Abstract This paper analyzes early twentieth-century Russian theater and cabaret. It focuses on the work of writer, poet and playwright Mikhail Kuzmin and Italian commedia dell'arte. It provides a background of Kusmin's life and focuses on the impact of his homosexuality in his writing. The paper then describes some of his works and critics' analyses of them.
Table of Contents:
Objective
Introduction
Kuzmin (writer, poet, playwright) Russia's First Openly Gay Writer
The Entire Life of the People Lived Out in the Theatre
Integration of Elements of Commedia and Reality
Summary and Conclusion
From the Paper "The unleashed sexuality, the brewing revolution, and the overall societal shift during this period of time resulted in vivid displays of contention of the present political system at this time in Russia. Masses flooded the theaters and the theaters took to the streets as a revolutionary spirit moved in and among all in the Russian society, inciting rebellion against the status quo and in the dramatic displays in the artistic events and movement of that time period that was the driver of and to a great extent of the progression of the revolution that took place in Russian in the early twentieth century."
"Artists were given prominence among scholars and politicians however, only for a moment of time as post-Revolution thought exhibited little appreciation of those who provided such fire and energy propelling the revolution forward. The post-Revolution period witnessed the work of Kuzmin "falling out of favor with the Communists, and Leon Trotsky (1879-1940), in the work entitled: "Literature and Revolution" (1924) labeled the work of Kuzmin as "disreputable and useless." (Clayton, nd )"
Abstract This paper discusses how, with his works as complex and meaningful as they are, there is no doubt that Dante Alighieri's "Commedia" presents a political and moral message. Through an analysis of "Commedia" and its political messages and a comparison to the political theories of the time it was written, the paper concludes that Dante wrote a complex narrative beaming with a political undertones.
From the Paper "Beyond separation of church and state, Dante takes other cues from Aristotle. Among these are his views on classical morality as it relates to political productivity. It is important then to remember why Dante needed to create a new political system. He was at war with a theory that he was opposed to in every sense, and was banished from his home because of it. He had grown up at a time of much disaster and violence, and as such deeply searched for a new political system where peace and productivity could flourish. This system would obviously be based on Aristotle, as he talked at great lengths about morality and the prerequisites of a stable nation."
Abstract This paper is in two parts. The first part discusses the Commedia Del Arte or drama that employs comedy and has a happy ending, which began during the Italian Renaissance. It examines its origins and its popularity as well as its methods of acting. It evaluates its effect on modern comedy such as the concept of slapstick, timing in the repartee and romantic comedy. The second part outlines the other contributions of Italian Renaissance theatre to Western theater such as the introduction of the profession of acting and theatre and set design.
From the Paper "Commedia Del Arte made many contributions to modern comedy. First, timing was important in the repartee and has been in comedy ever since. Second, slapstick comedy, such as that practiced by Chaplin, Keaton, and Lloyd is a direct descendent of Commedia Del Arte. Third, modern romantic comedy had it origins in the plots and characters of Commedia Del Arte. Finally, both situation comedy and animated cartoons employ elements of Commedia Del Arte (Suzuki; Commedia Dell?Arte)."
Abstract This paper concerns the fourth chapter, or canto, of the second book in the "Divina Commedia" of Dante, the "Purgatorio". It concerns the ascent of the main characters to the realm of the indolent, where reside the repentant souls of those who were too lazy to convert before their last days. God is making them wait before they are admitted to paradise, just like they made him wait for their conversion. The paper concerns the way in which Dante uses abnormal physical laws to make the mythological space of the Commedia just weird enough to be believed. Current findings in the anthropology of religion are cited to support the need for odd, un-earthly aspects of supernatural systems like those involved in the afterlife.
Abstract The paper discusses "Tartuffe" and other comedies by Moliere and the greatness of this French writer in his ability to turn everyday events into masterpieces. The paper shows that Moliere's work reminds us that there is little that is new under the sun, but that this hardly matters in art. Indeed, some of the most profound pleasures that we take from art are based on the fact that artists have the ability to make what is old and tired into something that is simultaneously both fresh and familiar. The paper also compares the comedy of the 17th century to today's humor.
From the Paper "Much of the appeal of these stock characters to Moliere must also have been based in his fundamental understanding ? as an actor as well as a playwright ? to the way in which humor itself works. To understand how humor works, it is important to understand that humor is almost always at someone's expense. The most harmless kinds of humor are those jokes that come at our own expense: If the only person made to look foolish by a joke is the person telling it, then it has indeed done little if any harm."
An examination of the history and development, definition, features, types, examples (Commedia dell'Arte, Chaplin) and reasons for its appeal and its limitations.
2,700 words (approx. 10.8 pages), 3 sources, 2000, $ 95.95
From the Paper "There are three different ways of laughing. These may sound the same to the uninitiated, but in fact they are very different from each other. There is in the first place laughter by those who have power against those who do not. This is laughter that is meant to keep people in their place, although this aspect of power is often not acknowledged and may even be denied. This is the laughter of the adult at the child who mispronounces a word, the laughter of a man at a woman who does not know how to avoid a kiss or a fondle, the laugh of an employer at an employee who comes in late because his car has broken down, the laughter of a master at a slave. This is a form of laughter that sets up boundaries, that excludes the person being laughed at from membership in the group belonged to by the person with superior power. "
Abstract This paper reviews Dante's poem "Divine Comedy". It looks at how the incidents of the poem would remain ambiguous if not for the philosophical and theological distinctions within the structure of the narrative. It demonstrates how by using one common principle, Dante brings the separate allegories of the "Inferno", "Purgatorio" and "Paradiso" together into one great allegory, making the transformation of the principle into an ordered set of variations on the theme of love and its representation in human beings as the image of God.
From the Paper "In the Purgatorio the protagonist's spiritual rehabilitation continues. Dante subdues his own personality so that he will be able to ascend. He comes to accept the essential Christian image of life as a pilgrimage, and he joins the other penitents on the road of life. At the summit of Purgatory, where repentant sinners are purged of their sins, Virgil departs, having led Dante as far as human knowledge is able--to the threshold of Paradise. Beatrice, who embodies the knowledge of divine mysteries bestowed by Grace, continues Dante's tour. In the Paradiso true heroic fulfillment is achieved. Dante's poem gives expression to those figures from the past who seem to defy death and who inspire in their followers a feeling of exaltation and a desire for identification."
This paper discusses that two writings by Niccolo Machiavelli, "Mandragola" and "Discourses," focus on his belief that morality should be defined by necessity.
Abstract This paper explains that, through "Mandragola" and "Discourses," Machiavelli seeks to demonstrate that classical morality is too rigid and inflexible to deal effectively with the true realities of life; he proposes a new morality based exclusively on the necessities of humanity. The author points out that Mandragola," a play in the Commedia Erudita genre, borrows some elements from the classic story of the rape of Lucretia; whereas, in "Discourses," Machiavelli seeks to prove the validity of his philosophy through the use of historical examples, most notably the Roman Republic. The paper concludes that Machiavelli's philosophy does not have evil and unjust ends, which have often been associated with it, but rather is a utilitarian philosophy, which seeks to make morality a more practical application, thus ensuring that a society can reach its highest good.
From the Paper "In addition to the structure of Rome, Machiavelli also believes that Rome embodied the flexibility to deal with unexpected events and crises. Since "all things of men are in motion and cannot stay steady," Machiavelli concludes that a society must either be advancing or declining (Machiavelli 172). Since history shows that mankind has been prone to war, we cannot expect future events to be peaceful, and we cannot expect to live in an isolated utopia. Events will often transpire that will force a society to either expand or maintain its current prosperity or enter a period of decline. Machiavelli's philosophy calls upon government to forego any moral objections to expansionist policies in favor of doing what is necessary for the future survival of the society."
Abstract This paper explains that Dante's view of evil is that it acts as a catastrophic impediment toward man's attainment of the divine; whereas, Chaucer identifies the human manifestations of evil as ironic. The author points out that "The Divine Comedy" is an epic poem in which the author, Dante, takes a visionary journey through Hell, Purgatory and Paradise to learn about the true nature of evil; however, although they likely shared a similar cosmogony, Chaucer's portrayal of evil in "The Canterbury Tales" is much different than Dante's resulting in "The Canterbury Tales" being an extremely entertaining work written for a popular audience. The paper relates that the difference in the conception of evil between these books lies less in the religious background of their authors then in the author's intention for writing the book.
From the Paper "Dante conceived of Hell as a cone shaped hole, terraced into seven concentric rings. The uppermost level, Limbus, actually is not a Hell at all, but merely an abode for the good people born into the culture of Christianity but who had never been baptized, as well as those born before the time of Christ. Below Limbus, the rings of Hell yawn deeper and deeper, and the torments grow more and more severe, ending at the bottom with a frozen lake which is the abode of Satan himself. Each different type of sin merits its own ring, hence the seven deadly sins. The unfortunate inhabitants of each ring and section of Hell receive a different punishment, cleverly designed to reflect the spirit of the crime. Dante does not claim that the individuals of whom he speaks with in each section were designated as permanent "spokespeople" of that ring; he gives the impression he just initiated the conversation with them because either he or Virgil recognized them, and their story would be familiar enough to Dante's readership to provide a pertinent lesson."
Abstract Throughout Dante's pilgrimage in Hell, Virgil was his guide. As he ascends to Purgatory Virgil's role changes. This paper looks at the changing role of Virgil as he accompanies Dante on his pilgrimage through the realms of Hell and Purgatory. It also examines the moral and theological reasons behind this.
From the Paper "Purgatorio is intended as the illuminative stage in the Divina Commedia however Dante's guide through Purgatorio is not as enlightening as he could be. Previously in the Inferno we had seen an authoritative Virgil hastily bring Dante down to the depths of Hell and back out again, scolding him now and again if he became distracted on his way. This contrasts greatly with the Virgil we see leading Dante on a climb up the Mount of Purgatory. Virgil is far less domineering on this path than he was in the Inferno, this time any dawdling is reprimanded by the angels, the guardians of Purgatorio, and whereas Dante had previously placed all his trust in Virgil to show him the way, he is far more tentative when it comes to Virgil's directions in Purgatorio, and he is within reason as on numerous occasions Dante's guide stops to ask someone for directions."
