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  1. The Comedy of Entropy
    Humour/Narrative/Reading
    Author: O'Neill, Patrick
    Published: 1990; ©1990
    Publisher:  University of Toronto Press, Toronto

    Entropic comedy is the phrase coined by Patrick O'Neill in this study to identify a particular mode of twentieth-century narrative that is not generally recognized. He describes it as the narrative expression of forms of decentred humour, or what... more

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    Entropic comedy is the phrase coined by Patrick O'Neill in this study to identify a particular mode of twentieth-century narrative that is not generally recognized. He describes it as the narrative expression of forms of decentred humour, or what might more loosely be called 'black humour.'O'Neill begins his investigation by examining the rise of an essentially new form of humour over the last three hundred years or so in the context of a rapid decay of confidence in traditional authoritative value systems. O'Neill analyses the resulting reorganization of the spectrum of humour, and examines th implications of this for the ways in which we read texts and the world we live in.He then turns from intellectual history to narratology and considers the relationship, in theoretical terms, of homour, play, and narrative as systems of discourse and the role of the reader as a textualizing agent.Finally, he considers some dozen twentieth-century narratives in French, German, and English (with occasional reference to other literatures) in the context of those historical and theoretical concerns. Authors of the texts analysed include Céline, Camus, Satre, and Robbe-Grillet in French; Heller, Beckett, Pynchon, Nabokov, and Joyce in English; Grass, Kafka, and Handke in German. The analyses proceed along lines suggested by structuralist, semiotic, and post-structuraist narrative and literary theory. From his analyses of these works O'Neill concludes they illustrate in narrative terms a mode of modern writing definable as entropic comedy, and he develops a taxonomy of the mode.

     
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    Source: Union catalogues
    Language: English
    Media type: Ebook
    Format: Online
    ISBN: 9781487586072
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    Series: Heritage
    Subjects: Narration (Rhetoric); Comic, The, in literature; Fiction; Comic, The, in literature.; Fiction.; Narration (Rhetoric).
    Scope: 1 Online-Ressource
  2. Serious Play
    Desire and Authority in the Poetry of Ovid, Chaucer, and Ariosto
    Author: Hanning, Robert
    Published: 2010; ©2010
    Publisher:  Columbia University Press, New York

    Comic poets are inspired best by the bittersweet nature of their art-the thrill of skewering the world's power elite while nevertheless being dependent on their support. Ovid, Chaucer, and Ariosto were extremely attuned to the dynamics of this... more

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    Comic poets are inspired best by the bittersweet nature of their art-the thrill of skewering the world's power elite while nevertheless being dependent on their support. Ovid, Chaucer, and Ariosto were extremely attuned to the dynamics of this relationship, with Ovid suffering most from his comedic missteps. Their audacity and acute insight are the very elements that make their work so appealing centuries after their subjects have stumbled off the stage.Through a careful and imaginative analysis of Ovid's amatory poetry, Chaucer's dream poems and excerpts from the Canterbury Tales, and Ariosto

     
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    Source: Union catalogues
    Language: English
    Media type: Ebook
    Format: Online
    ISBN: 9780231526395
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    Series: Leonard Hastings Schoff Lectures
    Subjects: Desire in literature; Authority in literature; Comic, The, in literature; Authority in literature.; Comic, The, in literature.; Desire in literature.; Literary Studies.; Literature in Diverse Languages.; Other Nations and Languages.
    Scope: 1 online resource (307 p)
  3. Jeux et enjeux du texte comique
    Stratégies discursives chez Alphonse Allais
    Author: Defays, Jean-Marc
    Published: 2011; ©1992
    Publisher:  De Gruyter, Berlin

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    Source: Union catalogues
    Language: French
    Media type: Ebook
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    ISBN: 9783110933536
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    RVK Categories: IG 5285
    Series: Beihefte zur Zeitschrift für romanische Philologie ; 243
    Subjects: Comic, The, in literature; Comic, The, in literature.; LITERARY CRITICISM / General
    Scope: Online-Ressource (VI, 268 S.)
  4. <<The>> English clown tradition from the Middle Ages to Shakespeare
    Author: Hornback, Robert
    Published: 2009
    Publisher:  Brewer, Woodbridge

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  5. Spielarten des Komischen
    Ernst Jandl und die Sprache
    Author: Uhrmacher, Anne
    Published: 2012; ©2007
    Publisher:  De Gruyter, Berlin

    Biographical note: Anne Uhrmacher, Universität Luxemburg. Ernst Jandl (1925–2000) is a spectacular phenomenon. For an avant-garde experimental lyric poet he achieved a completely unusual level of popularity. Poems such as ottos mops (‘fritz’s bitch’)... more

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    Biographical note: Anne Uhrmacher, Universität Luxemburg. Ernst Jandl (1925–2000) is a spectacular phenomenon. For an avant-garde experimental lyric poet he achieved a completely unusual level of popularity. Poems such as ottos mops (‘fritz’s bitch’) have long been in common currency. It is not the case, as is often argued, that laughing at Jandl’s poems is not a coincidental effect of hisunusual use of language. There are multiple varieties of humour which Jandl transforms anew in his language. Despite this, the comic aspects of Jandl’s work have hardly been researched. Anne Uhrmacher uses careful analysis to get to the bottom of his unparalleled effectiveness. Ernst Jandl (1925–2000) ist ein spektakulärer Fall. Für einen Lyriker der experimentellen Avantgarde hat er eine ganz und gar ungewöhnliche Popularität erreicht. Gedichte wie ottos mops sind längst Gemeingut. Anders als oft behauptet, ist das Lachen über Jandls Gedichte kein zufälliger Effekt der ungewohnten Sprachverwendung. Es sind vielfältige Spielarten des Komischen, die in Jandls Sprache neu umgesetztwerden. Trotzdem wurden die komischen Seiten von Jandls Werk bisher kaum erforscht. Die Studie geht seiner beispiellosen Wirksamkeit mit sorgfältigen Analysen auf den Grund.

     
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    Language: German
    Media type: Ebook
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    ISBN: 9783110975901
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    RVK Categories: GN 6712
    Series: Reihe Germanistische Linguistik ; 276
    Subjects: Comic, The, in literature; Comic, The, in literature.; LANGUAGE ARTS & DISCIPLINES / Linguistics / General
    Other subjects: Comedy; Humour; Language game
    Scope: Online-Ressource (VI, 244 S.)
  6. Komische Lyrik – Lyrische Komik
    über Verformungen einer formstrengen Gattung
    Author: Kemper, Hans-Georg
    Published: 2009; © 2009
    Publisher:  Max Niemeyer Verlag, Tübingen ; Walter de Gruyter GmbH Co.KG, s.l.

    In der ernsten Gattung Lyrik gelten komische Gedichte als ,lachhaft´, und minderwertig. Dagegen zeigt diese Studie, dass die Gattung sich über die Verdichtungen von Form, Stil und Sprache definiert. Komik entsteht dann aus den Verformungen solcher... more

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    In der ernsten Gattung Lyrik gelten komische Gedichte als ,lachhaft´, und minderwertig. Dagegen zeigt diese Studie, dass die Gattung sich über die Verdichtungen von Form, Stil und Sprache definiert. Komik entsteht dann aus den Verformungen solcher Verdichtung. Damit eröffnet sich an Beispielen von etwa 150 Autoren aus fünf Jahrhunderten ein eindrucksvolles Panorama lyrischer Komik, das von ,Volkes Stimme´, bis zu komisch-ernsten Mischformen (u. a. bei Goethe, Heine und Gernhardt) reicht. Doch auch die ernste Lyrik ist wegen überanstrengung ihrer Form komik-gefährdet. Lyrische Komik ist so ein Prüfstein des Ernstes und ein vergnügliches, zugleich ernst zu nehmendes Fundament der Gattung. The study refutes the prejudice that comic poems are inferior examples of the serious genre of lyric poetry. The comic deformations are actually produced by the very compression of the form and content of the serious poem, they come about as the result of the norms of the genre and exaggerations of fashions, styles and world-views, and in addition have an unwitting comic effect on later readers. This is even true of Paul Gerhardt´s sacred poems or Schiller´s love poetry. Masters of their art such as Gethe or Heine blend the serious and the comic and thus create a complex new type of genre.

     
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  7. On the Comic and Laughter
    Author: Propp, Vladimir
    Published: 2017; ©2009
    Publisher:  University of Toronto Press, Toronto

    An extensive investigation of the forms and functions of the comic, this lively and engaging English critical edition will be welcomed by those interested in laughter, comedy, folklore, Russian literature, and specific authors such as Gogol, Pushkin,... more

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    An extensive investigation of the forms and functions of the comic, this lively and engaging English critical edition will be welcomed by those interested in laughter, comedy, folklore, Russian literature, and specific authors such as Gogol, Pushkin, Chekhov, Rabelais, Molière, and Shakespeare. The direct, humorous, and provocative style of this work, which tackles the subject of humour with a vast array of vivid examples encountered on every page, will certainly appeal to the contemporary reader. Vladimir Propp takes various forms of laughter in literature and real life and addresses questions such as the comic of similarity, the comic of difference, parody, duping, incongruity, lying, ritual laughter, and carnival laughter. The author of the widely acclaimed Morphology of the Folktale has written an original, comprehensive, and exciting study on how humour works, and on everything you wanted to know about the genre, in a clear, approachable, and insightful manner.

     
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    Content information
    Source: Union catalogues
    Language: English
    Media type: Ebook
    Format: Online
    ISBN: 9781442697812
    Other identifier:
    Subjects: Laughter in literature; Comic, The, in literature; Humor in literature; Laughter in literature; Comic, The, in literature; Humor in literature; Comic, The, in literature.; Humor in literature.; Laughter in literature.; DISCOUNT-B.
    Scope: 1 Online-Ressource
    Notes:

    Frontmatter -- -- Contents -- -- Foreword -- -- 1 Methodology -- -- 2 Types of Laughter and Ridiculing Laughter as a Type -- -- 3 Those Who Laugh and Those Who Do Not -- -- 4 The Ridiculous in Nature -- -- 5 Preliminary Observations -- -- 6 The Physical Side of Humans -- -- 7 The Comic of Similarity -- -- 8 The Comic of Difference -- -- 9 Humans Disguised as Animals -- -- 10 Humans as Things -- -- 11 Ridiculing the Professions -- -- 12 Parody -- -- 13 Comic Exaggeration -- -- 14 Foiled Plans -- -- 15 Duping -- -- 16 Incongruity -- -- 17 Lying -- -- 18 The Verbal Devices of the Comic -- -- 19 Comic Characters -- -- 20 Role Exchange: ‘Much Ado About Nothing’ -- -- 21 Benign Laughter -- -- 22 Bitter and Cynical Laughter -- -- 23 Joyful Laughter -- -- 24 Ritual Laughter -- -- 25 Carnival Laughter -- -- 26 Conclusion, Results, and Further Thoughts -- -- 27 On Aesthetic Qualities -- -- Notes -- -- References
  8. Spielarten des Komischen
    Ernst Jandl und die Sprache
    Author: Uhrmacher, Anne
    Published: 2012; ©2007
    Publisher:  De Gruyter, Berlin

    Biographical note: Anne Uhrmacher, Universität Luxemburg. Ernst Jandl (1925–2000) is a spectacular phenomenon. For an avant-garde experimental lyric poet he achieved a completely unusual level of popularity. Poems such as ottos mops (‘fritz’s bitch’)... more

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    Biographical note: Anne Uhrmacher, Universität Luxemburg. Ernst Jandl (1925–2000) is a spectacular phenomenon. For an avant-garde experimental lyric poet he achieved a completely unusual level of popularity. Poems such as ottos mops (‘fritz’s bitch’) have long been in common currency. It is not the case, as is often argued, that laughing at Jandl’s poems is not a coincidental effect of hisunusual use of language. There are multiple varieties of humour which Jandl transforms anew in his language. Despite this, the comic aspects of Jandl’s work have hardly been researched. Anne Uhrmacher uses careful analysis to get to the bottom of his unparalleled effectiveness. Ernst Jandl (1925–2000) ist ein spektakulärer Fall. Für einen Lyriker der experimentellen Avantgarde hat er eine ganz und gar ungewöhnliche Popularität erreicht. Gedichte wie ottos mops sind längst Gemeingut. Anders als oft behauptet, ist das Lachen über Jandls Gedichte kein zufälliger Effekt der ungewohnten Sprachverwendung. Es sind vielfältige Spielarten des Komischen, die in Jandls Sprache neu umgesetztwerden. Trotzdem wurden die komischen Seiten von Jandls Werk bisher kaum erforscht. Die Studie geht seiner beispiellosen Wirksamkeit mit sorgfältigen Analysen auf den Grund.

     
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    Source: Union catalogues
    Language: German
    Media type: Ebook
    Format: Online
    ISBN: 9783110975901
    Other identifier:
    RVK Categories: GN 6712
    Series: Reihe Germanistische Linguistik ; 276
    Subjects: Comic, The, in literature; Comic, The, in literature.; LANGUAGE ARTS & DISCIPLINES / Linguistics / General
    Other subjects: Comedy; Humour; Language game
    Scope: Online-Ressource (VI, 244 S.)
  9. Komische Lyrik – Lyrische Komik
    über Verformungen einer formstrengen Gattung
    Author: Kemper, Hans-Georg
    Published: 2009; © 2009
    Publisher:  Max Niemeyer Verlag, Tübingen ; Walter de Gruyter GmbH Co.KG, s.l.

    In der ernsten Gattung Lyrik gelten komische Gedichte als ,lachhaft´, und minderwertig. Dagegen zeigt diese Studie, dass die Gattung sich über die Verdichtungen von Form, Stil und Sprache definiert. Komik entsteht dann aus den Verformungen solcher... more

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    In der ernsten Gattung Lyrik gelten komische Gedichte als ,lachhaft´, und minderwertig. Dagegen zeigt diese Studie, dass die Gattung sich über die Verdichtungen von Form, Stil und Sprache definiert. Komik entsteht dann aus den Verformungen solcher Verdichtung. Damit eröffnet sich an Beispielen von etwa 150 Autoren aus fünf Jahrhunderten ein eindrucksvolles Panorama lyrischer Komik, das von ,Volkes Stimme´, bis zu komisch-ernsten Mischformen (u. a. bei Goethe, Heine und Gernhardt) reicht. Doch auch die ernste Lyrik ist wegen überanstrengung ihrer Form komik-gefährdet. Lyrische Komik ist so ein Prüfstein des Ernstes und ein vergnügliches, zugleich ernst zu nehmendes Fundament der Gattung. The study refutes the prejudice that comic poems are inferior examples of the serious genre of lyric poetry. The comic deformations are actually produced by the very compression of the form and content of the serious poem, they come about as the result of the norms of the genre and exaggerations of fashions, styles and world-views, and in addition have an unwitting comic effect on later readers. This is even true of Paul Gerhardt´s sacred poems or Schiller´s love poetry. Masters of their art such as Gethe or Heine blend the serious and the comic and thus create a complex new type of genre.

     
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  10. Samuel Beckett
    laughing matters, comic timing
    Author: Salisbury, Laura
    Published: 2012
    Publisher:  Edinburgh Univ. Press, Edinburgh

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    Source: Union catalogues
    Language: English
    Media type: Book
    Format: Print
    ISBN: 9780748647484
    Subjects: Beckett, Samuel, 1906-1989--Criticism and interpretation.; Comic, The, in literature.
    Scope: VIII, 253 S., 24 cm
    Notes:

    Literaturverz. S. [235] - 246