Reader in comedy: an anthology of theory and criticism
Saved in:
| Other Authors: | , |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
London ; Oxford ; New York ; New Delhi ; Sydney
Bloomsbury
2017
|
| Edition: | first published |
| Series: | Methuen drama
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Klappentext |
| Physical Description: | x, 375 Seiten |
| ISBN: | 9781474247887 9781474247894 |
Staff View
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| adam_text | Contents
Acknowledgements xi
General Introduction і
1 Antiquity and the Middle Ages 17
Introduction 17
Texts 33
Ancient Views of Comedy 33
1. Plato, Philebus (360 все) ‘The Basis of Comedy is Malice’ 33
2. Aristotle on the Origins and Function of Comedy 35
a. Poetics (350 все) 35
b. ‘On the Qualities of Character that are Moderate’ from Nicomachean
Ethics (350 все) 37
c. Tractatus Coislinianus (350 все) 37
3. Horace, ‘Remarks on Comedy’ from Epistles, Satires (40-10 or 9 все) 39
4. Quintilian, Institutio oratoria (ce 95) 41
5. Evanthius, ‘On Drama (c. ce 350) 43
6. Donatus, ‘On Comedy’ (c. ce 350) 44
Medieval Views of Comedy 45
7. Hrotsvita of Gandersheim, ‘Prologue to the Comedies’ (c. ce 935-972) 45
8. Dante Alighieri, De Vulgarі Eloquentia (On Eloquence in the Vernacular)
(1302-1305) 46
9. John of Garland, Dante Alighieri, John Lydgate, ‘Definitions of Comedy’ 47
a. John of Garland, On the arts of prose, meter and rhythm (1234) 47
b. Dante Alighieri, Letter to Can Grande della Scala (1319) 47
c. John Lydgate, Troy Book (1513) 48
viii
Contents
10* John of Salisbury, Honorius of Autun, Liutprand of Cremona, ‘Attitudes to
the Comic Theater’ 48
a. John of Salisbury, Policraticus (1159) 48
b. Honorius of Autun, Elucidarium (1098) 48
c. Liutprand of Cremona, Antapodosis (949) 48
2 The Renaissance 49
Introduction 49
Texts 64
1. Erasmus, Collected Works of Erasmus (1512) 64
2. Gian Giorgio Trissino, ‘Division VI: Comedy’, from Poëtica (1529) 67
3* Sir Thomas Elyot, ‘XII: The second and third decay of learning’ from The
bake named the Gouernour / Deuised by Thomas Elyot knight (1531) 75
4. Nicholas Udall, Prologue to Ralph Roister Doister (1538) 77
5. Thomas Wilson, ‘Of Delighting the Hearers and Stirring Them to Laughter’,
from The Arte of Rhetorique (1560) 78
6. George Gascoigne, Prologue to The Glasse of Governement (1575) 81
7. Stephen Gosson, The School of Abuse: Containing a Pleasant Invective
Against Poets, Pipers, Players, Jesters, etc. (1579) 82
8. Sir Philip Sidney, An Apology for Poetry, ‘Comedy’, ‘Tragicomedy’, ‘The
Nature of Laughter’ from The Defence ofPoesie (1595) 82
9. Ben Jonson, Every Man Out of his Humour (1599) 84
10. Battista Guarini, Compendium of Tragicomic Poetry (1601) 86
3 Restoration to Romanticism 93
Introduction 93
Texts 109
1. Samuel Butler, Characters and Passages from Notebooks (c. 1650) 109
2. Molière, Preface to Tartuffe (1667) 114
3. William Congreve, Dedication to The Double-Dealer (1693) 118
4. John Dryden, Of Dramatiek Poesie, an Essay (1668) 120
5. Aphra Behn, ‘Epistle to the Reader’, from The Dutch Lover (1673) 124
6. John Dryden, ‘A Discourse concerning the Original and Progress of Satire’
(1693) 127
7. Jeremy Collier, A Short View of the Immorality and Profaneness of the English
Stage (1698) 132
Contents
IX
8. Anthony Ashley Cooper, third Earl of Shaftesbury, ‘The Freedom of Wit
and Humour, from Sensus Communis: An Essay on the Freedom of Wit and
Humour (1709) 134
9. Richard Blackmore, Essay upon Wit (1716) 136
10. Henry Fielding, selections from the Preface to Joseph Andrews (1742) 146
11. Samuel Johnson, ‘The Difficulty of Defining Comedy’, The Rambler
(1751) 150
12. Oliver Goldsmith, ‘A Comparison between Laughing and Sentimental
Comedy’ (1773) 151
13. Immanuel Kant, ‘Comparison of the Aesthetic Value of the Various Fine
Arts, from Critique of Judgment (1790) 154
14. Jean Paul Richter, ‘On the Ridiculous’ and ‘The Comic in Drama’ (1804) 158
15. William Hazlitt, ‘On Wit and Humour’ (1819) 166
16. Charles Lamb, ‘On the Artificial Comedy of the Last Century’ (1822) 171
4 The Industrial Age 179
Introduction 179
Texts 193
1. Søren Kierkegaard, ‘The Reality of Suffering (Humor);’ ‘Humor as an
Incognito for Religiosity;’ ‘Humor ֊ The Religiosity of Hidden Inwardness’,
from Concluding Unscientific Postscript (1846) 193
2. William Makepeace Thackeray, The English Humourists of the Eighteenth
Century (1853) 200
3. Charles Baudelaire, ‘On the Essence of Laughter’ (1855) 201
4. George Meredith, An Essay on Comedy and the Uses of the Comic Spirit
(1897) 207
5. George Bernard Shaw,‘Meredith on Comedy’(1897) 216
6. Mark Twain, ‘How to Tell a Story’ (1897) 218
7. Henri Bergson, ‘Laughter’ (1901) 221
8. Sigmund Freud, ‘The Tendencies of Wit’ and ‘Wit and the Various Forms of
the Comic,’ from Wit and Its Relation to the Unconscious (1905) 228
5 The Twentieth and Early Twenty-First Century 237
Introduction 237
Texts 255
1. Luigi Pirandello, On Humor (1908, 1920) 255
X
Contents
2. Virginia Woolf, ‘Pure English’ (1920) 261
3. Constance Rourke, American Humor: A Study of the National Character
(1931) 263
4. Kenneth Burke, ‘Comic Correctives’, from Attitudes Toward History
(1937) 265
5. Susanne Langer, ‘The Comic Rhythm’, from Feeling and Form (1953) 270
6. Georges Bataille, ‘Un-Knowing: Laughter and Tears’ (1953) 275
7. Northrop Frye, ‘Comic Fictional Modes’, from Anatomy of Criticism: Four
Essays ( 1965) 286
8. Jacques Derrida, ‘From Restricted to General Economy: A Hegelianism
without Reserve’, from Writing and Difference (1967) 294
9. Mikhail Bakhtin, ‘Rabelais in the History of Laughter’, from Rabelais and His
World ( 1965) 298
10. René Girard, ‘Perilous Balance: a Comic Hypothesis’ (1972) 306
11. Gerald Mast, ‘Comic Films—Categories and Definitions’, from The Comic
Mind: Comedy and the Movies (1973) 319
12. Stanley Cavell, Pursuits of Happiness: The Hollywood Comedy of Remarriage
(1981) 322
13. Mahadev L. Apte, ‘Sexual Inequality in Humor, from Humor and Laughter:
An Anthropological Approach (1984) 325
14. Linda Hutcheon, A Theory of Parody (1985) 337
15. Henry Jenkins, ‘Agee, Mast, and the Classical Tradition’ and ‘Early Sound
Comedy and the Vaudeville Aesthetic’, from What Made Pistachio Nuts?:
Early Sound Comedy and the Vaudeville Aesthetic (1992) 341
16. Simon Critchley, On Humour (2002) 343
17. Glenda R. Carpio, Black Humor in the Fictions of Slavery (2008) 345
18. Michael North, Machine-Age Comedy (2009) 348
19. Ruth Wisse, No Joke: Making Jewish Humor (2013) 355
20. Magda Romanska, ‘Disability in Tragic and Comic Frame’ (2015) 358
Permissions Acknowledgements 363
Index 369
This unique anthology presents a selection of over seventy of the most important
historical essays on comedy. Ranging from antiquity to the present, the readings
are divided into historical periods and arranged chronologically with substantive
introductions. Across its span it traces the development of comic theory, highlighting
the relationships between comedy, politics, economics, philosophy, religion and
other arts and genres. Students of literature, rhetoric, theatre and film will find this
collection an invaluable and accessible guide to writing from Plato and Aristotle
through to the twenty-first century, in which special attention has been paid to
texts since the start of the twentieth century.
Reader in Comedy is arranged in five sections, each featuring an introduction
providing concise and informed historical and theoretical frameworks for the texts
from the period:
Antiquity and the Middle Ages
The Renaissance
Restoration to Romanticism
The Industrial Age
The Twentieth and Early Twenty-First Centuries
■ j ■
Among the many authors included are: Plato, Aristotle, Horace, Donatus, Dante
Alighieri, Erasmus, Sir Thomas Elyot, Thomas Wilson, Sir Philip Sidney, Ben
Jonson, Battista Guarini, Molière, William Congreve, Aphra Behn, Henry Fielding,
Samuel Johnson, Oliver Goldsmith, Jean Paul Richter, Charles Lamb, Søren
Kierkegaard, Charles Baudelaire, Mark Twain, Henri Bergson, Virginia Woolf,
Constance Rourke, Susanne Langer, Georges Bataille, Northrop Frye, Jacques
Derrida, Linda Hutcheon, Simon Critchley, Ruth Wisse and Michael North.
As the selection demonstrates, from Plato and Aristotle to Henri Bergson and
Sigmund Freud, comedy has attracted the attention of serious thinkers. Bringing
together diverse theories of comedy from across the ages, the Reader reveals that, far
from being peripheral, comedy speaks to the most pragmatic aspects of human life.
Magda Romanska is Associate Professor of Theatre Studies and Dramaturgy at
Emerson College, USA, and Visiting Associate Professor in Dramaturgy and
Dramatic Criticism at the Yale School of Drama, USA.
Alan Ackerman is a Professor of English at the University of Toronto, Canada.
DRAMA PERFORMANCE STUDIES
Cover image: Detail from Stanczyk during a ball at the court of Queen Bona in the face of the loss of Smolensk by Jan
Mateyko, 1862. Courtesy of the Warsaw National Museum, Poland
ISBN 978-1-4742-4788-7
9 781474 247887
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Also available
from Bloomsbury
www.bloomsbury.com
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