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"Conventional histories of comedy address the verbal comedy presented on stage or screen, or in broadcast media. During the twentieth century, however, there emerged another form of comedy--a comedy of doing rather than saying--that yielded prop-like conceptual objects and gestures of public theater. Termed 'concrete comedy' by internationally known artist and writer David Robbins, its origins date from around 1915, with the work of Karl Valentin, a German comedian of stage and screen who also made comic objects, and Marcel Duchamp, who used the art context as a site as for comedy. Concrete Comedy discusses visual artists (Manzoni, Warhol, Cattelan, Kippenberger, among many others) alongside entertainers (Albert Brooks, Andy Kaufman, Robert Benchley, Jack Benny), musicians (The Ramones, The Replacements, Frank Zappa), couturiers (from Chanel to Viktor & Rolf), architects (SITE Architects) and dozens of other comic imaginations. It offers both an alternative to conventional comedy and an alternative reading of certain abiding strategies in recent art."--Publisher's description.
A poet walks into a bar... In Lyric as Comedy, Calista McRae explores the unexpected comic opportunities within recent American poems about deeply personal, often embarrassing, experiences. Lyric poems, she finds, can be surprising sites of a shifting, unruly comedy, as seen in the work of John Berryman, Robert Lowell, A. R. Ammons, Terrance Hayes, Morgan Parker, Natalie Shapero, and Monica Youn. Lyric as Comedy draws out the ways in which key American poets have struggled with persistent expectations about what expressive poetry can and should do. McRae reveals how the modern lyric, rather than bestowing order on the poet's thoughts and emotions, can center on impropriety and confusion, formal breakage and linguistic unruliness, and self-observation and self-staging. The close readings in Lyric as Comedy also provide new insight into the theory and aesthetics of comedy, taking in the indirect, glancing comic affordances of poetry. In doing so, McRae captures varieties of humor that do not align with traditional terms, centering abjection and pleasure as facets of contemporary lyric practice.
In what ways is comedy subversive? This vital new book critically considers the importance of comedy in challenging and redefining our relations to race and racism through the lens of political correctness. By viewing comedy as both a constitutive feature of social interaction and as a necessary requirement in the appraisal of what is often deemed to be ‘politically correct’, this book provides an innovative and multidisciplinary approach to the study of comedy and popular culture. In doing so, it engages with the social and cultural tensions inherent to our understandings of political correctness, arguing that comedy can subversively redefine our approach to ‘PC Debates’, contestations surrounding free speech and the popular portrayal of political correctness in the media and society. Aided by the work of both Slavoj Žižek and Alenka Zupančič, this unique analysis adopts a psychoanalytic/philosophical framework to explore issues of race, racism and political correctness in the widely acclaimed BBC ‘mockumentary’, The Office (UK), as well as a variety of television comedies. Drawing from psychoanalysis, social psychology and philosophy, this book will be highly relevant for postgraduate students and academic researchers studying comedy, race/racism, multiculturalism, political correctness and television/film.
King Kong's back in New York...The Lone Ranger rides again...but first, a word from our sponsor...CHOCK FULL O' PRUNES(Now that's what I call FAST food...)All this and more from the mind of Scott Cherney, this hilarious collection of non-royalty comedy sketches, gags and blackouts are perfect for any comedy revue, vaudeville or variety show. Now THAT'S Funny! also provides a running commentary by the author with a brief history of the creation of each sketch.
The giant of Ljubljana marshals some of the greatest thinkers of our age in support of a dazzling re-evaluation of Jacques Lacan.
(Applause Books). This first-of-its kind collection includes a wide range of works, from an early examination and critique of American society after World War II to plays that reflect socio-political concerns that kept pace with historical events, like the sit-in demonstrations, the bus boycotts, black nationalism, and the women's liberation movement. A hybrid of comedic forms including satire, farce, comedy of manners, romantic comedy, dark comedy, and tragicomedy are presented through vernacular language, stand-up performance art, masks, broad humor, as well as the minstrel show. Essays, articles and interviews complement this critical edition.
In Comedy Incarnate, Noël Carroll surveys the characteristics of Buster Keaton’s unique visual style, to reveal the distinctive experience of watching Keaton’s films. Bold and provocative thesis written by one of America’s foremost film theorists Takes a unique look at the philosophies behind Keaton’s style Weighs visual elements over narrative form in the analysis of the Keaton’s work Provides a fresh vantage point for analysis of film and comedy itself
Law and Evil opens, expands and deepens our understanding of the phenomenon of evil by addressing the theoretical relationship between this phenomenon and law. Hannah Arendt said 'the problem of evil will be the fundamental question of post-war intellectual life in Europe'. This statement is, unfortunately, more than valid in the contemporary world: not only in the events of war, crimes against humanity, terror, repression, criminality, violence, torture, human trafficking, and so on; but also as evil is used rhetorically to condemn these acts, to categorise their perpetrators, and to justify forcible measures, both in international and domestic politics and law. But what is evil? Evil as a concept is too often taken as something that is self-evident, something that is always already defined. Taking Kant’s concept of radical evil as a starting point, this volume counters such a tendency. Bringing together philosophical, political, and psychoanalytical perspectives, in analysing both the concept and the phenomenon of evil, the contributors to this volume offer a rich and thoroughgoing analysis of the multifaceted phenomenon of evil and its relationship to law.
First published in 1997. Image and Concept: Mythopoetic Roots of Literature here - finally - available in English, is devoted to the origins of Greek tragedy. In it, Freidenberg develops the notion that it was the very transition from thinking based on mythological images to the kind of thinking that makes use of formal-logical concepts that resulted in the appearance of literature. With the transition from mythological thinking to con­ceptual thought, the content of mythological images became the texture of the new concepts. The inherited mythological forms now were reinterpreted conceptually: causalized, ethicized, generalized, abstracted. This reinterpretation, in turn, brought about poetic figurality. Folkloric material began to be differentiated from the mythological images of the past into various disciplines such as religion, phi­losophy, ethics, literature, and art. Yet, differentiated and reinterpreted as it was, the folkloric material remained formally preserved in poetic image, structure, and plot.
Karl Barth addressed all the major themes of dogmatic theology, and in so doing made his own distinctive contribution to each of the ongoing conversations that constitute that theology. This book presents important new 'conversations with Barth' by leading contemporary theologians and Barth scholars. Each contributor offers their own distinctive emphasis to bring to light the ways in which the depths of Barth's work may illuminate or be illuminated by the work of other prominent thinkers who preceded or followed him. The conversations they host between Barth and other philosophers and theologians raise critical questions in the reading and appreciation of Barth's thought, and explore a wide range of themes in dogmatic theology. This book not only adds to the comprehension of the riches of Barth's theology but also presents an important contribution to the ongoing conversations and debates alive in theology today. Contributors: Nicholas Lash, John Webster, Timothy Gorringe, Graham Ward, George Hunsinger, Ben Quash, Mike Higton, John McDowell, Eugene Rogers, Katherine Sonderegger, David Clough, David Ford.