Subject Area: Literature-Humor
This volume offers newly-translated texts of three established classics of Italian Renaissance comedy, with scholarly introductions and bibliographies for each: Ariosto's seminal second play, The Supposes; Machiavelli's Mandrake; and the composition of the Sienese Intronati, The Deceived. The works are linked by documentable bond of influence, and also represent a solid chapter in the history of theatrical staging, since there are traces of evidence of idealised cityscape perspective sets for early performances of both The Supposes and The Deceived. These plays embody distinctive traditions and contributions to the genesis of European comedy.1993 0-7734-9328-X
This study examines two fields of research: German society of the fifteenth century, and its carnival comedies. This is a detailed treatment of the four classes (peasants, urban middle class, clergy, and nobility), including such aspects as health, the self and its historicity, and general rules of conduct. The German carnival plays are valuable literary texts allowing insight into fifteenth-century life. This book examines most of the 127 comedies in the Keller collection, listed in one of the indices, and provides translations of all quotations into modern English. It also contains a synoptic tabulation of the Nürnberg plays, valuable to both drama specialists and medievalists.2011 0-7734-1550-5
This work analyzes Willa Cather’s fiction using images of laughter, feasting and dancing. The study employs Bakhtin’s theory of the carnival and demonstrates that for Cather, festivals are transformative events.2009 0-7734-3855-6
In this work, theories of comedy are used to examine the techniques and processes in Marot’s poetry. It begins by considering his use of humor in its historical context, his story-telling skills, and his skill in manipulating language for humor, especially in puns, quotation and allusion. The full extent of the inspiration Marot draws from François Villon becomes apparent in his use of allusion.1999 0-7734-8191-5
This is the first reliable version of Giraldi's sole comedy, Gli Eudemoni (The Lucky Ones), completed in 1549. A comedy after the manner of Terence, this edition reproduces the text of the autograph manuscript preserved in the Biblioteca Communale at Ferrara. The five Acts of the play proper are preceded by a prologue, showing that, in all probability, it was intended for public performance; but there is some doubt as to whether the author ever in fact mounted a production of it. An interesting feature of this comedy is that it has some striking features in common with Gli Antivalomeni, one of Giraldi's tragedies with a happy ending, performed at the court of Ferrara the previous year. However, the chief interest of the Eudemoni for the literary historians of today is the extent to which it illustrates the theories on comedy enunciated by the author in the contemporary Discorso intorno al comporre delle comedie e delle tragedie, first published in 1554.1997 0-7734-2808-9
A comedy in a form the French called Vers de Société. Lawfully deranged by his dentist, Harry imagines that he's a keeper in a zoo and that his monkeys are sick. Examining their spiritual lapses and his own, he looks for, and finds, a cure for the malaise of our time. It's about everything that vexes our country, our selves and our spirit. It's meant to define this moment and our place in time.
It may be the first long poem to illustrate Chaos Theory. It's non-linear and controlled by hidden attractors, and everything in it connects with everything else.1997 0-7734-2812-7
Comic definitions on slang, puns, half lies, litotes, hyperbole and other tropes describing and as a companion to Harry's Gloom.2003 0-7734-3492-5
Third in a trilogy of sonnet sequences about a young man’s quest for manhood. In Harry’s Gloom, he finds purgatory when unable to create significance. In this book, he finds heaven by recognizing and memorializing moments of happiness, often tiny, until they merge.2007 0-7734-5482-9
Huldrych Zwingli, the “third man of the Reformation,” is generally remembered as a stern, abrupt and solemn individual. This characterization was proven wrong with the publication of Fritz Schmidt-Clausing’s volume on the humor of Zwingli (Otto Lembeck Verlag, 1968). This volume, long out of print, is now offered again in a bilingual German/English edition, making Zwingli’s humorous remarks, anecdotes, and stories accessible to students, scholars and interested laypersons once again.2000 0-7734-7689-X
Marmion Savage wrote in Dublin during the notorious potato famines; criticizing extremes of political intellectual behavior which he believed were taking his homeland into the wrong directions. His five novels express these ideas, leaving few groups unscathed, including nearly all major Irish factions, political or not, many of the English, and even Americans from whose gigantic ‘wilderness’ and the resulting plethora of working class people’s dangers he wished to save his starving countrymen. This unbiased critical biography, based on twenty years of research, erases years of scholarly neglect, piecing together fragments of truth and falsehood.. For the first time, his persistent use of light satire is defined and recognized. He wrote multi-subgeneric novels with one dominant mode, a form typical in Victorian fiction. These are analyzed and explained, with brief summaries of his five long novels (now out of print), and illustrated in detail. The study includes a complete modern collected bibliography, a summary of all known criticism from his times, with detailed appendices, which includes an index.1995 0-7734-9003-5
Beyond the Improvisation/Memorisation Divide
This study argues that the performers who developed the commedia dell'arte in the 16th century did so by applying oral storytelling techniques to a multi-performer genre. The book argues that the predominant documentary evidence of this theatre phenomenon, the eight hundred extant scenarios, can be examined as specific literate elements in a theatrical production process which can be delineated in relation to other well-documented oral processes. Extensive analysis of scenarios from different collections demonstrates how the scenarios are structured for, and might have functioned in, performance: they provided a series of clear schematic units for which the performers could develop specific formulaic material able to be quickly and fluently strung together to create a seamless whole. Further analysis distills the scenarios into a finite list of categorized performance units to create a notional compendium of all the sorts of schematic material for which the performers would have needed to generate formulaic utterances and actions, a sort of 'encyclopedia of the performable which influenced not only this genre but much subsequent theatre practice.2009 0-7734-4730-X
This work is an annotated collection of extracts from a wide variety of sources that illustrate Western thought on the subject of humour and laughter from Antiquity to Late Modernity. The selection of texts includes writings from more that 40 different authors, ranging from the most influential in humour studies (such as Plato, Aristotle, Cicero, Descartes, Hobbes, Hutcheson, Kant, Richter, Baudelaire, and Bergson) to others that are less frequently mentioned, such as Demetrius, the Church Fathers, Prynne, Barrow and Morris.