n 1760, the French playwright Charles Palissot de Montenoy wrote Les Philosophes – a scandalous farcical comedy about a group of opportunistic self-styled philosophers. Les Philosophes emerged in the charged historical context of the pamphlet wars surrounding the publication of Diderot and d’Alembert’s Encyclopédie, and delivered an oblique but acerbic criticism of the intellectuals of the eighteenth-century Enlightenment, including the likes of Diderot and Rousseau.This book presents the first high-quality English translation of the play, including critical apparatus. The translation is based on Olivier Ferret’s edition, and renders the text into iambic pentameter to preserve the character of the original. Adaptations are further provided of Ferret’s introduction and notes.This masterful and highly accessible translation of Les Philosophes opens up this polemical text to a non-specialist audience. It will be a valuable resource to non-Francophone scholars and students working on the philosophical exchanges of the Enlightenment.Moreover, this translation – the result of a year-long project undertaken by Jessica Goodman with six of her undergraduate French students – expounds the value of collaboration between scholar and student, and, as such, provides a model for other language tutors embarking on translation projects with their students.

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With its explorations of sexual ambivalence, As You Like Itspeaks directly to the twenty-first century. Juliet Dusinberre demonstrates that Rosalind's authority in the play grows from new ideas about women and reveals that Shakespeare's heroine reinvents herself for every age. But the play is also deeply rooted in Elizabethan culture, and through it Shakespeare addresses some of the hotly debated issues of the period. Dusinberre's introduction begins with a brief analysis of the play to preface a vast and thorough exploration of characters, cultural context, sources, setting, staging, literary and legendary influences, themes of love, politics, and gender, and more. Images, illustrations, and a casting and doubling chart appear throughout the introduction and within the five appendices. The Arden Shakespearehas developed a reputation as the pre-eminent critical edition of Shakespeare for its exceptional scholarship, reflected in the thoroughness of each volume. An introduction comprehensively contextualizes the play, chronicling the history and culture that surrounded and influenced Shakespeare at the time of its writing and performance, and closely surveying critical approaches to the work. Detailed appendices address problems like dating and casting, and analyze the differing Quarto and Folio sources. A full commentary by one or more of the play's foremost contemporary scholars illuminates the text, glossing unfamiliar terms and drawing from an abundance of research and expertise to explain allusions and significant background information. Highly informative and accessible, Arden offers the fullest experience of Shakespeare available to a reader.

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An approach to understanding religion that draws on both humanities and natural science but rejects approaches that employ simple monisms and radical dualisms. In Beyond Heaven and Earth, Gabriel Levy argues that collective religious narratives and beliefs are part of nature; they are the basis for the formation of the narratives and beliefs of individuals. Religion grows out of the universe, but to make sense of it we have to recognize the paradox that the universe is both mental and material (or neither). We need both humanities and natural science approaches to study religion and religious meaning, Levy contends, but we must also recognize the limits of these approaches. First, we must make the dominant metaphysics that undergird the various disciplines of science and humanities more explicit, and second, we must reject those versions of metaphysics that maintain simple monisms and radical dualisms. Bringing Donald Davidson's philosophy—a form of pragmatism known as anomalous monism—to bear on religion, Levy offers a blueprint for one way that the humanities and natural sciences can have a mutually respectful dialogue. Levy argues that in order to understand religions we have to take their semantic content seriously. We need to rethink such basic concepts as narrative fiction, information, agency, creativity, technology, and intimacy. In the course of his argument, Levy considers the relation between two closely related semantics, fiction and religion, and outlines a new approach to information. He then applies his theory to discrete cases: ancient texts, modern media, and intimacy.

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This edited volume traces cultural appearances of disgust and investigates the varied forms and functions disgust takes and is given in both established and vernacular cultural practices. Contributors focus on the socio-cultural creation, consumption, reception, and experience of disgust, a visceral emotion whose cultural situatedness and circulation has historically been overlooked in academic scholarship. Chapters challenge and supplement the biological understanding of disgust as a danger reaction and as a base emotion evoked by the lower senses, touch, taste and smell, through a wealth of original case studies in which disgust is analyzed in its aesthetic qualities, and in its cultural and artistic appearances and uses, featuring visual and aural media. Because it is interdisciplinary, the book will be of interest to scholars in a wide range of fields, including visual studies, philosophy, aesthetics, sociology, history, literature, and musicology.

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Epidicus, a light-hearted comedy by Plautus about the machinations of a trickster slave and the inadequacies of his bumbling masters, appears here in both its original Latin and a sparkling new translation by Catherine Tracy. Epidicus, the cunning slave, is charged with finding his master’s illegitimate daughter and the secret girlfriend of his master’s son, but a comedy of mistaken identities and competing interests ensues. Amid the mayhem, Epidicus aims to win his freedom whilst risking some of the grislier punishments the Romans inflicted on their unfortunate slaves. This parallel edition in both Latin and English, with its accessible introduction and comprehensive notes, guides the reader through this popular Roman play. Tracy explores Epidicus’s roots in Greek drama, its rich social resonances for a Roman audience and its life in performance. She transforms Plautus' colloquial Latin poetry into lively modern English prose, illuminating the play’s many comedic references to the world of the Roman republic. This fine introduction to an enduring play will be of great use and enjoyment for undergraduate students of Latin drama and the general reader alike.

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Als Medien- und insbesondere Fernsehphänomen hat Harald Schmidt die TV-Kultur im deutschsprachigen Raum maßgeblich beeinflusst. So ist es der Harald Schmidt Show gelungen, halbironische Sprechweisen diskursfähig zu machen, die bis heute Teil populärkultureller Unterhaltung sind. Die Beiträgerinnen und Beiträger des Bandes untersuchen vor diesem Hintergrund die ›Methode Harald Schmidt‹, d.h. die Unterminierung gängiger Norm- und Wertvorstellungen bei gleichzeitiger Affirmation derselben. Die zentrale These lautet: Harald Schmidt hat grundlegende Voraussetzungen dafür geschaffen, im deutschsprachigen Raum eine weitestgehend neuartige Populärkultur ästhetisch und kulturpraktisch zu etablieren.

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Hokum!, the first book to take a comprehensive view of short-subject slapstick comedy in the early sound era, challenges the received wisdom that sound destroyed the slapstick tradition. Author Rob King explores the slapstick short’s Depression-era development against a backdrop of changes in film industry practice, comedic tastes, and moviegoing culture. Each chapter is grounded in case studies of comedians and comic teams, including the Three Stooges, Laurel and Hardy, and Robert Benchley. The book also examines how the past legacy of silent-era slapstick was subsequently reimagined as part of a nostalgic mythology of Hollywood’s youth.

“A valuable contribution to historiography in its ability to fill a hole in contemporary film history, increasing our understanding of both the (perceived) narrowed place of the comedy film short in the 1930s and the production and reception of slapstick comedy during that era.” KATHRYN FULLER-SEELEY, Professor of Radio-Television-Film, University of Texas at Austin

“With solid research, jewel-like prose, and plenty of wry humor, Rob King convincingly busts the myths and chases away the nostalgia for silent film comedy. Instead, we leave with a lasting sense of the form’s persistent cultural relevance.” DONALD CRAFTON, author of Shadow of a Mouse

“Hokum! moves deftly through questions of performance, aesthetics, technology, political economy, trade practices, and popular reception to convincingly unseat deeply entrenched understandings of the transition to sound and its impact on the history of screen comedy. This book is some of the smartest film history being written today.” MARK LYNN ANDERSON, author of Twilight of the Idols

ROB KING is Associate Professor at Columbia University’s School of the Arts and author of the award-winning The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture.

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Literature in Laboratory is a collection of 12 Pamphlets published by the Stanford Literary Lab under the direction of its founder, Franco Moretti, from 2011 to 2017. Already translated into several languages, Moretti’s Literary Lab Pamphlets have opened up a new chapter in the fields of literary and digital studies by creating a new way of critically approaching texts. Moretti and his group of co-authors focused their experiments on the basic element by which literature is composed – namely, the language –, and conducted deep investigations on existing databases and unassisted corpus aiming at defining both a theoretical method and a precise technical procedure to be applied to literature. The essays presented in this book approach literature ranging from micro-linguistic dimensions to the larger scales of literary forms and genres through a series of quantitative measurements in order to increase, improve and develop a more precise understanding of ltheory and history of iterature.

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What does laughter mean?" In this pioneering, idiosyncratic 1900 work, the great philosopher traveled where few before Freud dared to venture. Examining laughter from a psychological, social, and moral perspective, Bergson finds a source of our common humanity. He revised the work while supervising this English translation.

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Leagues of Laughter traces how a Soviet-created youth game changed as students’ nation states collapsed, competed and went to war. The game, called KVN (Klub veselykh i nakhodchivykh, or Club of the Cheerful and Clever), spread to universities across the USSR in the 1960s. It is scored by a panel of judges, like figure skating, but is played in school and university leagues, much like football. KVN rocketed to mass popularity, oddly, due to Soviet censorship. Young people could not protest in essays, speeches or fiction, but the referents of live jokes are hard to prove. KVN became a forum for Aesopian free speech. Soviet pedagogues promoted the game as a wholesome, intellectual youth activity, leading to a preponderance of ordinary schoolchildren gaining at least some experience writing jokes. Even after the fall of the USSR, millions of young people across the former Soviet bloc continued playing KVN in schools, universities and semi-pro leagues. Drawing on fieldwork in Russia and Ukraine between 2015 and 2019, Garey compares KVN traditions in two post-Soviet nation states at war. A series of interconnected, cross-border stories spanning 60 years illustrates how laughter and oppression entwined in the long cultural context of the war in Ukraine.

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Clowns and magistrates, nuns and prostitutes, saints and sinners-all > take the stage in Measure for Measure, Shakespeare's provocative > meditation on justice, law, and mercy. This modernized text, newly > edited from the First Folio (1623), provides a complete record of > textual notes and ample commentary. Concise and helpful appendices > discuss language and rhetoric, sources and adaptations, the play in > performance, and characters; they include a fully annotated > bibliography of print and Internet sources. An accompanying website > off ers additional resources: www.loyola.edu/measure. Through "Aperio > Series: Loyola Humane Texts," Loyola College in Maryland publishes > important and illuminating Humanities texts that have been edited, > annotated, and/or translated by the College's students in > collaboration with faculty. Students work with faculty to design and > publish the texts. The texts are intended for all readers but should > be of particular interest and use to college students and classes. > Contributors: Jedidiah D. Adams, Sarah P. Biernacki, Hannah W. > Blauvelt, Amanda H. Cammarata, Alison J. Koentje, Brian J. Olszak, > Daniel J. Procaccini, Paul J. Zajac. Edited by Robert S. Miola >

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In this brand new and exquisite 2021 translation of the classic Greek play, Epitrepontes, or 'The Arbitration', produced around 300 BC, Menander tackles the subject of a broken marriage. Charisios has left his young wife Pamphile over a suspected infidelity and moved in with his neighbour to drown his sorrows in wine and women, specifically, a spirited harp-girl called Habrotonon. The irate father-in-law will not tolerate this waste of a good dowry and demands of his daughter that she divorce. Bravely she holds out against her father's tirades and remains loyal to her husband. A complex and masterly dramatic sequence ensures that by the end 'all's well that ends well' - and Menander has struck a blow for equality of the sexes, for understanding over arrogance and pride. Menander's subtle and, ultimately, good-natured treatment of marital crisis and family tensions, themes which, despite the ancient dress of strict metre and theatrical convention, are strikingly modern, not to say timeless. A large portion of the Epitrepontes was recovered from oblivion in 1905. Now, this startling collection of the new fragments, complete with papyrological readings, translation and commentary, brings together the scholarly work from separate fragments to date, including the author's own edition and interpretation and a revised text of the play in entirety included as an appendix. The commentary aims to explain the printed text, to place Menander's language in the context of Athenian dramatic art and rhetoric, and to appreciate his subtle insights into the psychology of his characters, from the huffy father-in-law Smikrines to the 'little people' of the comedy, the slaves, each with their private agenda.

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This publication includes the translation of the Plautus’ Mercator, with an introduction and footnotes. In the introduction, the most relevant elements of the play are analyzed aiming at its theoretical contextualization: the question of structure, the father/son rivalry as the central theme of the comedy; the characters; the language and the style; the comic; and the problematic chronology of the play. The study is complemented with an actualized bibliography.

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This volume analyzes the ambivalence of comic representations of disability in fictional texts, films and stage performances, as well as the ambivalence of reception. It seeks to describe precisely what kind of comicality is used and what "communities of laughter" are created as a result: under what conditions does comedy turn into violence and cruelty, and liberating distancing into stigmatization and exclusion?

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What is the connection between the tempo of audiovisual images and the audience`s emotional experience? Examining the screwball comedy of the 30s and 40s, this study looks at comedy and hilarity as temporal structures. Exchanges of blows, puns, and verbal acrobatics are embedded in a complex composition of voices, facial expressions, gestures, and visual constructions. The audience experiences and enjoys combat and rage as an elegant pas de deux.

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What is the connection between the tempo of audiovisual images and the audience`s emotional experience? Examining the screwball comedy of the 30s and 40s, this study looks at comedy and hilarity as temporal structures. Exchanges of blows, puns, and verbal acrobatics are embedded in a complex composition of voices, facial expressions, gestures, and visual constructions. The audience experiences and enjoys combat and rage as an elegant pas de deux.

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Wie ist die zeitliche Gestaltung audiovisueller Bilder mit den verschiedenen Modi des Zuschauergefühls verbunden? Am Gegenstand der Screwball Comedy wird diese Frage erörtert: Die Filme des klassischen Hollywood-Genres der 1930er und 1940er präsentieren rasante Gespräche, Schlagabtausch, Wortwitz und Sprachakrobatik einer Paarinteraktion. Komik und Heiterkeit werden in erster Linie dadurch gestaltet, wie Gesten, Mimiken, Stimmen und Redeäußerungen zeitlich in das filmische Bild eingebettet sind. Vor diesem Hintergrund wird erörtert, welcher grundsätzliche Zusammenhang zwischen Bewegungsqualitäten und Affektivität besteht bzw. wie die zeitliche Gestaltung audiovisueller Bilder mit den verschiedenen Modi des Zuschauergefühls verbunden ist. In den Screwball Comedies ist das Empfinden oftmals kontrastiv-komisch gestaltet: Interaktionen von Streit und Wut werden als eleganter Tanz einer Paarbewegung wahrnehmbar. Durch diese Perspektive wird das Verhältnis von Sprachäußerung, Schauspiel und Filmbild sehr grundsätzlich befragt. Das heitere Zuschauergenießen ist weniger an narrative Handlungen gebunden als an ästhetisch-expressive Orchestrierungen, Taktungen und verkörperte Bedeutungen.

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Turkish German comedy culture and the lived realities of Turkish Muslims in Germany Comedy entertainment is a powerful arena for serious public engagement with questions of German national identity and Turkish German migration. The German majority society and its largest labour migrant community have been asking for decades what it means to be German and what it means for Turkish Germans, Muslims of the second and third generations, to call Germany their home. Benjamin Nickl examines through the social pragmatics of humour the dynamics that underpin these questions in the still-evolving popular culture space of German mainstream humour in the 21st century. The first book-length study on the topic to combine close readings of film, television, literary and online comedy, and transnational culture studies, Turkish German Muslims and Comedy Entertainment presents the argument that Turkish German humour has moved from margin to mainstream by intervening in cultural incompatibility and Islamophobia discourse.

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This volume contains some of the contributions discussed during the Workshop «Luogo è in Inferno ...». Viaggio a Malebolge (December 5th, 2016) held at the Pontaniana Academy of Naples.The book, introduced by Margherita De Blasi, includes two essays of a general order, on Malebolge as a whole (Pinto, Cappelli) and three essays (Celotto, Varela-Portas, Fenzi) dealing with single canti (in particular, XVIII and XXI- XXIII) and related with exegetical problems. The authors have had the opportunity to take advantage of a wide, open editorial space, without any conditioning of "character numbers", neither of themes nor of critical postures. With this approach, the book may aspire to offer some progress in research or some wide-ranging suggestions – just remember the important proposals on the function and the meaning of the figure of Gerion, offered by Pinto; the interpretations of the fabula of the Frog and the Mouse, both doctrinally refined even if strongly divergent, advanced by Varela-Portas and Fenzi; the deepening of the concept and the extent of the Sinata linguae played by Celotto, as well as the reflection on the "bestiality" of reason when it is addressed to the evil proposed by Cappelli. The Malebolge affair, in short, now more than ever, with its political-civil sins, with its pressing denunciation of the public hypocrisy of the ruling classes (the social level of the group is very high) still has much to say, not only on the level of critical historical reconstruction, but on that of current questions, without the theme of involving the present and comparing it by questioning the Ancient Age.

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