Le théâtre du Grand-Guignol et l’esthétique du féminicide by Rimpei Mano

“…But Eugène Héros and Léon Abric's La Veuve seems to defy this aesthetic by presenting a heroine sexually excited by the sight of death. This caricatured comedy, which introduces a reversal of sexual roles, is likely to reject the misogynistic ideology of the Grand-Guignol theatre.…”
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Préfigurations du lecteur dans la presse en ligne by Alexandra Saemmer

“…The core material for the study is a corpus of articles published on liberation.fr and lemonde.fr in 2014 about the cancellation of Dieudonné’s stand-up comedy show and the disclosure of President François Hollande and Julie Gayet’s secret relationship. …”
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Le mythe comme détour dans Twelfth Night by Cécile Mauré

“…Shakespeare plays with the different versions of the myth that he often blends with subtlety. For the sake of comedy, he dares to parody and demythologize Ovid’s story. …”
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Mel et sal. Suavité et sévérité de la voix dans Twelfth Night by François Laroque

“…In Twelfth Night, the characters’ voices, now acerbic, now suave, turn language into a real chamber of echoes when the sounds and songs of carnival, charivari, buffoonery and folly are alternately heard besides the sweet musical strains. Shakespeare’s comedy thus presents itself like an acoustic maze where identities and genres get blurred. …”
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Using counterfactuals to display facts – the case of satirical humor by Maslo Adi

“…Examples of political satire are selected from Comedy Central’s The Daily Show.…”
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From Chicago to Hollywood: the Metamorphosis of V.I. Warshawski by Nicole Décuré

“…The body becomes object (for the male gazer), the woman is minimized in her enterprises through ridicule or cheap, sometimes gross, comedy. Fortunately, the film turned out to be a commercial failure.…”
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Le désert des héros : récits de vies solitaires dans les séries américaines de fiction by Joseph Belletante

“…In a post-critic perspective, this article offers a portrait of human “states of mind” that will restitute the spectator his symbolic autonomy, through singular solitudes or the loneliness of a group as is shown by four television series that are no longer in production (Friends, The Sopranos, The West Wing and Ally McBeal) in order to allow a global interpretation and that correspond to the main genres of fiction broadcasted by the American network (comedy, drama, and dramedy).…”
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Women in Trouble: Much Ado About Nothing, Pride & Prejudice and Bridget Jones’s Diary by Franziska Quabeck

“…This is due to an inextricable bond between gender and comedy that targets the audience’s expectations of normative femininity. …”
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« Mon seul Shakespeare » by Jacques Nichet

“…To each measure of tragedy a measure of comedy is being added! All the horrible requirements of the tyrant are accepted by the false friar. …”
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Newman’s Poetry: The Heart of a Victorian Renaissance Project  by Dampi Somoko

“…This is particularly true of the poetic dream in The Dream of Gerontius, which borrows characteristics from both the anonymous Old English poem The Dream of the Rood and Dante’s Divine Comedy. This creative recourse to old literary and aesthetic sources as an inspiration is marked by porosity, hybridity, and subversion when the mutation of the character takes place in a gradual process from de-personification to kenosis. …”
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Colour as an Art of Illusion in John Lyly’s Campaspe (1584) by Armelle SABATIER

“…This conventional association of pictorial art with the art of rhetoric offers a glimpse of the complex discussion about colours that Lyly dramatised in his first comedy. This article aims at exploring the diverse meanings of colours in Campaspe in the light of Elizabethan perceptions of colours, focussing more particularly on the relation between colour and illusion. …”
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Coda: The War of Poetry: Duncan’s Heresies by Michael Heller

“…This essay focuses on Duncan’s Tribunals: Passages 31-35, originally published as a separate chapbook in 1970, and the prose surrounding it, such as the earlier “The Sweetness and Greatness of Dante’s Divine Comedy” of 1964, as a central focus of the struggle of Duncan’s war with and for form, the site of risk, undoing and resolution. …”
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La migración latinoamericana actual en el cine mexicano y argentino   by Paola García, Perla Petrich

“…In others there is a change of kind:  "drama" is left behind and they are catalogued as " dramatic comedies " and even romantic comedies or simply movies of great comedy.The main purpose of this article is  to expose these changes and their motivations.…”
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“All shadow and silence in it” (3.1.247-48): Reticence in Measure for Measure by Denis Lagae-Devoldere

“…The bed-trick, one of the play’s central episodes – in both senses of its plot-related importance and its significant structural position – may be construed as a powerful marker of the interplay between silence and discourse, redeployed in specific stage terms. Shakespeare’s last comedy may thus be seen as an exploitation and exploration of aposiopesis in all its varied structural, dramatic, linguistic, political or philosophical nuances or “measures.” …”
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A Wild Bunch: Older “Funny Girls” and the Small Screen by Franziska Röber

“…Not only have they increasingly featured older female leads at their centre, but comedy offers an arena for (older) women to be unruly and behave in ways that contradict stereotypes of ageing and femininity without being punished for doing so. …”
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Satirical Frame of Mind: Ken Kalfus’s A Disorder Peculiar to the Country and the Literary Engagement with 9/11 by Katherina Dodou

“…Prompted by debates on the role of comedy in the USA after 9/11, the essay explores the use of satire as one important narrative strategy that emerged in the subgenre of the American 9/11 novel. …”
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The functions of punning utterances in English and Chinese: a cross-cultural perspective by Agnieszka Solska

“…Though forming a tiny fraction of the utterances produced in these languages, they tend to stand out and can be encountered in diverse communicative settings, including poetry and prose, jokes and comedy routines, advertising slogans and book titles. …”
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Migraciones estéticas en el primer teatro modernizador argentino: Henri-René Lenormand - Roberto Arlt by Grisby Ogás Puga

“…With the resemanticization of the Lenormandian model and its superrealist and psychological elements, Arlt attempted to distance himself from the realist-naturalist, nativist-costumbrista aesthetic, in addition to the sainete and the sainete-influenced comedy. In this way he was able to transgress the national model with selective and productive incorporation of new poetics of the avantgarde through the rich aesthetic migrations that traversed the invisible borders of his theatre.…”
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SUPERNATURALISM AND MYSTICISM IN WILLIAM SHAKESPEARE’S PLAY HAMLET by Muharrani Nurmalasari, Ruly Adha

“…He produces two types of plays, namely comedy which usually talks about love and tragedy which talks about sadness. …”
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