Short Shakespeare! the Comedy of Errors 2020
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Non-Serious Text Types, Comic Discourse, Humour, Puns, Language Play, Limericks, Punning and Joking Leonhard Lipka
Non-serious Text Types, Comic Discourse, Humour, Puns, Language Play, Limericks, Punning and Joking Leonhard Lipka Text Types, in a broad sense, may be classified, according to the intention of the text- producer, as either serious or not. Another binary distinction is spoken vs. written texts, neutralized in the category discourse. Such classifications may be used in the composition of corpora, where humour is often neglected as a criterion. Basically, word play and joking must be analysed and described from a pragmatic perspective. Keywords: discourse, word-play, humour, pun, pragmatics 1. Text Types and Corpora 1.1 Humour in the ICE, LOB and elsewhere As described in Greenbaum (1991) the detailed composition of the International Corpus of English (ICE) does not contain the class of humorous texts at all. Fries, in his teaching, called jokes, headlines, captions, texts on greeting cards, prefaces, dedications ‘Minor Text Types’. He would also include limericks in this category (personal communication). Another binary classification possible would be if a text is invited or not. Invited texts are e.g. book reviews or contributions to festschrifts or to collections of articles and special volumes and numbers of journals (including online journals – responding to call for papers). In contrast, as shown in Lipka (1999: 90) the Lancaster-Oslo-Bergen (or LOB) Corpus contains only two instances and samples of humour. This observation demonstrates a clear neglect of such an important aspect of human communication. However, various books deal with the phenomenon and provide a wealth of illustrations of verbal play, puns and jokes such as Blake (2007), Chiaro (1992), Crystal (1998), Nash (1985) and Redfern (1984). -
The Comedy of Errors
By William Shakespeare | Directed by Jane Nichols All original material copyright © Seattle Shakespeare Company 2015 WELCOME Dear Educators, Welcome to Seattle Shakespeare Company's 25th Anniversary Season! This season's theme is "Bloodlines," and we're diving deep into plays about family — both the functional, and the conflicted. To start off, we're staging this fall's fast-paced version of The Comedy of Errors. This play is one of Shakespeare's earliest, and is a light comedy with a dark backdrop. The framing story of this play is of Egeon, who sought his son all the way to Ephesus and is sentenced to death because he is from Syracuse. It is on top of this dreary story that our effervescent comedy of mistaken identity is built. We will see a more mature version of the unexplained feud between Ephesus and Syracuse later this season, when we produce Shakespeare's beloved tragedy, Romeo and Juliet, with its most famous of family feuds between the Capulets and Montagues. In between these two shows, we will also be producing the stories of a war-weary mother trying to protect her children in Mother Courage and Her Children, a father who must avenge his destroyed family in Titus Andronicus, and a mother who needed to make tough choices to support her daughter in Mrs. Warren's Profession. Thank you for your continued support of Seattle Shakespeare Company, and we hope you enjoy The Comedy of Errors! Best, Michelle Burce Education Director www.seattleshakespeare.org/education 206-733-8228 ext. 251 or [email protected] PRODUCTION SPONSORS CONTENTS Plot Synopsis . -
The Cognitive Psychology of Humour in Written Puns
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 11-23-2018 10:00 AM The Cognitive Psychology of Humour in Written Puns James Boylan The University of Western Ontario Supervisor Katz, Albert The University of Western Ontario Graduate Program in Psychology A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © James Boylan 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Cognition and Perception Commons, and the Cognitive Psychology Commons Recommended Citation Boylan, James, "The Cognitive Psychology of Humour in Written Puns" (2018). Electronic Thesis and Dissertation Repository. 5947. https://ir.lib.uwo.ca/etd/5947 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract The primary purpose of this dissertation was to investigate how humour from written puns is produced. Prior models have emphasized that novel or surprising incongruities should be important for humour appreciation (Suls, 1972; Topolinski, 2014). In study 1, a new approach to operationalizing incongruity as semantic dissimilarity was developed and tested using Latent Semantic Analysis (Landauer, Foltz & Laham, 1998). “Latent semantic incongruity” was associated with humour ratings, but only for puns with low ratings of familiarity from a prior occasion or for those with a low level of aggressive content. Overall, there was also an unexpected strong positive association between familiarity and humour ratings. Study 2 demonstrated that humour ratings for puns decreases with repeated exposures. -
Screwball Syll
Webster University FLST 3160: Topics in Film Studies: Screwball Comedy Instructor: Dr. Diane Carson, Ph.D. Email: [email protected] COURSE DESCRIPTION: This course focuses on classic screwball comedies from the 1930s and 40s. Films studied include It Happened One Night, Bringing Up Baby, The Awful Truth, and The Lady Eve. Thematic as well as technical elements will be analyzed. Actors include Katharine Hepburn, Cary Grant, Clark Gable, and Barbara Stanwyck. Class involves lectures, discussions, written analysis, and in-class screenings. COURSE OBJECTIVES: The purpose of this course is to analyze and inform students about the screwball comedy genre. By the end of the semester, students should have: 1. An understanding of the basic elements of screwball comedies including important elements expressed cinematically in illustrative selections from noteworthy screwball comedy directors. 2. An ability to analyze music and sound, editing (montage), performance, camera movement and angle, composition (mise-en-scene), screenwriting and directing and to understand how these technical elements contribute to the screwball comedy film under scrutiny. 3. An ability to apply various approaches to comic film analysis, including consideration of aesthetic elements, sociocultural critiques, and psychoanalytic methodology. 4. An understanding of diverse directorial styles and the effect upon the viewer. 5. An ability to analyze different kinds of screwball comedies from the earliest example in 1934 through the genre’s development into the early 40s. 6. Acquaintance with several classic screwball comedies and what makes them unique. 7. An ability to think critically about responses to the screwball comedy genre and to have insight into the films under scrutiny. -
The Humorous Times Newsletter of the International Society for Humor Studies Winter/Spring 2016 Volume 29, Issue 1/2 Association News
The Humorous Times Newsletter of the International Society for Humor Studies Winter/Spring 2016 Volume 29, Issue 1/2 Association News 2016 ISHS Election Results In This Issue From Martin Lampert, ISHS Executive Secretary-Treasurer Association News ..................... 1 In Fall 2015, the Society held its biannual Board elections through ● 2016 ISHS Election Results the internet service, Qualtrics. With 138 returned ballots, Delia Chiaro (University of Bologna, Italy) received the majority of the ● New President’s Message votes cast for ISHS President. She will serve as ISHS President ● Past President’s Message through December 31, 2017. Sharon Lockyer (Brunel University, ● 2016 ISHS Conference UK) and Liisi Laineste (Estonian Literary Museum) were elected Upcoming Events ..................... 3 as ISHS Board Members-at-Large and will serve through ● 2016 Summer School December 2017. We thank Larry Ventis for his service as ISHS ● 2016 Taboo Conference President for 2014 and 2015 as well as Graeme Ritchie (University of Aberdeen, Scotland) and Moira Marsh (University of Indiana, Book Reviews ......................... 3 USA) for their service as ISHS Board Members from January ● The Birth of Comedy 2012 through December 2015. Our best wishes to the new ISHS ● How to Write Comedy President and Board members. ● Good Humor, Bad Taste ● Bon Mots Message from the New President ● Word Play and Metalinguistic/ From Delia Chiaro, University of Bologna, Italy Metadiscursive Reflection It is a great honour for me to have been elected to serve as the new ● Theater and Laughter president of ISHS for the next two years. I am well aware of the fact Recent Publications ................. 11 that I stand on the shoulders of several giants in humour research ● New and Recent Books who have preceded me in this position and I shall do my utmost to ● Recent Articles rise to the occasion. -
The Sources of Deaf Humor
The Sources of Deaf Humor An Exploration of the Reasons Deaf Humor Differs from That of Hearing People by Erika Cancio-Bello Ted F emald, Advisor Bachelor Thesis in the Department of Linguistics Swarthmore College Swarthmore, Pennsylvania 2015 1 Table of Contents Section Page Title Page ................................................................... 0 Table of Contents .......................................................... 1 I. Introduction ................................................................. 2 II. Language-Related Jokes .................................................. 3 1. Sign Language Puns .................................................... 3 2. Bilingual Puns .......................................................... 8 3. Modality Jokes ........................................................ 11 III. Deaf Experience Jokes ................................................... 16 4. Zap Stories (Jokes About Hearing People) ........................ 16 5. Deaf Culture ........................................................... 19 6. Visual Humor .......................................................... 23 7. Jokes Circulated Within the Community .......................... 25 IV. Conclusion ................................................................ 27 Bibliography ..............................................................29 2 INTRODUCTION As a student of linguistics, I have been exposed to information about the particulars of many different languages, extant and historical. Many times the purpose of these -
The English-Speaking Aristophanes and the Languages of Class Snobbery 1650-1914
Pre-print of Hall, E. in Aristophanes in Performance (Legenda 2005) The English-Speaking Aristophanes and the Languages of Class Snobbery 1650-1914 Edith Hall Introduction In previous chapters it has been seen that as early as the 1650s an Irishman could use Aristophanes to criticise English imperialism, while by the early 19th century the possibility was being explored in France of staging a topical adaptation of Aristophanes. In 1817, moreover, Eugene Scribe could base his vaudeville show Les Comices d’Athènes on Ecclesiazusae. Aristophanes became an important figure for German Romantics, including Hegel, after Friedrich von Schlegel had in 1794 published his fine essay on the aesthetic value of Greek comedy. There von Schlegel proposed that the Romantic ideals of Freedom and Joy (Freiheit, Freude) are integral to all art; since von Schlegel regarded comedy as containing them to the highest degree, for him it was the most democratic of all art forms. Aristophanic comedy made a fundamental contribution to his theory of a popular genre with emancipatory potential. One result of the philosophical interest in Aristophanes was that in the early decades of the 18th century, until the 1848 revolution, the German theatre itself felt the impact of the ancient comic writer: topical Lustspiele displayed interest in his plays, which provided a model for German poets longing for a political comedy, for example the remarkable satirical trilogy Napoleon by Friedrich Rückert (1815-18). This international context illuminates the experiences undergone by Aristophanic comedy in England, and what became known as Britain consequent upon the 1707 Act of Union. -
Melodic Speech Patterns in the Traditional Japanese Kyogen Theatre: a Strategy of Contrasting Structures
Spring 2001 97 Melodic Speech Patterns in the Traditional Japanese Kyogen Theatre: A Strategy of Contrasting Structures Zvika Serper To Nomura Mansaku, the greatest living kyogen actor Kyogen are comic short plays that serve as interludes between the serious no dramas, together comprising the nogaku, the Japanese traditional aristocratic theatre. They can be farce, satire, tragi-comedy, etc., dealing with the daily life of the lower and middle classes. Relationships between an ordinary man and his wife or lover, and those between a master and his servant are the most common themes in kyogen, in contrast with the more serious super-human appearances of ghosts, gods, and demons in no. Kyogen can be considered as the realistic antithesis of no not only on the dramatic level, but as regards the acting too.1 Vocal expression in kyogen, as in no, consists of both speech and singing, although the proportions differ completely in the two styles, with far more speech than singing in kyogen. Similar to the other traditional theatre arts in Japan, the art passes from father to sons or disciples, and the acting patterns accumulate and crystallize throughout the generations, including the melodic speech patterns. There is no notation of these patterns in the professional texts, and to date no analysis has been attempted of these traditional speech patterns. The kyogen speech served as one of the main sources for the speech of kabuki, the traditional popular theatre that developed later, and therefore it embodies the nucleus of the presentational speech art of all Japanese traditional theatres. In the present analysis of the principles and aesthetic of the kyogen speech patterns I hope to shed some light on these Japanese theatrical speech patterns and provide greater insight into their complexity. -
The Comedy of Errors and Free Shakespeare for Kids Are Made Possible by These Generous Sponsors and Supporters
HOME OF MARYLAND HOME OF MAGAZINE.COM MARYLAND The William G. Baker, Jr. Memorial Fund creator of the Baker Artist Awards | www.bakerartistawards.org MAGAZINE.COM A Sustaining Sponsor of Free Shakespeare for Kids MARYLAND The Comedy of Errors and Free Shakespeare for Kids are made possible by these generous sponsors and supporters. MAGAZINE.COM Chesapeake Shakespeare Company Ian Gallanar* Lesley Malin* Patrick Kilpatrick* Founding Artistic Director Managing Director Production Manager The Comedy of Errors By William Shakespeare Directed by Scott Alan Small* Technical Director: Daniel O’Brien* | Costume Designer: Heather C. Jackson | Stage Manager: Sarah Thompson Setting: Ephesus CAST AEGEON, a merchant from Syracuse .........................................................................................................................................Frank Mancino* SOLINUS, Duke of Ephesus .................................................................................................................................................................Kate Forton* ANTIPHOLUS OF SYRACUSE ................................................................................................................................................Matthew Ancarrow* DROMIO OF SYRACUSE, a servant ................................................................................................................................................Kelsey Painter* FIRST MERCHANT, SECOND MERCHANT ........................................................................................................................................ -
Bamcinématek Presents Stephen Chow: the King of Comedy, Oct 6—12
BAMcinématek presents Stephen Chow: The King of Comedy, Oct 6—12 “The reigning king of Hong Kong comedy.”—J. Hoberman Co-presented with the Hong Kong Economic and Trade Office in New York. The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Sep 8, 2014—From Monday, October 6 through Sunday, October 12, BAMcinématek presents Stephen Chow: The King of Comedy, an eight-film retrospective of the Hong Kong actor, writer, and director. Chow’s audaciously anarchic comedies combine surreal sight gags, non sequiturs, extensive pop culture quoting, and gravity-defying martial arts to sublimely silly effect. Endlessly inventive, the reigning king of Hong Kong mo lei tau (―nonsense comedy‖) yields unfiltered cinematic pleasure. Initially prominent as a children’s television star, Chow became synonymous with mo lei tau, a style of film comedy in which traditional melodramas and kung fu tales are peppered with rapid- fire, fourth-wall-breaking slapstick bits and corny puns. A bigger box-office draw in his homeland than Jackie Chan or Jet Li, Chow—who cites Spielberg and Kubrick, along with Jim Carrey, as influences—has used his clout in recent years to fashion himself as an auteur, scripting, editing, and directing a series of high-budget, homage-filled blockbusters. Typical of Chow’s earliest hits, Johnnie To’s Justice, My Foot! (1992—Oct 8) casts the actor as a fast-talking lawyer whose mouth gets him into trouble, and whose kung fu-fighting wife gets him out of it—one of many tough, smart heroines Chow uses as foils for his feckless alter egos. -
The Farce Element in Moliere
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 1-1926 The farce element in Moliere. Louise Diecks University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Diecks, Louise, "The farce element in Moliere." (1926). Electronic Theses and Dissertations. Paper 344. https://doi.org/10.18297/etd/344 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. UNIVERSITY OF LOUISVILLE THE FARCE ELEMENT IN MOLIERE A DISSERTATION ---' SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF ARTS AND SCIENCES IN PARTIAL FULFILLMENT OF THE --- REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF ROMANCE LANGUAGES. BY LOUISE DIECKS 1 9 2 6 I N T ROD U C T ION To gain a true appreciation of the works of any author, we must first be familiar with his race, his environment, and the period in which and of which he wrote. The Paris of the early seventeenth century was far different from the modern metropolis of to-day. It was the Paris of ill-paved, badly lighted streets whe te beggar and peasant starved and marquises rolled by in their emblazoned coaches, where d'Artagnan and the King's musketeers spread romance and challenged authority and where conspiracy brewed and criminals died upon the pillory. -
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