DOCSLIB.ORG

Genre/Form Terms

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Genre/Form Terms 3-D films (Not Subd Geog) Actuality films Advertisements, Radio UF 3D films BT Short films USE Radio commercials Stereoscopic films Silent films Advertisements, Television Three-dimensional films Nonfiction films USE Television commercials BT Motion pictures RT Documentary films Advertising films 3-D topographic maps Newsreels USE Promotional films USE Relief models Actuality films Advertising television programs 3-D topographical maps USE Actualities (Motion pictures) USE Promotional television programs USE Relief models Adaptations, Film Advisory opinions 3D films USE Film adaptations USE Court decisions and opinions USE 3-D films Adaptations, Radio Aerial photographs 3D game-based animated films USE Radio adaptations This heading is used as a genre/form heading for USE Machinima films Adaptations, Television photographs taken from the air. Representations of cities or landscapes portrayed as if viewed from 3D game-based animated television programs USE Television adaptations above are entered under Aerial views. USE Machinima television programs Addresses, Congressional (Speeches) UF Photographs, Aerial 3D game-based films USE Legislative speeches BT Cartographic materials USE Machinima films Addresses, Legislative (Speeches) NT Photomaps 3D game-based television programs USE Legislative speeches Aerial views USE Machinima television programs Addresses, Radio This heading is used as a genre/form heading for 3D topographic maps USE Radio speeches representations of cities or landscapes portrayed as if USE Relief models Addresses, Television viewed from above. Photographs taken from the air 3D topographical maps USE Televised speeches are entered under Aerial photographs. USE Relief models Addresses (Motion pictures) UF Bird's-eye views Abstract animation films USE Filmed speeches Overhead views USE Abstract films Administrative agency decisions Views, Aerial Abstract films (Not Subd Geog) USE Administrative decisions Views, Bird's-eye This heading is used as a genre/form heading for Administrative agency regulations BT Cartographic materials nonrepresentational films that avoid narrative and USE Administrative regulations Aeronautical charts instead convey impressions and emotions by way of Administrative codes This heading is used as a genre/form heading for color, rhythm and movement. maps giving information intended for use in air UF Abstract animation films USE Administrative regulations navigation, such as compass rose, isogonic lines, Abstract live action films Administrative decisions location of landing fields, beacons, hazards to air This heading is used as a genre/form heading for navigation, etc. Concrete films decisions and opinions of administrative agencies. UF Navigational charts Nonobjective films Reported and unreported court decisions, opinions, Nonrepresentational films judgments, etc. are entered under Court decisions BT Maps BT Experimental films and opinions. NT Astronautical charts RT Animated films UF Administrative agency decisions Loran charts Abstract live action films Administrative opinions Plotting charts USE Abstract films Administrative rulings (Decisions) Affidavits Accords (Law) Agency decisions BT Legal instruments USE Treaties Decisions, Administrative Agency decisions Action-adventure films Opinions, Administrative USE Administrative decisions USE Action and adventure films Regulatory agency decisions Agreements, Cooperative Action and adventure films (Not Subd Geog) Rulings, Administrative (Decisions) USE Cooperative agreements UF Action-adventure films BT Law materials Agreements, Intergovernmental Action films RT Court decisions and opinions USE Intergovernmental agreements Action movies Administrative opinions Agreements, Interlocal Adventure and action films USE Administrative decisions USE Intergovernmental agreements Adventure films Administrative regulations Agreements, International Adventure movies UF Administrative agency regulations USE Treaties Angélique films [Former heading] Administrative codes Agreements, Union Bourne films [Former heading] Administrative rules (Regulations) USE Collective labor agreements Die Hard films [Former heading] Codes, Administrative Agreements (Contracts) Flash Gordon films [Former heading] Delegated legislation USE Contracts Indiana Jones films [Former heading] Instruments, Statutory Air checks, Radio James Bond films [Former heading] Legislation, Subordinate USE Radio airchecks Tarzan films [Former heading] Legislation, Subsidiary Air movies Terminator films [Former heading] Quasi-legislation USE Aviation films BT Motion pictures Regulations, Administrative Airchecks, Radio RT Swashbuckler films Rules, Administrative (Regulations) USE Radio airchecks NT Jungle films Rules and orders, Statutory Airplane films Martial arts films Statutory instruments USE Aviation films Action and adventure television programs Statutory rules and orders Alien films (Not Subd Geog) Subordinate legislation USE Science fiction films UF Action television programs Subsidiary legislation Alternate takes (Sound recordings) BT Law materials This heading is used as a genre/form heading for Adventure and action television programs recordings containing material that differs from the Adventure television programs RT Executive orders commonly issued material recorded at the same BT Television programs Statutes and codes session, or recordings containing multiple versions of NT Jungle television programs Administrative rules (Regulations) one or more recorded selections. Action films USE Administrative regulations UF Takes, Alternate (Sound recordings) USE Action and adventure films Administrative rulings (Decisions) BT Sound recordings Action films, Black USE Administrative decisions Amateur films (Not Subd Geog) USE Blaxploitation films Ads, Radio UF Home movies Action movies USE Radio commercials Home videos USE Action and adventure films Ads, Television Personal films Action television programs USE Television commercials BT Motion pictures USE Action and adventure television programs Adult films (Pornographic films) NT Fan films Acts, Legislative USE Pornographic films Amateur talent shows (Radio programs) USE Statutes and codes Adventure and action films USE Talent shows (Radio programs) Acts, Legislative session USE Action and adventure films Ambience (Sound recordings) USE Session laws Adventure and action television programs USE Ambient sounds Actualités (Motion pictures) USE Action and adventure television programs Ambient audio (Sound recordings) USE Actualities (Motion pictures) Adventure films USE Ambient sounds Actualities, Radio USE Action and adventure films Ambient sounds USE Radio actualities Adventure movies This heading is used as a genre/form heading for USE Action and adventure films recordings of sounds of the surrounding environment Actualities (Motion pictures) (Not Subd Geog) external to an audio system that are often recorded This heading is used as a genre/form heading for Adventure radio programs separately and mixed into other recordings to short, unedited, silent films, primarily from the period UF Radio adventure programs enhance live effect. of early cinema, that portray daily life or specific BT Radio programs events or occurrences as filmed by a camera in a UF Ambience (Sound recordings) fixed location without commentary. Adventure television programs UF Actualités (Motion pictures) USE Action and adventure television programs GF-1 Ambient sounds (Continued) Anthology films (Not Subd Geog) Postapocalyptic science fiction television Ambient audio (Sound recordings) This heading is used as a genre/form heading for programs Background sounds feature-length films made up of different episodes or Postapocalyptic television programs stories which are usually connected by a theme, BT Sound recordings event, location or original author, often having a BT Science fiction television programs Amendments, Constitutional wrap-around tale. Films that are composed of pre- Survival television programs USE Constitutional amendments existing published or unpublished films, or portions Appearance dockets Amendments, Legislative thereof, are entered under Compilation films. USE Dockets USE Statutes and codes UF Anthologies (Motion pictures) Arbitral and trial proceedings Amityville films Composite films USE Trial and arbitral proceedings USE Haunted house films Episode films Arbitration agreements, Commercial Horror films Episodic films USE Commercial arbitration agreements Amusement ride films (Not Subd Geog) Omnibus films Arbitration proceedings UF Ride films Portmanteau films USE Trial and arbitral proceedings Ride movies Sketch films Arbitration transcripts Thrill ride films BT Motion pictures USE Trial and arbitral proceedings BT Motion pictures Anthology radio programs Armillary spheres Andy Hardy films USE Radio anthologies BT Celestial globes USE Comedy films Anthology television programs (Not Subd Geog) Art, Courtroom Coming-of-age films This heading is used as a genre/form heading for USE Courtroom art television programs made up of different episodes or Angel films (Not Subd Geog) stories which are usually connected by a theme, Articles of association BT Fantasy films event, location or original author, often having a USE Charters and articles of incorporation Angélique films wrap-around tale. Television programs that are Articles of incorporation and charters USE Action and adventure films composed of pre-existing broadcast or unbroadcast USE Charters and articles of incorporation television programs, or portions thereof, are entered Historical
Load more

Recommended publications
  • The Importance of Being Earnest SEETHU BABY MANGALAM 2020-2021 the Importance of Being Earnest Comedy of Manners
    SUBJECT: BRITISH LITERATURE 19TH CENTURY TOPIC: The Importance of being Earnest SEETHU BABY MANGALAM 2020-2021 The Importance of being Earnest Comedy of Manners A Comedy of Manners is a play concerned with satirising society’s manners A manner is the method in which everyday duties are performed, conditions of society, or a way of speaking. It implies a polite and well-bred behaviour. Comedy of Manners is known as high comedy because it involves a sophisticated wit and talent in the writing of the script. In this sense it is both intellectual and very much the opposite of slapstick. Comedy of Manners In a Comedy of Manners however, there is often minimal physical action and the play may involve heavy use of dialogue. A Comedy of Manners usually employs an equal amount of both satire and farce resulting in a hilarious send-up of a particular social group. This was usually the middle to upper classes in society. The satire tended to focus on their materialistic nature, never-ending desire to gossip and hypocritical existence. Comedy of Manners The plot of such a comedy, usually concerned with an illicit love affair or similarly scandalous matter, is subordinate to the play’s brittle atmosphere, witty dialogue, and pungent commentary on human foibles. This genre is characterized by realism (art), social analysis and satire. These comedies held a mirror to the finer society of their age. These comedies are thus true pictures of the noble society of the age. This genre held a mirror to the high society of the Restoration Age.
    [Show full text]
  • ROMANTIC COMEDY Laughter and Culture Comedy, Repression, And
    ROMANTIC COMEDY Laughter and Culture Comedy, Repression, and Cultural Dreamwork Sigmund Freud jokes function a form of liberation; whatever a society represses frequently returns in the form of comedy to taunt it. This often occurs quite literally in the figure of the Shakespearean- like fool who tells a truth that others dare not utter. Several likely prospects on the street but does a double take and hurries away when one of this would-be brides turns out to be black and another Jewish. For the Marx Brothers, nothing is sacred. From Racism to Social Integration Immigrants: Chaplin to Depardieu Chaplin, whose “Tramp” character embodies an essential ambivalence toward society. Thus, Chaplin comedies often play against the genre’s expectations, striking a note of pathos. The film’s attack on phoniness and its celebration of authentic feeling moves it, however, toward Chaplinesque pathos rather than comic triumph: Depardieu’s rediscovered integrity forces him to abandon his initial, self-centered goal of getting citizenship by whatever means possible. Integration and the Regeneration of Society Hundreds of other comedies in which an individual struggles to enter society. Through the theme of comic integration, American screen comedies demonstrate the flexibility of our democracy social structure through its ability to absorb new members and integrate them into a new social order, whose unity and diversity exceeds that of the old order. It Happened One Night (1934) , for example, begins with a ‘”bad’ marriage between an heiress (Claudette Colbert) and a playboy- socialite. The final marriage is “right’ not only because Colbert and Gable really love one another but also because it heals the divisions within society, establishing a new order through the symbolic marriage of representatives of different social classes.
    [Show full text]
  • Comic Actors and Comic Acting on the 19Th Century American Stage
    "Those That Play Your Clowns:" Comic Actors and Comic Acting on the 19th Century American Stage Barnard Hewitt (Barnard Hewitt's Fellows Address was delivered at the ATA Convention in Chicago, August 16, 1977.) It seems to me that critics and historians of theatre have neglected comedians and the acting of comedy, and I ask myself why should this be so? Nearly everyone enjoys the acting of comedy. As the box office has regularly demonstrated, more people enjoy comedy than enjoy serious drama. I suspect that comedy and comedians are neglected because critics and scholars feel, no doubt unconsciously that because they arouse laughter rather than pity and fear, they don't deserve serious study. Whatever the reason for this neglect, it seems to me unjust. In choosing the subject for this paper, I thought I might do something to redress that injustice. I hoped to identify early styles of comic acting on our stage, discover their origins in England, note mutations caused by their new environment, and take note of their evolution into new styles. I don't need to tell you how difficult it is to reconstruct with confidence the acting style of any period before acting was recorded on film. One must depend on what can be learned about representative individuals: about the individual's background, early training and experience, principal roles, what he said about acting and about his roles, pictures of him in character, and reports by his contemporaries - critics and ordinary theatregoers - of what he did and how he spoke. First-hand descriptions of an actor's performance in one or more roles are far and away the most enlightening evidence, but nothing approaching Charles Clarke's detailed description of Edwin Booth's Hamlet is available for an American comic actor.1 Comedians have written little about their art.2 What evidence I found is scattered and ambiguous when it is not contradictory.
    [Show full text]
  • SILABUS MATA KULIAH : Intoduction to Drama
    UNIVERSITAS NEGERI YOGYAKARTA FAKULTAS BAHASA DAN SENI SILABUS MATA KULIAH : Intoduction to Drama FRM/FBS/19-00 Revisi : 00 31 Juli 2008 Hal. Fakultas : Bahasa dan Seni Program Studi : Bahasa dan Sastra Inggris Mata Kuliah & Kode : Introduction to Drama Kode: Jumlah SKS : Teori 2 SKS Praktik : - SKS Semester : 4 (EMPAT) Mata Kuliah Prasyarat & Kode : - Dosen : ______________________________________ I. DESCRIPTION This compulsory course provides students with the opportunity to explore the contents found in plays with emphasis laid on English and American works. To arrive at this objective, therefore, focuses on analysis on the elements of plays are given attention. Based on the topics to be covered in the whole semester, students are expected to produce individual text analysis of the texts provided. Students’ learning is assessed through mid-term and final paper, assignments, and class participation. II. AIMS At the end of this course students are expected to have acquired: - ability to analyze the elements of plays found in English and American works listed on the syllabus. - positive attitudes to literary interpretation III. PROGRESSION OF THE COURSE Minggu Pokok Bahasan Waktu Ke 1 Course Orientation 100 minutes 2 The Dramatic Vision: An overview 100 minutes Reading Material: The Show Must Go On (Richard A. Via) 1 3 How to Understand Drama 100 minutes Reading Material: Lucille Fletcher’s Sorry, Wrong Number 4 How to Analyze Drama 100 minutes 5 The Dramatic Nature, Language and Rhetoric 100 minutes Reading Material: Triffles (Susan Glaspell) 6-7 Characters 200 minutes Reading material: Florence (Alice Childress) 8 Mid-term Test 9 Action, Conflict, and Plot 100 minutes 10 Further Dimensions and Devices 100 minutes Reading Material: A Woman of No Importance by Oscar Wilde 11 Theme 100 minutes Raeding Material: A Raisin in the Sun (Lorraine Hunsberry) 12-13 Tragedy 200 minutes Reading Material: Arthur Miller’s Death of a Salesman 14-15 Comedy 200 minutes Reading material: A man who came to dinner 16 Final Test IV.
    [Show full text]
  • On the Supposed Superiority of Tragedy Over Comedy
    promoting access to White Rose research papers Universities of Leeds, Sheffield and York http://eprints.whiterose.ac.uk/ This is an author produced version of an article published in Ethical Perspectives: Journal of the European Ethics Network. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/75867/ Published article: Kieran, ML (2013) Tragedy versus Comedy: On Why Comedy is the Equal of Tragedy. Ethical Perspectives: Journal of the European Ethics Network, 20 (2). White Rose Research Online [email protected] 1 Tragedy versus Comedy: On Why Comedy is the Equal of Tragedy Matthew Kieran (University of Leeds) Abstract Tragedy is superior to comedy. This is the received view in much philosophical aesthetics, literary criticism and amongst many ordinary literary appreciators. The paper outlines three standard types of reasons (and the main variants therein) given to underwrite the conceptual nature of the superiority claim, focusing on narrative structure, audience response and moral or human significance respectively. It sketches some possible inter-relations amongst the types of reasons given and raises various methodological worries about how the argument for tragedy‟s superiority typically proceeds. The paper then outlines an original normative account of a type of literary or dramatic comedy – „high comedy‟ – which proves to be tragedy‟s equal. High comedies, it will be argued, have complex narrative structures shaping audience responses of fear and hope underwriting the moral significance of the comic mode. The received view is unjustified and appreciating why this is so casts light on the nature and value of (a certain kind of) comedy.
    [Show full text]
  • Types of Comedy for Drama Class
    Types of Comedy for Drama Class Studying comedy can be o ne of the most enjoyable units of work in any high school drama program. One of the advantages of comedy is there are so many sub genres of this form that can be isolated for investigation and performance at different levels of schooling. I find the more visual and physical forms of comedy are enjoyed by junior students, while understandably senior students often find literary and sophisticated forms of comedy rich and rewarding in their drama studies. One of the main challenges of studying comedy is that the end product should not just be entertaining, but humorous for the audience. Considering the audience is usually students’ peers in their own classroom, they often discover it is a fine line between being funny or embarrassed when the humour falls flat. So, creating a culture of acceptance in your drama classroom where students will not ridicule those who take a risk with their comedy performances, is essential. Below I have compiled a 30 different comedy forms with my own descriptions, suggested year levels at which to study them in drama, plus links to relevant published articles on The Drama Teacher. Low Comedy requires little skill in the scripting (if there is a script at all). Often a visual or highly physical work. Appropriate for all year levels. Slapstick is knockabout, physical humour. Media examples include The Three Stooges, The Marx Bros, Laurel and Hardy and Mr Bean. Appropriate for all year levels. Farce involves ridiculous, improbable situations. Media examples include Fawlty Towers and Monty Python.
    [Show full text]
  • Title: 'Dentity Crisis in - Christopher Durang Explains It All for You / COL Author: Durang, Christopher Publisher: Avon Books 1983
    Title: 'Dentity Crisis in - Christopher Durang Explains it all for You / COL Author: Durang, Christopher Publisher: Avon Books 1983 Description: roy comedy - dark - mental illness five characters two male; three female one act suggested for high school. "Black comedy attacking pretensions of psychiatry. Patient recovering from nervous breakdown finds her identity interchangeable with those of the doctor and her family." Title: 'Dentity Crisis in - Christopher Durang - 27 Short Plays / COL Author: Durang, Christopher Publisher: Smith and Kraus 1995 Description: roy comedy - dark - mental illness five characters two male; three female one act suggested for high school. "Black comedy attacking pretensions of psychiatry. Patient recovering from nervous breakdown finds her identity interchangeable with those of the doctor and her family." Title: 'Dentity Crisis in - Three Short Plays / COL Author: Durang, Christopher Publisher: Dramatists Play Service 1979 Description: roy comedy five characters two male; three female one act "Recovering from a nervous breakdown, Jane is nursed and nagged by her relentlessly cheerful mother, and confused by her oversexed brother - who keeps changing into her father, her grandfather and her mother's french lover. Eventually all (including Jane's psychiatrist, who undergoes a sex change operation and swaps places with his wife) change characters again and become Jane herself - leaving her with no identity at all and pointing up the near impossibility of self-identification in our uncertain times." Title: 1-900-Desperate in - Christopher Durang - 27 Short Plays / COL Author: Durang, Christopher Publisher: Smith and Kraus 1995 Description: roy comedy five characters one male; three female; one child one act Gretchen, nagged by her mother about her empty love life, calls a romance talk line and finds only other women and one young man named Scuzzy.
    [Show full text]
  • Genre/Form Terms for Library and Archival Materials (LCGFT)
    Library of Congress Genre/Form Terms for Library and Archival Materials LCGFT Moving Image Genre-Form Terms Updated through August 17, 2015 (List 8) Compiled by Scott M. Dutkiewicz, Cataloger, Metadata and Monographic Resources Team, Clemson University Libraries, [email protected]. Available at the OLAC website: http://olacinc.org/drupal/capc_files/GenreFormHeadingsList.pdf or in Classification Web, Genre/Form headings. Source: Cataloging Policy and Support Office, Summary of Decisions, Editorial Meeting Number 35- (August 29, 2007- present) Instruction sheet H 1913: http://www.loc.gov/catdir/cpso/h1913.pdf “Frequently asked questions about LC genre/form headings”: http://www.loc.gov/catdir/cpso/genre_form_faq.pdf A guide that provides scope notes for all the terms is available at: https://clemson.box.com/s/ncbj8ebo19i0zxhyujfob0l07dfyc1v7 Be aware that character and franchise genre/form terms were cancelled. See the PSD paper http://www.loc.gov/catdir/cpso/character_franchise_disposition_112211.pdf. Be aware that specific sports films and television terms were cancelled in List 6 (June 18, 2012). The instruction [Not Subd Geog] may not appear after each term. Genre/form terms do not subdivide geographically. If so, use coding to indicate local application. Changes in this issue New terms: Conspiracy films; Punk films; Kammerspiel films New scope: None New references to: Rock films; Western films Cancelled terms: none Genre-Form Terms 3-D films [Not Subd Geog] [gf2011026096] 455 UF Stereoscopic films 455 UF Three-dimensional films Abstract films [Not Subd Geog] [gf2011026004] 680 This heading is used as a genre/form heading for nonrepresentational films that avoid narrative and instead convey impressions and emotions by way of color, rhythm and movement.
    [Show full text]
  • Fielding's Dramatic Comedies: the Influence of Congreve and Moliere. William Arnett Uls Livan Jr Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 Fielding's Dramatic Comedies: the Influence of Congreve and Moliere. William Arnett ulS livan Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Sullivan, William Arnett rJ , "Fielding's Dramatic Comedies: the Influence of Congreve and Moliere." (1971). LSU Historical Dissertations and Theses. 2092. https://digitalcommons.lsu.edu/gradschool_disstheses/2092 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. | SULLIVAN) Jr., William Arnett, 19^2- FIELDING'S DRAMATIC COMEDIES: THE INFLUENCE OF CONGREVE AND MOLIERE. The Louisiana State University and Agricultural and Mechanical College, I Ph.D., 1971 I Language and Literature, general i [ University Microfilms, A XEROX Company, Ann Arbor, Michigan _ ____ _ .... _ ... ^ © 1971 WILLIAM ARNETT SULLIVAN, Jr. ALL RIGHTS RESERVED \v \ THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED Fielding's Dramatic Comedies: The Influence of Congreve and Moliere A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirement for the degree of Doctor of Philosophy in The Department of English by William Arnett Sullivan, Jr. B.A., Delta State College, 1965 M.A., Louisiana State University, 1963 August, 1971 EXAMINATION AND THESIS REPORT Candidate: William Arnett Sullivan, Jr.
    [Show full text]
  • Synopsis of the Comedy of Errors
    Synopsis of The Comedy of Errors geon, a merchant from Syracuse, is arrested and Econdemned to death for illegally entering Ephesus, a rival city. Brought before Solinus, the Duke of Ephesus, Egeon tells the tale of his misfortune. Many years before, Egeon’s wife Emilia gave birth to twin sons. At the same time, a lower•class woman gave birth to another pair of twin sons, whom Egeon bought to serve his twins. Sailing home, Egeon’s ship encountered a huge storm and Photo by Joan Marcus. wrecked. Egeon’s family tied themselves to opposite ends of a mast—Emilia grabbed their youngest twin and one servant boy, while Egeon took care of the eldest twin and the other servant. The mast split in half, and Egeon watched helplessly as his wife and son drifted away. A ship from Corinth rescued Emilia and a ship from Epidaurus rescued Egeon; Egeon’s ship was too slow to catch up with the other and the family was separated. Floyd King as Dromio and Philip Goodwin as Egeon returned to Syracuse and named the surviving Antipholus in The Shakespeare Theatre’s The boys after their lost brothers: his son, Antipholus, and the Comedy of Errors, 1993. servant, Dromio. When Antipholus turned 18, he took Dromio with him on a quest to find his lost brother. After five years, Egeon set out to find the son he had raised, Antipholus of Ephesus, still angry at his wife, sends his and so his travels brought him to Ephesus. The Duke, Dromio to buy a rope’s end to beat Adriana.
    [Show full text]
  • The Challenge of Comedy
    UNIT 4 The Challenge of Comedy Visual Prompt: What makes people laugh? Unit Overview If laughter is truly the best medicine, then a study of challenges would not be complete without a close examination of the unique elements of comedy. Overcoming challenges is often easier when we are able to look at the humorous side of life. However, finding humor is not always easy; it can be a challenge in itself. In this unit, you will learn how authors create humor and how they use humor to reveal a universal truth (theme). © 2018 College Board. All rights reserved. UNIT The Challenge of Comedy 4 GOALS: Contents • To analyze how a variety Activities: of authors create humor in print and nonprint texts 4.1 Previewing the Unit ................................................................ 258 • To analyze how humor is used to reveal a universal 4.2 Understanding the Complexity of Humor .................................259 truth (theme) Essay: “Made You Laugh,” by Marc Tyler Nobleman • To write a well-developed 4.3 Classifying Comedy ................................................................ 268 analysis of a humorous text Introducing the Strategy: RAFT • To analyze and perform a scene from a Shakespearean 4.4 Humorous Anecdotes ..............................................................272 comedy Essay: from “Brothers,” by Jon Scieszka • To understand verbals and Introducing the Strategy: TWIST how they are used in writing 4.5 Finding Truth in Comedy ......................................................... 280 Essay: “I’ve got a few pet peeves about sea creatures,” ACADEMIC VOCABULARY by Dave Barry juxtaposition derision 4.6 Satirical Humor ........................................................................285 denounce Online Article: “Underfunded Schools Forced to Cut Past Tense caricature from Language Programs,” from The Onion 4.7 Elements of Humor: Comic Characters and Caricatures .........
    [Show full text]
  • Joe Orton: a High Comedy of Bad Manners Joel Greenberg
    Spring 2001 133 Joe Orton: A High Comedy of Bad Manners Joel Greenberg Joe Orton, dubbed 'the Oscar Wilde of Welfare State Gentility' by critic Ronald Bryden, established a new kind of theatre with just three full-length plays and less than a half dozen one-act and radio plays. That so modest a body of work altered the possibilities of stage comedy is remarkable, but that the playwright spent only three years of his life, the last three years (1964-67), in his pursuit of and mastery over a unique voice is nothing short of extraordinary. Orton was an exemplary student, whose education came not from formal training but from his inexhaustible appetite for reading, listening to radio drama, attending theatre and eavesdropping on life on the street and in the gutter. No stranger to the works of the great Restoration playwrights or Oscar Wilde, Orton eschewed the new naturalism of writers like Osborne and Wesker, preferring the indirection and obfuscation of a comedy whose ultimate aim must be to resist the predictable in order to lacerate the audience's complacency. Between 1964, with his premiere production, Entertaining Mr. Shane, and 1967, when he completed the rehearsal draft of What the Butler Saw, Orton struck chords of outrage and delirious glee as he perfected his unique brand of high comedy which would, in his lifetime, come to be known as 'Ortonesque.' High Comedy begins with the playwrights of the British Restoration. What is most striking about Restoration comedy is its passionate reliance on language over action, a predilection of British theatre writing that served as Orton's chief inspiration.
    [Show full text]