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Articoli di riviste sul tema "Farce"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 1 agosto 2024

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1

Mende, Jan. "Französische Farce". Lebensmittel Zeitung 73, n. 9 (2021): 2. http://dx.doi.org/10.51202/0947-7527-2021-9-002.

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2

Deputter, Mark. ""Kalldewey, farce"". Documenta 3, n. 4 (17 aprile 2019): 246–49. http://dx.doi.org/10.21825/doc.v3i4.10748.

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3

Patel, V., M. Kelleher e M. McGurk. "Regulatory farce". British Dental Journal 208, n. 10 (maggio 2010): 440–41. http://dx.doi.org/10.1038/sj.bdj.2010.459.

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4

Kutty, Faisal. "Farce Majeure". American Journal of Islam and Society 19, n. 2 (1 aprile 2002): 116–20. http://dx.doi.org/10.35632/ajis.v19i2.1946.

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One of the fundamental principles of justice is that no accusation be allowed to stand unless there is sufficient evidence to support the allegation. Butsuch principles do not seem to get in the way of propagandists in their mission to discredit. Nobody knows this better than the Sudanese government. And no one has written more on Sudan's plight than Dr. David Hoile, the director of the European-Sudanese Public Affairs Council. Farce Majeure is a comprehensive critique, based largely on Hoile's previously published articles, of the Clinton administration's Sudan policy. Hoile, who has specialized in Sudanese issues for several years, argues that the Clinton administration succeeded in two areas with respect to its policy: preventing a peaceful resolution of the Sudanese civil war, and succeeding in the propaganda war, at least in North America. Hoile then explores how and why this was achieved and helps the reader to understand how Sudan moved from being an insignificant African state, at least from a western vantage point, into a nation constantly in the international limelight. Chapter I provides a good, albeit brief, analysis of the evolving rela tionship between the US and Africa's largest country, since its independence in 1956. Granted that the book's focus is the period from 1993 to 2000, readers could have benefited from a more extensive discussion of the historical context. In chapters I and 5 the author identifies what may be at the root of American aversion to Sudan: ...

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5

Winckler, Reto. "Profound farce". Cahiers Élisabéthains: A Journal of English Renaissance Studies 97, n. 1 (10 gennaio 2018): 4–19. http://dx.doi.org/10.1177/0184767817750668.

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As the genre of farce more generally, Shakespeare’s early farce The Comedy of Errors is often dismissed as superficial because of its farcical elements, or its farcical nature is downplayed by well-meaning critics. In this essay, I argue that it is precisely in its farcical superficiality that the play unfolds sceptical philosophical potential. Employing concepts developed by Ludwig Wittgenstein and Stanley Cavell, I try to show how this farce, in comically unsettling the very foundations of human language, culture and identity, gestures at uncomfortable truths about the fundamental conventionality of human nature and society.

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6

Wiesman, Annette. "Een farce?" Management Kinderopvang 25, n. 3 (maggio 2019): 30–32. http://dx.doi.org/10.1007/s41190-019-0059-1.

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7

Koopmans, Jelle. "La farce rétrospective – revoir la farce au xvie siècle". Studi Francesi, n. 188 (LXIII | II) (1 agosto 2019): 263–70. http://dx.doi.org/10.4000/studifrancesi.18380.

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8

Hayes, E. Bruce. "Rabelais' Radical Farce: A Comparative Analysis of the Ecolier Limousin Episode and the Farce de Maître Mimin Etudiant". Renaissance and Reformation 40, n. 2 (1 gennaio 2004): 61–78. http://dx.doi.org/10.33137/rr.v40i2.9014.

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Parmi les intertextes qui imprègnent les écrits de Rabelais, le théâtre de la farce a une fonction dont l'importance n'a toujours pas été suffi samment approfondie. Les histoires de Gargantua et de Pantagruel sont littéralement farcies de référence au genre, et beaucoup d’épisodes dans les Chroniques sont structurés comme des farces. Rabelais apprécie énormément la farce et la connaissance intime qu'il en a imprègne la composition de son oeuvre d'une façon importante. Le premier épisode farcesque dans l’oeuvre rabelaisienne, la rencontre de l’écolier limousin (Pantagruel, chapitre 6), sert à illustrer cet assemblage de la farce théâtrale et de la satire humaniste que l'on retrouve à travers les écrits de Rabelais. En comparant cet épisode à la farce de Maitre Mimin étudiant, nous explicitons le rapport entre les épisodes farcesques des Chroniques et la farce dramatique, soulignant non seulement comment Rabelais s'approprie la farce, mais de façon plus importante, comment il transforme et radicalise le genre en l'introduisant dans un nouveau contexte humaniste. Là où la farce châtie les écarts sociaux du protagoniste, sa démesure, au nom d'une norme conservatrice, les Chroniques censurent la démesure des institutions du statu quo telle que la Sorbonne, au nom d'un idéal humain et social. Il en résulte une forme nouvelle de farce, aussi bien qu'une nouvelle forme de satire humaniste.

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9

Wineapple, Brenda, e Frances Sherwood. "Tour de Farce". Women's Review of Books 12, n. 12 (settembre 1995): 22. http://dx.doi.org/10.2307/4022240.

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10

Huckelbury, Charles. "Tour de Farce". Journal of Prisoners on Prisons 18, n. 1-2 (1 dicembre 2009): 126–28. http://dx.doi.org/10.18192/jpp.v18i1-2.5326.

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11

Colin, Jean-Paul. "Attrape la farce !" Coulisses, n. 19 (1 gennaio 1999): 30. http://dx.doi.org/10.4000/coulisses.5532.

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12

Wilson, Richard. "Tragedy and farce". Nursing Standard 17, n. 17 (8 gennaio 2003): 27. http://dx.doi.org/10.7748/ns.17.17.27.s44.

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13

Brinton, L. J. "Farce and fiction". British Dental Journal 200, n. 8 (aprile 2006): 419. http://dx.doi.org/10.1038/sj.bdj.4813534.

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14

Gottlieb, Vera. "Why This Farce?" New Theatre Quarterly 7, n. 27 (agosto 1991): 217–28. http://dx.doi.org/10.1017/s0266464x00005728.

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Abstract (sommario):

In exploring the repertoire of farce from its nineteenth-century exponents in France and England through the ‘typically British’ pre- and post-war varieties at the Aldwych and the Whitehall, to the work of such contemporary exponents as Alan Ayckboum and Michael Frayn, Vera Gottlieb also analyzes the ways in which ‘mechanistic’ or ‘clockwork’ kinds of farce are philosophically akin to absurdist drama. She suggests that English approaches to Chekhov have overlaid his work with similar assumptions – as in the contention of Michael Frayn, himself both a Chekhov translator and a highly successful farceur, that Chekhov's characters are ‘reduced by their passions to the level of blind and inflexible machines’. In arguing that this is not the case, she elaborates a crucial distinction between farces which, in effect, assume the impotence of human aspirations, and those in which behaviour derives from character rather than from imposed situations, thus offering at least the potential for change. Vera Gottlieb is Professor of Drama at Goldsmiths’ College, University of London, and the author of Chekhov and the Vaudeville (Cambridge, 1982) and Chekhov in Performance in Russia and Soviet Russia (Chadwyck-Healey, 1984). She was also translator and director of A Chekhov Quartet, first seen at the New End Theatre, London, in 1990, and subsequently at the Chekhov Festival in Yalta and the GITIS Theatre in Moscow.

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15

Brenner, Sydney. "Tour de Farce". Current Biology 8, n. 13 (giugno 1998): R437. http://dx.doi.org/10.1016/s0960-9822(98)70283-0.

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16

Andrei Kortunov. "TRAGEDY AND FARCE". Current Digest of the Russian Press, The 75, n. 043 (29 ottobre 2023): 19. http://dx.doi.org/10.21557/dsp.94145041.

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17

Kiefer, Bertrand. "Une immense farce". Revue Médicale Suisse 2, n. 92 (2006): 2952. http://dx.doi.org/10.53738/revmed.2006.2.92.2952.

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18

Figueroa Dorrego, Jorge. "“Dwindling Down to Farce”?: Aphra Behn’s Approach to Farce in the late 1670s and 80s". Journal of English Studies 17 (18 dicembre 2019): 127. http://dx.doi.org/10.18172/jes.3565.

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Abstract (sommario):

In spite of her criticism against farce in the paratexts of The Emperor of the Moon (1687), Aphra Behn makes an extensive use of farcical elements not only in that play and The False Count (1681), which are actually described as farces in their title pages, but also in Sir Patient Fancy (1678), The Feign’d Curtizans (1679), and The Second Part of The Rover (1681). This article contends that Behn adapts French farce and Italian commedia dell’arte to the English Restoration stage mostly resorting to deception farce in order to trick old husbands or fathers, or else foolish, hypocritical coxcombs, and displaying an impressive, skilful use of disguise and impersonation. Behn also turns widely to physical comedy, which is described in detail in stage directions. She appropriates farce in an attempt to please the audience, but also in the service of her own interests as a Tory woman writer.

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19

Chesterton, G. K. "The Philosophy of Farce". Chesterton Review 27, n. 3 (2001): 289–92. http://dx.doi.org/10.5840/chesterton200127336.

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20

Cameron, Keith, e Claude Longeon. "La Farce des Theologastres". Modern Language Review 85, n. 4 (ottobre 1990): 952. http://dx.doi.org/10.2307/3732696.

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21

Laramee, Eve Andree. "Netherzone: A Psychogeographical Farce". Art Journal 63, n. 3 (2004): 32. http://dx.doi.org/10.2307/4134489.

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22

Daly, Leo, Frances Phipps, Alison Armstrong, Seamus O. hInneirge, Breasail Uilsean e Seamus O. Mongain. "Cooks' tour de farce". Books Ireland, n. 119 (1987): 246. http://dx.doi.org/10.2307/20625933.

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23

Ashaolu, Olubunmi O., Wim Hüsken, Konrad Schoell e Leif Søndergaard. "Farce and Farcial Elements". Sixteenth Century Journal 35, n. 1 (1 aprile 2004): 280. http://dx.doi.org/10.2307/20476908.

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24

Blouin, Patrice. "Politique de la farce". Critique 893, n. 10 (20 settembre 2021): 817–32. http://dx.doi.org/10.3917/criti.893.0817.

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25

Kovelman, Arkadi. "FARCE IN THE TALMUD". Review of Rabbinic Judaism 5, n. 1 (2002): 86–92. http://dx.doi.org/10.1163/15700700260052672.

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26

Mikhail Troyansky. "FROM FARCE TO TRAGEDY". Current Digest of the Russian Press, The 74, n. 034 (28 agosto 2022): 15–16. http://dx.doi.org/10.21557/dsp.80622252.

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27

Parker, John. "Postmodern Ethics, Premodern Farce". Romanic Review 113, n. 2 (1 settembre 2022): 293–99. http://dx.doi.org/10.1215/00358118-9812544.

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28

Serrano Mañes, Montserrat. "Feydeau et la farce". Cuadernos de Investigación Filológica 25 (15 luglio 1999): 253. http://dx.doi.org/10.18172/cif.2251.

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29

Zeron, Carlos. "From Farce to Tragedy". Journal of Jesuit Studies 2, n. 3 (29 giugno 2015): 387–420. http://dx.doi.org/10.1163/22141332-00203002.

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This article relates the story of the rivalry between Portuguese, Brazilian, and foreign Jesuits in the province of Brazil, seeking to identify when, how, and why an internal dispute became enmeshed in the Society of Jesus’s relationship with the outside world. In fact, the riots caused by the 1680 enactment of the charter of freedom of the Indians not only deepened divisions among Jesuits in Brazil, but also involved representatives of residents, governors, and the Portuguese crown in the Society’s internal affairs. António Vieira’s defeat in this dispute contributed to the broader defeat of the colonial tutelage project implemented by Manuel da Nóbrega beginning in the mid-sixteenth century (and which Vieira still advocated in his last political text, in 1694), as well as to the suspension of the aforementioned charter.

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30

Laramée, Eve Andrée. "Netherzone: A Psychogeographical Farce". Art Journal 63, n. 3 (settembre 2004): 32–47. http://dx.doi.org/10.1080/00043249.2004.10791133.

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31

Lynch, Michael. "From Ruse to Farce". Social Studies of Science 36, n. 6 (dicembre 2006): 819–26. http://dx.doi.org/10.1177/0306312706067897.

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32

Howard, Michael. "History, Tragedy and Farce". Survival 51, n. 1 (10 febbraio 2009): 215–20. http://dx.doi.org/10.1080/00396330902749806.

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33

Krauss, Lawrence M. "A fifth force farce". Physics Today 61, n. 10 (ottobre 2008): 53–55. http://dx.doi.org/10.1063/1.3001868.

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34

Girard, D. "War as (Surrealistic) Farce". Forum for Modern Language Studies 46, n. 1 (30 novembre 2009): 97–106. http://dx.doi.org/10.1093/fmls/cqp125.

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35

Allakhverdov, A. "RUSSIA:Relief From Finance Farce?" Science 281, n. 5375 (17 luglio 1998): 319a—319. http://dx.doi.org/10.1126/science.281.5375.319a.

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36

Billerbeck, Jens D. "Der Atomkrieg als Farce". VDI nachrichten 78, n. 04 (2024): 27. http://dx.doi.org/10.51202/0042-1758-2024-04-27.

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37

Runnalls, Graham A. "Une farce inédite : La farce du vilain, sa femme et le curé". Romania 106, n. 423 (1985): 456–80. http://dx.doi.org/10.3406/roma.1985.1760.

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38

Saunders, Donna, Pierre Spierckel e Andree Vary. "La Farce de Maitre Pathelin". Modern Language Journal 79, n. 4 (1995): 578. http://dx.doi.org/10.2307/330025.

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39

Marriage, Guy. "Chase Corp: Force or Farce?" Architectural History Aotearoa 6 (30 ottobre 2009): 33–50. http://dx.doi.org/10.26686/aha.v6i.6753.

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Abstract (sommario):

During the 1980s, one company grew to symbolise New Zealand's unhealthy obsession with money. Chase Corporation appeared as the pinnacle of the New Zealand dream – tall buildings, high finance, the sky was the limit. At last we were joining the big time. The mantra "Greed is Good" was taken to heart in New Zealand, by architects, developers, and much of the public – at least in Auckland and Wellington. Glittering towers of mirrored glass appeared weekly in the press, promising to change the face of the city forever. The reality was different: poorly designed, badly built buildings were financed by shady deals, and heritage was destroyed casually, with little thought for the consequences. This paper will attempt to unravel some of the work undertaken by Chase Corp during the 1980s.

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40

Siguret, Françoise. "Les violons de la farce". Littératures classiques 21, n. 1 (1994): 31–44. http://dx.doi.org/10.3406/licla.1994.1768.

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41

Madondo, Bongani. "Vanity Farce: The Africa Issue". Transition: An International Review 98 (luglio 2008): 170–79. http://dx.doi.org/10.2979/trs.2008.-.98.170.

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42

Koopmans, Jelle. "La farce aristocratique et épiscopale". Réforme, Humanisme, Renaissance N° 93, n. 2 (25 novembre 2021): 31–46. http://dx.doi.org/10.3917/rhren.093.0031.

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43

Andrejev, Mikhail L. "PLOT STRUCTURE OF MEDIEVAL FARCE". RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, n. 6 (2016): 120–35. http://dx.doi.org/10.28995/2073-6355-2016-6-120-135.

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44

Koopmans, Jelle. "Quand la farce fait scandale". Cahiers de recherches médiévales et humanistes, n. 25 (30 giugno 2013): 93–108. http://dx.doi.org/10.4000/crm.13078.

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45

Foster, Brian. "First a tragedy, then farce". Physics World 21, n. 09 (settembre 2008): 14–15. http://dx.doi.org/10.1088/2058-7058/21/09/24.

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46

Ramos, Howard. "Sociology as Dangerous or Farce?" Canadian Review of Sociology/Revue canadienne de sociologie 54, n. 3 (agosto 2017): 369–71. http://dx.doi.org/10.1111/cars.12158.

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47

Tice, Paul. "The Farce of Pain Scales". Emergency Medicine News 32, n. 1 (gennaio 2010): 6–7. http://dx.doi.org/10.1097/01.eem.0000365890.66118.df.

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48

Rey-Flaud, Bernadette. "Le comique de la farce". Cahiers de l'Association internationale des études francaises 37, n. 1 (1985): 55–67. http://dx.doi.org/10.3406/caief.1985.1943.

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49

Levy, Brian J. "Du Fabliau à la Farce". Reinardus / Yearbook of the International Reynard Society 15 (8 novembre 2002): 87–100. http://dx.doi.org/10.1075/rein.15.08lev.

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50

Ballaster, Ros. "Who’s the Dupe? A Farce". Restoration and Eighteenth-Century Theatre Research 34 (dicembre 2022): 105–9. http://dx.doi.org/10.5325/rectr.34.0105.

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