy in the Arts". Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1126899710.

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Miles, Sarah N. "Strattis, tragedy, and comedy". Thesis, University of Nottingham, 2009. http://eprints.nottingham.ac.uk/10887/.

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This study comprises a translation, textual commentary, and discussion of the fragments of the Old comic dramatist Strattis which engage with tragedy. It forms the centre of a wider examination of the art of paratragedy and tragic parody in Old Comedy because paratragedy represents the earliest reception of tragedy and one that is contemporary with the initial live performances of tragic plays. Ancient and modern scholarship alike has viewed Aristophanes as the dominant figure in the art of paratragedy and tragic parody. Strattis, a contemporary of Aristophanes, was active in the late fifth and early fourth centuries BC and the fragments of his comedies indicate a sustained and wide ranging interaction with contemporary tragedy which is rivalled only by Aristophanic comedy. This is particularly remarkable since the extant corpus of Strattis numbers less than ninety fragments. This work explores the phenomenon of paratragedy beyond Aristophanic paratragedy and raises awareness of the importance of Strattis in this respect. It begins with a survey of paratragedy in other non-Aristophanic fragments of Old Comedy and it examines the various ways that comedy engages with tragedy, indicating the depth and breadth of paratragedy in comic fragments. This provides the foundations on which to examine the fragments of Strattis through a text, translation and commentary on those fragments that engage with tragedy. It leads to a discussion of the works of Strattis overall for their use of tragedy and myth, which allows us to note characteristics of Strattis’ work. This enables a comparison of the paratragedy in the comedies of Strattis and Aristophanes which allows us to reassess the uniqueness of Aristophanic paratragedy and to consider reasons for the popularity of paratragedy in the late fifth century BC.

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Robinson, Rebecca Grace. "Scottish television comedy audiences". Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1177/.

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This study explores how Scottish people feel about representations of Scottishness in contemporary television comedy. The thesis is in two related parts, articulating an exploration of genre, comedy and Scottish television texts with the theory, methodology and analysis of empirical audience research. The thesis begins by exploring how current television comedy is poorly served by critical literature beyond notions of genre although this field of study too fails to indicate significant contemporary permeabilities between comedy sub-genres, and between comedy and other kinds of leisure shows. The second chapter explores historical approaches to Scottish cultural criticism and literary myths (Tartanry, Kailyardism, Caledonian anti-syzygy, Clydesidism) and sets these against contemporary mythologising by individual Scottish comedy practitioners. The second half of the thesis marks a shift from textual studies toward audience research, and in particular develops a discussion about the problematics of researching comedy and audiences qualitatively. The first part of the second half is a literature survey of selected examples of audience research which is translated from theory and epistemology, to methodology and technique in the next section which comprises a discussion of the model for the empirical data collection. The next section presents data from a quantitative survey and qualitative focus-group discussions. The last part of the second section interprets the data through triangulation although this is limited by lack of comparable critical materials. The whole attempts to explore concepts of national identity in Scottish television comedy with audiences, but also develops the additional problematic of empirical quantitative research and comedy themes.

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Dow, Stephanie B. "Prostitution in city comedy". Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399631.

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Collings, Rebecca. "Shedding light on dark comedy : humour and aesthetics in British dark comedy television". Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/59450/.

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The term ‘dark comedy’ is used by audiences, producers and academics with reference to an array of disparate texts, yet attempts to actually define it perpetuate a sense of confusion and contradiction. This suggests that although there is a kind of comedy that is common enough to be widely noted, and different enough from other types to require separation, how and why this difference can be perceived could be better understood. Accordingly, I investigate what is enabling the recognition and distinction in respect of British dark comedy programmes, and use this as a basis for considering how this type of comedy works. I argue that the programmes may be distinguished primarily by aesthetic features, placing their rise on British television in a broader context of aesthetic trends towards a display of visual detail, spectacle, and excess that puts the private and the taboo on greater show. Using the theories of Freud, Bakhtin, and Bergson about taboo, the uncanny, the grotesque, and the appearance of mechanical actions in humans, I examine in detail examples of British comedy television programmes that are typically referred to as ‘dark’, demonstrating their consistent depiction of subjects that are often repressed or avoided, particularly those around which taboo restrictions and prohibitions have evolved (such as violence and death, illness, and transgressive sexuality). These areas are strongly linked with the body and physicality, and are also ones which occasion negative feelings of unease and denial that are connected to concerns about mental and corporeal fragility and fallibility. I conclude therefore that dark comedies provide a space where viewers may confront and ultimately minimise fears surrounding the human condition, enabling a ‘safe’ exploration of them that can be enjoyed as humorous.

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Più fonti

Libri sul tema "Comedy"

Lowe, N. J. Comedy. Cambridge: Published for the Classical Association [by] Cambridge University Press, 2008.

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Stott, Andrew. Comedy. New York, N.Y: Routledge, 2005.

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Alighieri, Dante. Comedy. Morrisville, NC: Pluramon, 2006.

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M, Welsh James, a cura di. Comedy/serious comedy/Woody Allen. Salisbury, Md: Salisbury State College, 1991.

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Aristophanes. Classical Comedy. London: Penguin Group UK, 2010.

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Nikulin, Dmitri. Comedy, Seriously. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137415141.

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Gilbert, Norwood. Greek Comedy. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003270096.

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Bucaria, Chiara, e Luca Barra, a cura di. Taboo Comedy. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59338-2.

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Demastes, William W. Comedy Matters. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230612426.

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Carroll, Nol, a cura di. Comedy Incarnate. Malden, MA, USA: Blackwell Publishing, 2007. http://dx.doi.org/10.1002/9780470754931.

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Capitoli di libri sul tema "Comedy"

Potter, Lois. "Comedy". In Twelfth Night, 62–72. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-06462-5_9.

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Dyer, Richard. "Comedy". In Nino Rota, 128–52. London: British Film Institute, 2010. http://dx.doi.org/10.1007/978-1-349-92421-9_5.

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Gill, Richard. "Comedy". In Mastering, 236–46. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-20852-0_21.

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Nagel, Armin. "Comedy". In Handbuch Populäre Kultur, 138–42. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05001-4_24.

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Mills, Brett, Ian Wilkie, Steve Neale, John Hartley, Jane Feuer, Glen Creeber e Brett Mills. "Comedy". In The Television Genre Book, 89–111. London: British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_4.

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Marsh, Huw. "Comedy". In The Routledge Companion to Twenty-First Century Literary Fiction, 67–79. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge companions to literature series: Routledge, 2019. http://dx.doi.org/10.4324/9781315880235-7.

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Gill, Richard. "Comedy". In Mastering Shakespeare, 89–106. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-14551-5_5.

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Cantrell, Tom, e Christopher Hogg. "Comedy". In Acting in British Television, 145–207. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1057/978-1-137-47022-5_4.

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Cohn, Lee Michael. "Comedy". In Directing Actors, 152–80. New York, NY: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003090991-12.

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King, Bruce. "Comedy?" In Coriolanus, 97–98. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20207-2_30.

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Atti di convegni sul tema "Comedy"

Li, Maolin. "Supporting Comedy Writers: Predicting Audience’s Response from Sketch Comedy and Crosstalk Scripts". In Proceedings of the First Workshop on Computational Approaches to Discourse. Stroudsburg, PA, USA: Association for Computational Linguistics, 2020. http://dx.doi.org/10.18653/v1/2020.codi-1.5.

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Feig, Anthony D., Timothy A. Bennett-Huxtable e Heather L. Petcovic. "COMEDY IN THE GEOSCIENCES I". In GSA Annual Meeting in Denver, Colorado, USA - 2016. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016am-283203.

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Bennett-Huxtable, Timothy A., Anthony D. Feig e Heather L. Petcovic. "COMEDY IN THE GEOSCIENCES II". In GSA Annual Meeting in Denver, Colorado, USA - 2016. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016am-283260.

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Vilk, John, e Naomi T. Fitter. "Comedy by Jon the Robot". In HRI '20: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3371382.3378201.

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Rich, John. "USING COMEDY TO TEACH RESEARCH DESIGN". In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/iceri.2016.0223.

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Sun Park, Eun. "Contextualizing Comedy Techniques for Speculative Design: Unraveling Futures Cone from Sketch Comedy Series, ‘2032/2033 Futures'". In DRS2024: Boston. Design Research Society, 2024. http://dx.doi.org/10.21606/drs.2024.433.

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Rangacharyulu, Chary. "Higgs Boson: God particle or Divine comedy?" In SPIE Optical Engineering + Applications, a cura di Chandrasekhar Roychoudhuri, Al F. Kracklauer e Hans De Raedt. SPIE, 2013. http://dx.doi.org/10.1117/12.2027833.

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Aybar-Cabezudo, Oscar, Lorena Espinoza-Robles e Eliana Gallardo-Echenique. "COMEDY AS A SUCCESS FORMULA IN PERUVIAN CINEMA". In 14th International Technology, Education and Development Conference. IATED, 2020. http://dx.doi.org/10.21125/inted.2020.1872.

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Dingkol, Wardoyo, Andi Unde e Mursalim Mursalim. "Discourse Analysis Of Democracy Criticism In Stand Up Comedy". In Proceedings of the 2nd International Conference on Social Sciences, ICONESS 2023, 22-23 July 2023, Purwokerto, Central Java, Indonesia. EAI, 2023. http://dx.doi.org/10.4108/eai.22-7-2023.2335511.

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Luo, Yi. "Study on the Current Patterns of Chinese Comedy Films". In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.230.

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Rapporti di organizzazioni sul tema "Comedy"

Hidalgo-Marí, T., A. Tous Rovirosa e LF Morales Morante. Family models in Spanish television comedy (1990-2010). Revista Latina de Comunicación Social, gennaio 2019. http://dx.doi.org/10.4185/rlcs-2019-1318en.

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PODDUBSKAYA, O. N., e N. R. ROMANOV. LEXICO-SEMANTIC FIELD “FOOD” IN THE SERIES OF NOVELS BY J. GALSWORTHY “THE FORSYTE SAGA” AND “MODERN COMEDY”. Science and Innovation Center Publishing House, aprile 2022. http://dx.doi.org/10.12731/2077-1770-2021-14-1-3-69-76.

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Abstract (sommario):

The article is devoted to the research of lexical-semantic field “Food” based on the study and analysis of the vocabulary on the topic in the novels “The Forsyte Saga” and “Modern Comedy” by J. Galsworthy, as well as the menu of restaurants in modern Britain. The relevance of the article is in the study of the difference between the lexical-semantic fields, which allows to determine how the “food code” of the nation changed at a certain stage of the society development.

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Coslovsky, Salo, Roberto Smeraldi e Manuele Lima dos Santos. Amazônia: Territórios da comida. Amazônia 2030, novembre 2021. http://dx.doi.org/10.59346/report.amazonia2030.202111.ed16.

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McMillan, Robert S. Spacewatch Survey for Asteroids and Comets. Fort Belvoir, VA: Defense Technical Information Center, novembre 2005. http://dx.doi.org/10.21236/ada443974.

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McMillan, Robert S. Spacewatch Survey for Asteroids and Comets. Fort Belvoir, VA: Defense Technical Information Center, luglio 2003. http://dx.doi.org/10.21236/ada416015.

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Smeraldi, Roberto. Conhecendo o sistema comida na Amazônia. Amazônia 2030, ottobre 2021. http://dx.doi.org/10.59346/report.amazonia2030.202110.ed12.

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Yocom, Ken, e Delia Lacson. Gary Comer Youth Center. Landscape Architecture Foundation, 2011. http://dx.doi.org/10.31353/cs0210.

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Seybold, Patricia. What Comes After CRM? Boston, MA: Patricia Seybold Group, novembre 2001. http://dx.doi.org/10.1571/bp11-8-01cc.

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Gennaioli, Nicola, e Andrei Shleifer. What Comes to Mind. Cambridge, MA: National Bureau of Economic Research, giugno 2009. http://dx.doi.org/10.3386/w15084.

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Warta, Katharina, Tobias Dudenbostel, María del Carmen Calatrava Moreno, Francesca Guadagno, Simon Zingerle, Sandra Skok e Harald Grill. Evaluierung des COMET-Programms. Technopolis Group - Austria, giugno 2021. http://dx.doi.org/10.22163/fteval.2022.524.

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Technopolis wurde im Mai 2020 vom Bundesministerium für Klimaschutz, Umwelt, Energie, Mobilität, Innovation und Technologie (BMK) und dem Bundesministerium für Digitalisierung und Wirtschaftsstandort (BMDW) mit der Evaluierung des COMET-Programms beauftragt. Die vorliegende Evaluierung bezieht sich auf die 25 aktuell existierenden Zentren. Der Fokus der Evaluierung liegt auf der Charakterisierung der COMET-Zentren und auf dem Monitoring- und Kennzahlensystem von COMET. Im Jahr der Corona-Pandemie wurden die Methoden angepasst, Interviews mit Stakeholdern und den Zentren wurden meist per Videocalls oder telefonisch geführt, geplante on-site Visits sowie internationale Workshops konnten nicht durchgeführt werden. Zentrale Quellen der Evaluierung sind eine Befragung der Zentren und der Unternehmens- und Wissenschaftspartner sowie die Datenbasis der FFG, die wir durch diverse Harmonisierungsschritte für neuwertige Auswertungen nutzbar machten. Dies umfasst insbesondere einen historischen Rückblick sowie eine Cluster- und Netzwerkanalyse. Die Auswartungen sind in zwei Dashboards angelegt, das Dashboard zur COMET-Befragung ist anonymisiert und daher öffentlich zugänglich.

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