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Comedy (2005)

 
지은이 : Andrew Stott
출판사 : Routledge
판수 : 1 edition
페이지수 : 168 pages
ISBN : 0415299330
예상출고일 : 입금확인후 2일 이내
주문수량 :
도서가격 : 26,150원
적립금 : 785 Point
     

 



What is comedy? Andrew Stott tackles this question through an investigation of comic forms, theories and techniques, tracing the historical definitions of comedy from Aristotle to Chris Morris's Brass Eye via Wilde and Hancock. Rather than attempting to produce a totalising definition of 'the comic', this volume focuses on the significance of comic 'events' through study of various theoretical methodologies, including deconstruction, psychoanalysis and gender theory, and provides case studies of a number of themes, ranging from the drag act to the simplicity of slipping on a banana skin.

1.Comedy in the academy
2.Comic identity
3.Gender and sexuality
4.The body
5.Politics
6.Laughter
"If you're looking for a smart but easy history and critique of comedy from the Greeks to the present day, this is it. Full of examples, and able to take a long historical view that shows the complex and ever-changing nature of comic form without devoting itself to a single school or methodology, this is the most interesting and accessible book on comedy that I've ever read. Nice and concise too. "

"First of all, I should mention that I have a very specific reason for loving this book: I teach a course in Comparative Literature called Comic Spirit at a public university in CA, and after trying many of the available critical/theoretical/philosophical texts on the subject of comedy and humor, I've found this to be the best by far.

Stott's essays blend interesting discussions of the work of major philosophers/theorists on comedy/humor (Bergson, Freud, Erasmus, etc.) with close readings of major comedic texts.

I have two light critiques:

1.) the book lacks truly global perspective, and focuses largely on Anglo-Euro-American traditions. This reflects my interests and goals in teaching, so this is not a shortcoming so much as my personal desire to see a broader perspective (of course, it can be said that the book is limited in length and therefore scope).

2.) the film/media examples are limited to "classics" (think: Charlie Chaplin, Monty Python, Mel Brooks, Billy Wilder, Woody Allen, etc.), which are fantastic and give the book a feeling of authority, a mature distance from the baggy monstrosity and wild diversity of contemporary comedy film. That said, if you're looking for something to connect to contemporary film/media studies (and hence pique student interest by engaging their predispositions, if you're teaching), you would need to fill in some gaps.

That said, after much trial-and-error, this is the book I return to for accessible writing style, broad coverage of what is becoming the critical canon of comedy thinkers, and clear exploration of challenging theories.

Highly recommended too for writers of comedy who want to leverage a way of thinking about various approaches to comedy creation without all the lame rhetoric and packaging of "how to write comedy" guides. "

"It's really hard to find decent critical books on comedy as they're either too specific or subscribe to just one theory. This one, however, is wide-ranging, up-to-date and smart and full of examples from tv and movies. It's got historical background, explains a ton of stuff and uses modern theories really well. "
   
 
   
 
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