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1

OUR NATIONAL COMEDY (Nasza komedia narodowa)

100%
Lubelski T.
Kwartalnik Filmowy
|
2009
|
issue 67-68
286-303
EN
The author analyses Polish comedy, which is the favourite genre of the Polish audience. He seeks meaning related to national identity and shared imagination in the characters, dialogues, landscapes, and comedy catchphrases that entered the Polish language. Starting with pre war comedies such as the 'Forgotten Melody' (Zapomniana melodia, 1938) by Konrad Tom and Jan Fethke, and ending with the 'Day of the Wacko' (Dzien Swira, 2002) by Marek Koterski, he shows how these films define the nation. He shows how the elements defining the nation are connected to the political and historical situation. He also shows how the 'community of laughter' has always been one of the strongest elements of shared identity. Elements that used to be considered to be the most important ones in the mythology of nationhood, are now presented as ones that underwent degeneration, and are ruthlessly critiqued. This is particularly visible in the 'Day of the Wacko', which questions, mocks and de-mythologises all the elements of the national mythology, including its language.
2

KAROL IRZYKOWSKI'S VIEW ON COMEDY FILM. HUMILIATION AND TRIUMPH OF MATTER IN REALM OF MOTION (Karola Irzykowskiego poglady na komedie filmowa. Ponizenie i triumf materii w Krolestwie Ruchu)

100%
Swidzinski W.
Kwartalnik Filmowy
|
2011
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issue 74
25-30
EN
Silent burlesque has a special place in Karol Irzykowski's early 20th century views on cinema. In particular in the films of Max Linder, Charlie Chaplin, Harold Lloyd and other great comedians he saw the potential for creating the ideal film art. Irzykowski valued the dynamism and ingenuity of those film artists. Burlesque comedies also were a fantastic reflection of the relation between man and matter - which according to Irzykowski was what defined cinema. For the contemporary observer what appears interesting is the critic's view on human body as the object of performance. In many comedies it became a foreign thing, governed by the rules of inanimate matter.
3

Komizm słowny i sytuacyjny w Amores 1,11-12

70%
Zagórski M.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2010
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vol. 20
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issue 1
85-93
EN
The article examines patterns of comedy in Ovid's Am. 1.11-12 showing that the character of Naso is in fact depicted as a comic iuvenis talking to his mistress's slave Nape, who plays the role of serva callida and that both poems contain elements of verbal as well as visual comedy.
4
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GRÉCKA DRÁMA V HELENISTICKOM OBDOBÍ

70%
Čiripová D.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
|
issue 4
373 – 382
EN
This study deals with a period of the Greece-Roman history related to theatre. Hellenism is a period which is often overlooked by theatre scholars although it is an immensely important and rich transformation and revolutionary period from a historical point of view. Hellenism is not only marked with the encounter of two worlds, but also with their mutual enrichment. In the world of diverse peoples, theatre and drama turn to lighter themes (comedy is more popular than tragedy), show preference for entertaining theatre forms, gradually divert their attention from serious textual levels and turn to non-verbal genres. Menandros is a typical representative of Hellenistic drama. Unfortunately, a great number of texts and files, which would contain at least mentions of drama production at that time, have been lost.
5
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K VYMEDZENIU STAND-UP COMEDY NA SLOVENSKU. GENOLOGICKÉ, SPOLOČENSKO-KULTÚRNE A JAZYKOVO-ŠTYLISTICKÉ ŠPECIFIKÁ

70%
Ivančová L., Smoradová V.
Slovenské divadlo (Slovak Theatre)
|
2022
|
vol. 70
|
issue 4
348 – 364
EN
The boom of electronic media, which increased the availability of information, the speed of its distribution, and the options of its selection in an unprecedented way, is reflected in a fundamental way also in the genre preferences of the percipients. What is in demand are also, or especially, topical, short, apt pieces of communication, which are concentrated, and which bring a quick punchline. New dramatic genres that respond to these trends include the stand-up comedy concept, which spread in Slovakia in the early twenty-first century. This study sheds light on the contentual and formal structure of pieces of communication of the stand-up comedy type against a background of analyses of seventy Slovak stand-up performances. It defines the term itself, specifies the determining features of this new genre, which has not been complexly defined in Slovakia yet, and focuses on the characteristics of the forms of the comedy used, the thematic starting points of the stand-ups, and their genesis and development (abroad, too, but mainly in Slovakia). It places special emphasis on the analysis of its dominant stylistic and intonation features.
6

Comoedia tragica, sacra et nova, czyli łacińska komedia religijna Renesansu

70%
Budzisz A.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2010
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vol. 20
|
issue 1
33-42
EN
The paper's main task is to investigate the reception of the ancient dramatic models in Renaissance. In many plays some biblical themes acquired a literary form of comedy in spite of fact that ancient comedy, unlike tragedy, as characterised by a 'secular' matter. The authors pointed to their Roman models, Plautus and Terence. The purpose of the play was responsible for its shape and was decisive for the choice of the appropriate ancient model.
7
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Humor Kundery - o kilku (nie)śmiesznych tekstach

61%
Cieliczko M.
Bohemistyka
|
2015
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vol. 15
|
issue 3
226 - 250
EN
The article refers to the phenomenon of laughter present at the chosen writings of Milan Kundera. Admittedly, he combines both artistic and theoretical approaches to the laughter, Kundera (and the author of the article) is interested mainly the first approach, literary one. In Kundera’s books laughter appears in many different ways, therefore author intentionally quotes a lot to give the floor to the writer. Attentive analysis of the citations and whole texts allows her to propose two lines of perception of this phenomenon: as a coincidentia oppositorum (part one: The Antipodes of Laughter) and as a “language”, specific way of communication (part two: »Dia- logues« (full of) Laughter).
8
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ŠPECIFICKÉ PODOBY SATIRY V DRAMATICKÝCH REALIZÁCIÁCH LASICU A SATINSKÉHO

61%
Haluzová L.
Slovenské divadlo (Slovak Theatre)
|
2021
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vol. 69
|
issue 1
49 – 65
EN
The study employs literary-theoretical knowledge from the field of comedy, emphasising satire as an expressive element of comicality. The study focuses on a comparison between literary source texts and their adaptations in the drama creation of Milan Lasica and Július Satinský. The study identifies satirical elements present in these adaptations as a result of genre shifts between pretext and post-text within the corresponding period context of the origin of the works.
9

APENDIX: KOMÉDIA A LÁSKA

51%
Zupančič A.
Filozofia (Philosophy)
|
2012
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vol. 67
|
issue 8
646 – 658
EN
The article deals with the logic of comedy and its inherent connection with the “functioning” of love (or better “the love which does work”). The comical along with laughter is a Nietzschean theme par excellence; love, on its turn, the most “tangible” figure of duality. Here “two” does not represent a pair or two people; it is a figure which resolves the antinomy of desire (“willing”) and delight (Thing, Nothingness) by articulating them both on the same thematic background. Thus the core of Nietzsche’s theory of duality, is revealed, i.e. the truth and the real as a “montage” of two illusions. The latter is analysed in the author’s book, which includes also the published chapter conceived as a separate appendix.
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