Satire Comedy And Tragedy

The first four chapters of the book provide a close reading of the satiric, comic, and tragic action of Laurence Sterne’s novel in the context of criticism from the twentieth and twenty-first centuries. Chapter 5 provides a summary of Chapters 1–4, focusing on Sterne’s purpose in revising satiric plot structures and in blurring the lines between fiction and autobiography. Chapters 6–8 then examine Sterne’s themes from TristramShandythat inform his letters, sermons, and other fiction; Chapter 9 discusses the international reception of TristramShandy and argues for using writing-to-learn strategies to teach Sterne’s greatest novel to undergraduate and graduate students.

This transhistorical, international and interdisciplinary work will be of interest to students, theater professionals and Shakespeare scholars.

Fielding's play Pasquin (1736), subtitled A Dramatick Satire on the Times, is a famous satirical attack on pantomime, which was then in vogue on the English stage. It is one of a series of dangerously political plays that led directly to the passage of the Licensing Act of 1737. The play is set on a stage during a morning play rehearsal. The actors are actually rehearsing two plays, a comedy and a tragedy, before an overbearing director and some lookers-on.

Following the most solemn moments in recent American history, comedians have tested the limits of how soon is “too soon” to joke about tragedy. Comics confront the horrifying events and shocking moments that capture national attention and probe the acceptable, or “sayable,” boundaries of expression that shape our cultural memory. In Tragedy Plus Time, Philip Scepanski examines the role of humor, particularly televised comedy, in constructing and policing group identity and memory in the wake of large-scale events. Tragedy Plus Time is the first comprehensive work to investigate tragedy-driven comedy in the aftermaths of such traumas as the JFK assassination and 9/11, as well as during the administration of Donald Trump. Focusing on the mass publicization of television comedy, Scepanski considers issues of censorship and memory construction in the ways comedians negotiate emotions, politics, war, race, and Islamophobia. Amid the media frenzy and conflicting expressions of grief following a public tragedy, comedians provoke or risk controversy to grapple publicly with national traumas that all Americans are trying to understand for themselves.

This book is a powerful tool for understanding fiction and for transforming creative writing and taking it to new levels of clarity, energy and effectiveness. Learn what a story really is and what it is actually doing to and for readers, how all successful fiction follows universal patterns to attract and grip readers, the magnetic power that draws readers into a work of fiction even before the introduction of any character, what the thing called a 'character' actually is, and the secrets of how to rapidly build a convincing one that attracts readers, the things called 'plots', what they are and how they are actually made (rather than how you might suppose they are made). Find out about the writing model which, if followed, will create a machine generating unimaginable numbers of readers and heightened reader satisfaction for you, based on some of the most successful pieces of literature in the English-speaking world.

Genre—the articulation of "kind"—is one of the oldest and most continuous subjects of theoretical and critical commentary. Yet from Romanticism to postmodernism, the concept of genre has been punched with so many holes that today it hardly seems graspable, let alone viable. By combining theory with dialectical literary histories of three significantly different genres—tragedy, satire, and the essay—John Snyder reconstructs genre as the figural deployment of symbolic power. One purpose of this approach is to reconcile the recent dismantling of representational and classificatory genres with the incipient notion in post-Althusser Marxism that genre is the crucial mediation between history and aesthetics. Snyder extends certain implications of Aristotle, Benjamin, Bakhtin, Foucault, and Serres. He also offers the first antisystem yet comprehensive genre theory to serve as a fully distinct alternate to Frye's formalist and Genette's structuralist schemes. Finally, Snyder's theory of genre as power opens a way to a fundamentally new theory of literature itself: that aesthetic language deployed as power organizes itself as generic intervention. Three historically dynamic configurations establish the range of all possible genres—tragedy as power politically deployed as mimesis, satire as power rationally deployed as rhetoric, and the essay as power textually deployed as constative rhetoric. Specific analyses developing this important new theory cover a broad spectrum of literature, from classical to contemporary. Other genres, different media, and a variety of subgenres and modes political and religious—all acquire fresh significance from the elaborations of Snyder's three selected genres.

Celebrity, with its neon glow and selfie pout, strikes us as hypermodern. But the famous and infamous have been thrilling, titillating, and outraging us for much longer than we might realise. Whether it was the scandalous Lord Byron, whose poetry sent female fans into an erotic frenzy; or the cheetah-owning, coffin-sleeping, one-legged French actress Sarah Bernhardt, who launched a violent feud with her former best friend; or Edmund Kean, the dazzling Shakespearean actor whose monstrous ego and terrible alcoholism saw him nearly murdered by his own audience - the list of stars whose careers burned bright before the Age of Television is extensive and thrillingly varied. Celebrities could be heroes or villains; warriors or murderers; brilliant talents, or fraudsters with a flair for fibbing; trendsetters, wilful provocateurs, or tragic victims marketed as freaks of nature. Some craved fame while others had it forced upon them. A few found fame as small children, some had to wait decades to get their break. But uniting them all is the shared origin point: since the early 1700s, celebrity has been one of the most emphatic driving forces in popular culture; it is a lurid cousin to Ancient Greek ideas of glorious and notorious reputation, and its emergence helped to shape public attitudes to ethics, national identity, religious faith, wealth, sexuality, and gender roles. In this ambitious history, that spans the Bronze Age to the coming of Hollywood's Golden Age, Greg Jenner assembles a vibrant cast of over 125 actors, singers, dancers, sportspeople, freaks, demigods, ruffians, and more, in search of celebrity's historical roots. He reveals why celebrity burst into life in the early eighteenth century, how it differs to ancient ideas of fame, the techniques through which it was acquired, how it was maintained, the effect it had on public tastes, and the psychological burden stardom could place on those in the glaring limelight.