Select Fragments of Greek Comedy S. Douglas Olson. OXFORD Broken Laughter Select Fragments of Greek Comedy Edited by S. Douglas Olson BROKEN LAUGHTER. Front Cover.
Author: S. Douglas Olson
Publisher: OUP Oxford
Category: Literary Collections
A collection of over 200 of the most interesting and important fragments of Greek comedy, accompanied by a commentary; an extensive introduction discussing the history of comic genre; a series of appendixes on the individual poets, the inscriptional evidence, and the like; and a complete translation of the fragments. Individual sections illustrate the earliest Greek comedy from Syracuse; the characteristic features of Athenian `Old', `Middle', and `New Comedy'; the comic presentation of politicians, philosophers, and women; the comic reception of other poetry; and many aspects of daily life, including dining and symposia.
Author: Sonja Madeleine TannerPublish On: 2017-11-14
Broken Laughter. Oxford: Oxford University Press, 3007. Otto, Walter F. Dionysus: Myth and Cult. Translated by Robert B. Palmer. Bloomington: Indiana University Press, 1965. Patterson, Richard. “The Platonic Art of Comedy and Tragedy.
Author: Sonja Madeleine Tanner
Publisher: State University of New York Press
Counters the long-standing, solemn interpretation of Plato’s dialogues with one centered on the philosophical and pedagogical significance of Socrates as a comic figure. Plato was described as a boor and it was said that he never laughed out loud. Yet his dialogues abound with puns, jokes, and humor. Sonja Madeleine Tanner argues that in Plato’s dialogues Socrates plays a comical hero who draws heavily from the tradition of comedy in ancient Greece, but also reforms laughter to be applicable to all persons and truly shaming to none. Socrates introduces a form of self-reflective laughter that encourages, rather than stifles, philosophical inquiry. Laughter in the dialogues—both explicit and implied—suggests a view of human nature as incongruous with ourselves, simultaneously falling short of, and superseding, our own capacities. What emerges is a picture of human nature that bears a striking resemblance to Socrates’ own, laughable depiction, one inspired by Dionysus, but one that remains ultimately intractable. The book analyzes specific instances of laughter and the comical from the Apology, Laches, Charmides, Cratylus, Euthydemus, and the Symposium to support this, and to further elucidate the philosophical consequences of recognizing Plato’s laughter. Sonja Madeleine Tanner is Associate Professor of Philosophy at the University of Colorado, Colorado Springs, and the author of In Praise of Plato’s Poetic Imagination.
Broken Laughter: Select Fragments of Greek Comedy. Oxford: Oxford University Press. Olson, S. D. 2010. “Comedy, Politics and Society.” In G. Dobrov (ed.), Brill's Companion to the Study of Greek Comedy, 35–69. Leiden: Brill.
Author: Anna Peterson
Publisher: Oxford University Press
This book examines the impact that Athenian Old Comedy had on Greek writers of the imperial era. It is generally acknowledged that imperial-era Greeks responded to Athenian Old Comedy in one of two ways: either as a treasure trove of Atticisms or as a genre defined by and repudiated for its aggressive humor. Worthy of further consideration, however, is the degree to which both approaches, and particularly the latter one that relegated Old Comedy to the fringes of the literary canon, led authors to engage with the ironic and self-reflexive humor of Aristophanes, Eupolis and Cratinus. Authors ranging from serious moralizers (Plutarch and Aelius Aristides) to comic writers in their own right (Lucian, Alciphron) to other figures not often associated with Old Comedy (Libanius) adopted aspects of the genre to negotiate power struggles, facilitate literary and sophistic rivalries, and as a model for autobiographical writing. To varying degrees, these writers wove recognizable features of the genre (e.g. the parabasis, its agonistic language, the stage biographies of the individual poets) into their writings. The image of Old Comedy that emerges from this time is that of a genre in transition. It was, on the one hand, with the exception of Aristophanes' extant plays, on the verge of being almost completely lost; on the other hand, its reputation and several of its most characteristic elements were being renegotiated and reinvented.
Suppressed or broken laughter . Crow . A triumphant shout . Fit of laughter . Continued laughter which overpowers one for the time being . Flush . The color which overspreads the face in time of exultation . Giggle .
... Broken Laughter: Select Fragments of Greek Comedy (Oxford: Oxford University Press). Ornaghi, M. (2006), 'Note di onomastica comica: Cratino (POxy IV 663; PCG Cratinus Fr. 342; Fr. 502)', Quaderni del Dipartimento di filologia ...
Publisher: Bloomsbury Publishing
Category: Literary Criticism
No Laughing Matter is a wide-ranging collection of new studies of the comic theatre of Athens, from its origins until the 340s BCE. Fifteen international scholars employ an array of approaches and methodologies that will appeal to Classics and Theatre scholars while still remaining accessible to students. By including discussions of fragmentary authors alongside Aristophanes, the collection provides a broad understanding of the richness of Athenian comedy. The collection showcases the best of the new scholarship on Old and Middle Comedy, using the most up-to-date texts and tools. No Laughing Matter has been prepared in tribute to Professor Ian Storey of Trent University (Peterborough, Ontario), whose work on Athenian comedy will continue to shape scholarship for many years to come.
Grown-up people are amateurs in laughter; babies are the real thing. If there is any exception to this rule, ... “And when the heart in the body is torn, Torn and bleeding and broken, We still have laughter beautiful and shrill.” HEINE.
Author: Max Eastman
Humor at its best is a somewhat fluid and transitory element, but most books about it are illustrated with hardened old jokes from the comic papers, or classic witticisms jerked out of their context. Max Eastman, in this work, avoids this catastrophe by quoting mainly from contemporary American humor. This is not an anthology in that selections have been made with a view to making a point rather than covering the field. The purpose of Eastman's fabled work is to make the reader laugh. Since his early school days, it has seemed to him that textbooks are wrongly written in that they are conducted in a way which ignores the natural operation of the mind. As a result, the opinion is universal, and under the circumstances a fact, that in order to learn anything you have to study. Since this introduction to humor is itself near to writing a textbook, Eastman uses the very text he constructs to illustrate the manner in which textbooks should be written. Examination and classification of the kinds of humorous experience upon the basis of a theory is a science. As such, this work offers a fair chance to illustrate a method of instruction. However, the distinction between a good joke and a bad one will not prevent the reader from making bad jokes nor enable one to make good ones. There is an artistic and playful element that simply cannot be taught. Enjoyment of Laughter presents a total view of the science of laughter and draws upon some of the great American humorists to do so.
in hand, I applied adhesive to the jagged edges and waited before pressing the broken piece in place. The ringing phone drew my attention. Placing the item on the counter, I picked up the receiver. After my conversation, I hung the ...
Author: Mary Hollingsworth
Publisher: Tyndale House Publishers, Inc.
Another devotional from the best-selling One Year line, The One Year Devotional of Joy and Laughter is specifically designed to brighten your day with laughter and joy. Joy is a special type of happiness. Each one of us needs to and should create habits in our lives that encourage us to look on the bright side of our circumstances and see the goodness in what God has given us. This devotional is a daily joy break—something all of us need.
CHAPTER XVIII HOW BY LAUGHTER THE CHEST IS SHAKEN AND WHENCE COMES THE BROKEN-UP VOICE Galen in his treatise on the movement of the muscles says that the chest by its weight alone, and without being pulled down, lowers, shrinks, ...
Author: Laurent Joubert
Publisher: University of Alabama Press
Translation from French of an essay on the nature and character of human laughter Until its translation, Treatise on Laughter remained accessible solely to readers of French for nearly four centuries. Joubert’s treatise offers a curious and stimulating experience: the sensation of moving through another epistemology. His theory was composed during a period of great turmoil in the history of France when the human race was becoming much more aware of the organic structure of man and nature. He begins with the immediately observable phenomena before penetrating into the more hidden aspects of one of the most admirable of human acts, amirables accions de l’homme, laughter. Joubert is keenly aware of the difficulty of his subject matter. Rather than discouraging him, however, this becomes an incentive, making the study of such a formidable mystery more enticing. His ideas can appear quaint, and many of his beliefs can make us smile. Yet our smile may well disappear when we wonder which of today’s accepted ideas might seem laughable half a millennium hence.
We'll talk more about laughter in the coming chapter on freedom; but for now, don't miss the gift of laughter brought ... “The sacrices of God are a broken spirit; a broken and contrite heart, O God, you will not despise” (Psalm 51:17).
Author: Steve Brown
Publisher: New Growth Press
What do we do with the sadness and the joy that living in a broken world brings to our lives? Most try to avoid the tears and focus on finding happiness, but does that really work? Denial might help to alleviate pain for the short run, but eventually lament must be faced and expressed. Learning to lament honestly to God is the surprising path to learning about real joy. When we experience or see tragedy, we expect tears, fear, and sometimes anger, and when we experience the good and pleasant, we expect joy and maybe even laughter. However, laughter and lament are often found together in unexpected places. How can we explain the opposite effect—laughter in the pain and tears in the joy? Steve Brown shares that speaking honestly about the ways we have been hurt and the ways we have hurt others opens the door to the joy of God's presence even as we grieve. Instead of pretending that everything is fine, going to God with all of our laments fills us with the freedom and joy of knowing his love and forgiveness. This is the surprising message of freedom that Christians have to share with a world where pain is almost always cursed and laughter is almost always cynical.
For our own part , we love to hear , not only the loud ringing laughter of childhood , as it lifts its head and tosses back its curls , with a face like a young radiant Apollo ; but also the hoarse , broken laughter of the old man ...