...). Zajdman, Anat 1995 “Humorous Face-Threatening Acts: Humor as Strategy,” Journal of Pragmatics 23 : 323 -39. Humor Mechanisms in Film Comedy: Incongruity and Superiority Jeroen Vandaele CETRA, Leuven Abstract In humor studies, incongruity and superiority are traditionally regarded...

... in/and narrative. In the philosophical and psychoanalytic study The Odd One In (2008), Zupančič suggests that comedies involving unhappiness deserve more attention than they have received. The idea that comedies are compatible with unhappiness is interesting, yet Zupančič overlooks the central mechanisms behind...

... such as Jenji Kohan (creator of Orange Is the New Black ), Joey Soloway (creator of Transparent ), Amy Sherman-Palladino (creator of The Marvelous Mrs. Maisel ), Tiffany Haddish (creator of the comedy special Black Mitzvah ), and Natasha Lyonne (cocreator of Russian Doll ), who have also incorporated...

... in which there is no centralized control and in which chance often plays a major role (tragedies, comedies, most novels and films). I argue that the principal reason for the incompatibility of emergent behavior with narrative understanding is its massive distribution of causal agents—a complexity...

...Anne Ulrich This article aims to shed light on the relation between multimodality and mediality in television. Taking the US TV comedy show Last Week Tonight with John Oliver (HBO, 2014–) as an example, it argues that, by mixing a variety of “modal ensembles” (Gunther Kress), the show succeeds...

... in terms of “pleasure” or “happy ending.” Part 2 of this essay will argue that such intentionalist analysis is more basic than the psychoanalytic concepts that Alenka Zupančič (2008) brings to bear on comedy. Also, the intentionalist framework will be contrasted there with Salvatore Attardo's (2001...

... was sought by every budding writer—and for would-be dramatists, his literary power was underwritten by the fact that he was also director of Denmark’s Theatre Royal, where records show that his own vaudeville musical comedies attracted the largest audience of any single playwright...

... narrative conceptions of the goals and foreseeable outcomes of the Revolution (comedy to romance to tragedy, following Frye’s model) drove the changing revolutionary rhet- oric. See Duff 1994 and De Bruyn 1996, 2004 on how genres framed the Revolution debate. 5. Monika Fludernik (2005) notes...

... and the Inns of Court Revels (Brookfield, VT:Ashgate). Evans, Bertrand 1960 Shakespeare's Comedies (Oxford: Oxford University Press). Felperin, Howard 1985 Beyond Deconstruction: The Uses and Abuses of Literary Theory (Oxford:Clarendon Press). Fowler, Alastair 1982 Kinds of Literature...

... tissue damage, is placed by Wall on this malleable mind-body continuum. Of even more relevance to Bakhtin’s thinking in the 1930s and 1940s, however, are studies of the relation between pain and the comic. In his chap- ter on ‘‘The Pain of Comedy’’ in The Culture of Pain, David Morris (1991: 81...

.../Male ‘Desire’ in Tragedy, Comedy, and Tragi-comedy,” in Erotic Politics: Desire on the Renaissance Stage , edited by Zimmerman Susan , 127 – 49 ( New York : Routledge ). 1999 The Acoustic World of Early Modern England: Attending to the O-Factor ( Chicago : University of Chicago...

... , saintvitus.com/Pirates/Songs/Pirates_of_the_Caribbean.script.html . Rubin Martin 1999 Thrillers ( Cambridge : Cambridge University Press ). Shaham Inbar 2000 “ Screwball Comedy and Normative Systems in Hollywood: The Rhetoric of Screwball Comedy vis-à-vis the Realist Narrative Code...

... and twentieth centuries. In 2009, he founded the Research Network Fictionality. Jeroen Vandaele is associate professor of Spanish at the University of Oslo. He has written on the poetics of humor (e.g., “Humor Mechanisms in Film Comedy: Incon- gruity and Superiority”) and on the politics of humor...

... and counterfactu- ality in narrative fiction, is in preparation for publication. She is currently at work on projects on diasporic narratives in postcolonial English literatures and on British television comedy. David Herman, editor of the Frontiers of Narrative book series based at the University...

...)Location of Meaning: Selected Papers of the Cetra Research Seminar and is guest editor of a forthcoming spe- cial issue of The Translator on humor translation (scheduled for publication in He is writing a thesis for a Ph.D. on the reception of foreign film comedy in Fran- coist Spain. Robert Rawdon...

... allegorical works—Dante’s Divine Comedy and William Langland’s Piers Plowman. The former is con- sidered from three perspectives: the fourfold (or four-­level) conception of meaning that Dante presents in his famous letter to Can Grande, the view of allegory as a “veil,” and Erich Auerbach’s concept...

... of classical works, dur- ing the French twelfth-­century Renaissance. Next, the discussion turns to two major and historically influential medieval allegorical works—Dante’s Divine Comedy and William Langland’s Piers Plowman. The former is con- sidered from three perspectives: the fourfold (or four...

... and allegorical readings, especially of classical works, dur- ing the French twelfth-­century Renaissance. Next, the discussion turns to two major and historically influential medieval allegorical works—Dante’s Divine Comedy and William Langland’s Piers Plowman. The former is con- sidered from three...

... first is Paul Simpson’s ‘‘Odd Talk’’ which attempts to define a phenomenon that is not referable to any ready-made concept: he explains the absurd quality common to the ‘‘the- ater of the absurd’’ and to comedy sketches such as those of Monty Python by tracing the quality to certain kinds...

... of the Crossways ridicule the sentimental reader’s affective attachments to the domestic comedy, yet also encourage complicity with the very sentimentalism they deride” (18). Jones points out that much recent criticism (and one could go back a century to Marxism and Freudianism) is “sensational...