By D. Nikulin
Comedy, heavily presents a philosophical interpretation of comedy and argues that comedy monitors a specific type of rationality that displays philosophical pondering. specifically, that comedy is outlined now not lots by way of laughter or jokes, yet really the constitution of its plot, that's isomorphic with that of the philosophical argument. Comedy allows the answer of a clash and the fulfillment of wellbeing and fitness and equality via motion that follows the comedian plot. in addition, such motion is propelled through the 'thinker on stage,' who, as socially and politically oppressed, contributes to the liberation of all and the fulfillment of the great existence. Comedy, for that reason, establishes the common development for justice and health and wellbeing and permits us to reconsider the suggestion of subjectivity no longer because the glossy remoted topic, yet fairly as built-in with others via shared motion and dialogical involvement.
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Additional info for Comedy, Seriously: A Philosophical Study
Through this, they assured that comedy lived on within a tradition. The Moderns ● 25 Yet, in the case of the Renaissance, comedy as a genre was simply identified with New Comedy. Admiration for Plautus and, especially, Terence was universal. ”14 Comedy was thus praised as capable of amending life for ordinary people without humiliating them. 15 Since the sixteenth-century theorists mostly followed Aristotle, they accepted his definition of genre by its purpose, which, in the case of comedy, was the imitation of the characters of common people and their actions in ordinary situations.
118 Evanthius introduced the famous and later much used distinction of the four parts of comedy—prologue, protasis, epitasis, and catastrophe—which describes the structure and development of comic plot and which I will discuss below. According to Evanthius, comedy is a fable119 involving diverse arrangements of civic and private concerns, in which one learns what is useful in life and what on the contrary is to be avoided. 120 The ancient tradition thus sees comedy as popular and down-to-earth, meant to depict the daily life of ordinary people represented by plausible characters and through them to show that which is useful and that which is to be avoided.
8 Every homme de lettres of the sixteenth century, it seems, either wrote poetry or wrote about poetry. Comedy studiously followed the precepts of Terence and Donatus regarding the key elements of the work: the poetic style, the work’s sententiousness, the didactic and moral message it contained, its structure, and the classical unity of form were all of interest. And yet, despite the revered attention it was receiving, comedy soon found itself under attack by zealous religious militants who considered theater—and comedy in particular—sinful, profane, and immoral.