Abstract
Using literary critics and text-based information, this paper argues that in "Romeo and Juliet" there is a lack of tragic elements, an abundance of comedic scenes, that most critics overlook the lack of "romance" in the relationship of the protagonists, and that Shakespeare never intended 'Romeo and Juliet" to be a romance or tragedy.

From the Paper
"William Shakespeare's Romeo & Juliet is most notably regarded as the quintessential romantic tragedy, but this view is superficial, at best. While some literary critics would argue that Romeo & Juliet is a tragedy in the classic sense, adhering to Aristotle's principles of what a tragedy should be, other critics have concurred that the structure of Romeo & Juliet falls more into the category of comedy and / or satire. The issues which cause critics to fight over the true genre of the piece may be seemingly obscure and minute, but, under close examination, it becomes quite clear that in literature as classic as Shakespeare's, it is in the detail that the meaning is found. James Forse contends with the Neo-Classicist critics of the Eighteenth Century who "adjudged Romeo & Juliet as a flawed tragedy which lacked Aristotelian unity of plot and action, the character flaws essential to tragic protagonists, and a sense of the inevitability of tragic outcome" (122). Harold Wilson, on the other hand, disagrees, stating that, "The play's tragic theme is unified by Petrarchan notions of "noble death": the lover's suicides represent the triumph of love over death? (31). Thus he attempts to defend the play's tragic intent and nature. If a critical reader examines this work, it will be difficult for him or her to find reasons for defining themes like "true love" and "fateful destiny" by the tale of Romeo & Juliet as so much of the general public does today. Shakespeare's Romeo & Juliet is neither a tragedy nor a romance, but is, rather, a comedic satire meant to be didactic in nature."

Tags:comparison, criticism, historical, view

Abstract
This paper analyzes the comedy of Italian film and suggests that while it contains many elements, it relies greatly on comedic techniques of the past, as well as intelligence to guide its progression. The paper presents many examples of these techniques and shows where in the films they can be found. It also discusses the success of the use of these techniques.

From the Paper
"The Icicle Thief by Maurizio Nichetti accomplishes this task as well. Through the fast paced visions of changing locations, commercial intrusions and cinematic special effects the film presents the portrayal of multiple characters played by Nichetti. The Icicle Thief is entitled such to correlate to the Italian masterpiece The Bicycle Thief; yet, it remains connected to the latter film only through the title and through the understanding of the art of film. This understanding, however, is intellectual because Nichetti's work asks the audience to understand how artistic endeavors are often sabotaged by the commercialism that exists throughout the world. As a matter of fact, Nichetti demonstrates that the commercialism has grown so intense that audiences rarely even realize its presence in life or its impact on the filmmaking world."

Tags:Icicle, Thief, Benigni, cinema, audience

Abstract
In this article, the writer discusses that the comedy of Italian film contains many elements, although it relies greatly on comedic techniques of the past, as well as intelligence to guide its progression. The writer explains that for example, William Shakespeare often used the comedic technique of mistaken identities to place his characters in situations that were ripe with comedic tension. The writer points out that this technique still remains useful in Italian cinema through the work of Roberto Benigni in 'Johnny Stecchino'. The writer discusses that Benigni also creates comic characters within his films that appear to be foolish on the surface, but that are capable of leading the audience to contemplate the world, such as the world that is created in "La Vita e'Bella", or Life is Beautiful.

From the Paper
"This is also true of the Icicle Thief by Maurizio Nichetti, where the commercialism of the era is presented in a fast paced comedy that forces the audience to consider how society has accepted commercialism over art. These techniques are widely accepted by audiences because they acknowledge the audience as intelligent human beings and are tried and successful methods of the past. The film Johnny Stecchino Roberto Benigni wrote, directed a starred in the comedy, which places him in multiple roles during the film. The movie demonstrates the reliance on physical farce and mistaken identity in Italian comedy, as well as the reality that people will go to any extent to gain what they desire. "

Tags:film, directors

Abstract
The writer refers to George Meredith's article, "An Essay on Comedy," in his review of the major comedic approaches used by Kingsley Amis in his book "Lucky Jim". The writer then explores the notion of luck in the novel in terms of its expression through comedic strategies.

From the Paper
"In the article, "An Essay on Comedy," author George Meredith asserts "I think it will be acknowledged that in neglecting the cultivation of the Comic idea, we are losing the aid of a powerful auxiliar. You see Folly perpetually sliding into new shapes in a society possessed of wealth and leisure, with many whims, many strange ailments and strange doctors" (25). Here the author points out a key element in the structure of the comedy in Lucky Jim. One of the ways in which Amis criticizes the bourgeois academia is through the exposure of their mundane obsession with the high-end manner of living life. Specifically, the way in which Jim is subjected to the Welch's scrutiny by having to live in their home illuminates this dichotomy."

Tags:luck, farce, irony, hypocrisy

Abstract
This paper presents a critical look at three film comedies by examining the main character from each film, discussing traits, attitudes, and habits that make them less than admirable and explaining the way the characters manage to illicit sympathy from the audience. The author points out that a character?s ability to draw feelings from the audience members creates the popularity and longevity of the film itself. The paper relates that all three movies get the audience to feel sorry for the characters.

From the Paper
"In the film "The Nutty Professor", the protagonist plays two people that one would not usually hang around with in real life. He begins as a nerdy and boring professor named Julius Kelp. As Professor Kelp, the protagonist is boring to the nth degree, academic to a fault and not someone who gets invited to parties on weekends. He has habits that are typical of the character scientist including spouting off useless trivia when he is nervous. This character is not one that can attract the attention of male friends let alone female dating prospects. He decides to become Buddy Love with the potion he invented."

Tags:traits, admirable, sympathy, feelings, longevity

Abstract
Often in his works, Anton Pavlevich Chekhov mixes comedic and tragic elements. The purpose of this is to not allow things to get too drab or life to appear to be too gloomy. He uses his characters as mediums for this comedic relief. Another one of Chekhov's trademarks is the use of off-stage events and actions. These events and actions may appear to be things that deserve the center of attention, but Chekhov purposely places them off-stage so as to draw attention to something else and pulls it off quite well. This paper analyzes several of Chekhov's plays, including, "Uncle Vanya," "The Cherry Orchard," and "Three Sisters" to show how he successfully makes use of comedy and off-stage action.

From the Paper
"An example of this would be when there was a fire in Three Sisters. When Act Three is introduced, we learn that there was a fire from the narrative notes and from some of the dialogue, but the play is not in action while the fire is happening. The fire itself is not so important. What is important is how the characters react to it. The fire was merely a catalyst that set people off and made Act Three a hectic one. Natasha gets bossier towards servants, Chebutykin becomes a drunken mess and Irina becomes more frustrated and desperate to return to Moscow."

Tags:seagull, vanya

Abstract
This paper opens with a brief biographical profile of author and playwright Alan Richardson who is well known for his numerous publications on a wide variety of topics including: Gender issues and issues of race, colonialism as well as topics related to children. This paper examines the plot and characters in "Brodie the Broadsword" while discussing the author's unique style of writing. Richardson's play is set in an average Scottish community during the 16th century amid old castles and forts. This paper details the personality of the title character Brodie who, for the most part, has been wasting his life engaging in the trivial pursuits of looting and robbery. This paper cites the various scenes in the play which pay homage to Richardson's creative writing and comedic sense.

From the Paper
"The characters in 'Brodie the Broadsword' are all interesting and full of beans. Some of them are: Sir Archibald Brodie, who has been nicknamed 'the Broadsword', Sir Henry Milburn, the illustrious neighbor of Brodie Broadsword, Lady Kate, or rather, lady Catherine, the wife of Brodie, Ina, Lady Catherine's servant, Clarty Sim, the an-of arms of Brodie, Young Effie, another servant, Alison, the daughter of Brodie and Lady Catherine, Stephen Milburn, Sir Henry Milburn's son, and Kirsty Boyd, who is from the nearest village. As the play is set during the early sixteenth century, and close to the English border, which is where Brodie's castle is located, the language and the dress of the characters would be suited to the setting and the period. When Lady Kate starts off with making a very insightful comment about Brodie's deeds and misdeeds, by saying, "A fine mess Brodie's in this time", the audience gets a glimpse of the comedy that is yet to come during the course of the play."

Tags:theater, literature, review, comedy, humor, scottish

Abstract
This paper details author Sheldon Zitner's discourse and evaluation of William Shakespeare's comedic Elizabethan play "Much Ado About Nothing." Beyond the plot and character analysis Zitner asserts that the play lacks accessibility to the memory unlike some of Shakespeare's more studied and performed romantic comedies.

From the Paper
"Besides Shakespeare's literary control, Zitner points out the fact that "Much Ado About Nothing" makes no claim on class distinction like most other romantic comedies. I deeply agree with Zitner's thought since I did not feel heavy class distinction between the characters when I read the play. For instance, Dogberry is portrayed as being ingratiating and terribly unpleasant, which impedes justice rather than upholding the law. Although Leonato has some rank, he, unfortunately, has little ability. The play merely hints at Hero's lower class."

Tags:literature, criticism, view, perception, language

Abstract
This paper argues that the comedic element found in "Life is Beautiful" is appropriate to the subject of the Holocaust. The opposing viewpoints of Gerald Peary, a critic for the Boston Phoenix, and the late literary scholar Terence De Pres are also presented.

From the Paper
"Shortly after WWII, jokes associated with the Holocaust were found circulating in Israel. For example, "Do you know why Hitler killed himself? He got his gas bill" (Mamet, 142-3). Jokes like this one are often considered inappropriate because they mock a very tragic event and furthermore offend many Jewish people. Such people find jokes about the Holocaust disturbing to hear and yet others find them humorous. Therefore, this form of questionable humor poses the question, do comedy and the Holocaust mix? When dealing with an issue as serious as the Holocaust, it is debatable whether or not an element of humor is appropriate."

Tags:benigni, debate, film, hitler, wwii, nazi, Peary, de, Pres, tragedy

Abstract
As a brief introduction, this paper was assigned to me during a English course called: American Humor.
The topic that the professor gave out to the students was to choose two comedians and compare and
contrast their styles of comedy. Quite simple right?

As a big fan of Chris Rock's stand-up performances,
I elected to use him as my centerpiece and have Margaret Cho and John Lequizamo, who I also love, as
comparisons to him.

The main theme shared between all of the comedians is that they all use their culture
in their acts to arrive at one common goal, which is to make people laugh. In my essay I give examples
of how the comedians use their culture and the various cultural aspects that are selected.

Tags:based, cho, chris, ethnic, john, lequizamo, margaret, rock