Xenophon is described as being a military man, as opposed to an intellectual one. He fought with the Spartans and also under Persian king Cyrus, and was even exiled from Athens for doing so (Dakyns)
In comedies, performances were lewd; tragedies were not. The title of the play comes from the chorus, which is rendered as "personified clouds," (Navia 38)
When Christiana steps outside and wonders why so many westerners are there are why there are advertisements for western products (like Coke), her son and his pal Denis (working at a store that sells satellite systems) conjure up fake newscasts that tell the opposite story from what is really happening -- that the West is falling apart and people are flocking to East Germany. As Roger Ebert noted, the movie is "…filled with references and in-jokes we do not quite understand…but the central idea travels well" (Ebert, 2004)
What Barber calls "the whole moral superstructure of Elizabethan society," prevented these games from spilling out into the street, however, and caused them to be diverted into the safer space of the theater, where temporary social inversions could be contained through dramatic narrative. (Barber, 17) For instance, before abuse might be hurled at actual individuals, then in the outdoors "Summer Lord Game" a stuffed animal intended to represent a real, local lord might be mocked and abused, and finally in the Elizabethian theater, the social critique could be removed and contained even more, from the will and play of the common people
She writes, "Without tongues or breath, the two kissed / and vowed to protect each other forever. Without factories / or human children, Barbie and Ken were all each other had left" (Duhamel 23)
Humans do. Therefore, comedy is something that is "strictly human" (Bergson 3)
I found the movie a long, unfunny slog through an impenetrable plot. Kids might like it. Real little kids" (Ebert)
Deborah Griggs writes that Bergson's notion of comedy applies not only to slapstick or physical humor, but [to] intellectual or emotional rigidity or momentum [as well]: a character who is so fixed on a goal that he blinded to oncoming disaster or is merely unable to stop his momentum in time to avoid the crash; or a character who is so preoccupied with an idea that she does not see that which is obvious to everyone else. (Griggs) One's laughter at another's misfortune does not mean that one is making a judgment upon that person, but that he is recognizing certain defects, as a caricaturist will highlight certain elements of a person's face or features or actions or method of thinking
Ace Ventura Comedy and the Pet Detective Bergson and what it means to laugh Henri Bergson dissects the reasons why comedy works and what it means to be funny in his "classic statement of the principles of humor" (Kelly, Young)
In fact, the latter can be determined by the former. Body and name are associated with the issue of identity as the actor assumes a new role by lending his body to the new identity created by the literary text (Fischer-Lichte: 5)
Any definition or general understanding of tragedy as a whole depends first and foremost on an understanding of Greek tragedy in particular." (Silk: 3) From Ancient to modern scholars one of the few constants in their area of study has been Greek tragedy
Greek comedies were rediscovered during the Renaissance, the point of origin of comedy as we know it today. Furthermore, the Renaissance brought two major developments to the comedy: the commedia dell'arte, and plot developments and defined archetypal characters (Storey: 407)
The playwright must know himself first. Self-knowledge, plus deep reflection on reactions to life and diversity are hung on a structure, the basic 5-part structure derived from the Greeks, natural and user-friendly guidelines from Greek playwrights centuries ago, and used by Shakespeare himself (Burkert 88)
The only real difference between a tragedy and comedy, Freytag pointed out, is that the hero is better off in the end of a comedy, and worse off in a tragedy, than they were in the beginning (McManus 1998). Day after day we seek an answer to the ageless question Aris proposed in Ethics: How should a human being lead his life?" Critic Kenneth Burke tells us that stories are equipment for living (McKee 11)
Some say the sections become a triangle with the two top sides made up of the rising action and the falling action. The three points of the triangle thus are the Exposition or beginning, with rising action between it and the Climax, with falling action between the climax and the End (or resolution or denouement) (McManus 1998)
David Worrall writes that the basic structure of British drama between 1773 and 1832, during the Romantic Period, was determined by plays put on in 'patent' theatres: Covent Garden and Drury Lane, and by the Lord Chamberlain, who censored them through the Examiner of Plays. Putting politics into plays without censor, while using parody was a skill developed during this period (Worrall 219)
for the first time, a character's ordeal causes him to face the fact of mystery, the darkness of self and the darkness of gods." (Berlin, p
it protects its fragile love story in the midst of cynicism and compromise." (Ebert, 1990) Path to War, like Oedipus Rex, is a pure tragedy based on circumstances and errors in judgment whereas Pretty Woman is a film that is a comedy because its light heartedness and innocence completely overshadow its tragic characteristics
124-129) In fact, Shakespeare's incorporation of the grave digging scene raises the inference that perhaps the playwright deliberately inserted the scene and dialogue in order to use the phenomenon of death to mock human kind's conflicts in life, which is a central theme of the tragedy. If there is any merit in this inference, it is then also rather ironical that Hamlet is often regarded as one of Shakespeare's greatest tragedies because it is timeless in its preoccupation with the dilemmas and the uncertainties that are at the heart of life (Hibbard, p
pointedly reminded that although Johnson was certainly advised, the decisions ultimately rested on his shoulders alone." (Janis, 2003) If Path to War epitomizes tragedy, the film, Pretty Woman represents the genre of comedy