Comic Elements Research Articles

SATIRICAL HUMOR AS CRITICS OF GOVERNMENT THROUGH EASTERN INDONESIAN STAND-UP COMEDIAN

In Indonesia, Stand-up Comedy has become the most popular form of community entertainment, resulting in the emergence of influential youth culture. Stand-up Comedy has become a platform for comics to communicate political aspirations, worries, and criticisms. Three comics from Eastern Indonesia, Arie Kriting, Abdur, and Mamat Alkatiri, have continuously presented Stand-up Comedy material regarding socioeconomic disparity and the availability of public services in their native region. In addition to the aforementioned concerns, education, emancipation, economic, and technological issues are common discussion topics. Typically, Eastern Indonesian comic elements communicate criticisms and worries about inequality and underdevelopment. Due to the presence of some Comics from East Indonesia who regularly expressed and voiced the unrest and backwardness felt by the people of East Indonesia, this issue became popular and garnered widespread attention. This qualitative study analyzes the utilization of satire in stand-up comedy content. This study utilized Barbara Swovelin (2019) concept of Horatian Satire, Friedman's Menippean Satire (2019), and Van Dijk's Critical Discourse Analysis approach. As a result of this study, Eastern comics used sarcasm and humorto express their dissatisfaction with the government.

Mark Twain’s Rival Washoe Correspondents: William Wright and J. Ross Browne

Abstract As a contribution to a literary portrait of Nevada that can provide background for Roughing It, this article examines two newspaper correspondents who were contemporaries of Sam Clemens to discern similarities and differences in their travel writings: William Wright, who also worked for the Virginia City Territorial Enterprise; and J. Ross Browne, who traveled to Virginia City to report on the beginning of the Comstock silver strike for Harper’s Monthly. Both writers evince the vividness, intimacy, and accurate detail Mark Twain said defined a good correspondent. Though both writers employ comic elements, Browne comes closer to the Mark Twain persona in his willingness to burlesque and satirize.

NARASI KESEMBILAN WALI DALAM MENYEBARKAN AGAMA ISLAM DI INDONESIA DALAM BUKU MI

Graphic novel is one of many communication mediums with a combination of visual and verbal that mutually reinforces one another. This work remains a novel but uses the style of storytelling like a comic, using many illustrations. Graphic novels tell their stories from the beginning to the end, therefore graphic novels tend to be longer than comics. The content or quality of the story is different; graphic novel features a story with a more detailed content so that reading it requires serious concentration to think and understand what the creator is trying to convey.The graphic novel of Wali Songo's da'wah story, created by Gerdi Wirata Kusuma in 2015, presents nine Wali Songo stories, which are then selected into two stories to be studied, namely Sunan Kudus and Sunan Kalijaga. The graphic novel discusses the brief history of Wali Songo's life, including Wali Songo's propagation method in spreading the teachings of Islam.This research uses qualitative content analysis method, with Scott McCloud's comic theory, namely using comic element in the forms of image selection, selection of flow, and choices of words, moments, and frames. This identification is divided into two aspects; visual and verbal. Visual in the form of sequences of images, point of view, and graphics. Verbal in the form of narrative text that resides in column panels or word bubbles.The result of this research indicates that visual and verbal use are interrelated, such as the use of shots related to narration, the use of narration to mention information that can not be conveyed visually or visual expressions that can not be described verbally. This visual and verbal combination that mutually reinforces one another shows that this graphic novel is able to show the story of the history of Wali Songo's method in spreading teachings of Islam through assimilation of education and cultural arts with symbolic visual observations. The graphic novel of Wali Songo's da'wah story tries to show its history visually and verbally that is easy to understand and is able to become a part of medium of education.
 

Metavivorship and Narrative Repair in Teva Harrison’s <i>In-Between Days</i> (2016)

Teva Harrison’s autobiographical graphic memoir In-Between Days (2016), which chronicles her experiences living with a metastatic breast cancer diagnosis, is a hallmark text of graphic medicine that must be approached from a framework that combines knowledge of disease process and comics art. As she reflects on her rounds of treatment, her symptoms, her anxieties, and her everyday experiences since diagnosis, Harrison combines text and image in innovative page layouts that exploit the artistic possibilities of the medium. Attention is paid to paratextual elements of comics, panel shape and sequence, and word-image interactions, with reference to comics theory and previous work on cancer in graphic novels. Giving voice to her individualized patient experience, Harrison also crafts a memoir with pedagogical value for comics scholars and healthcare providers alike. By applying the concepts of “metavivorship” (Tometich et al., 2020) and “narrative repair” (Nielsen, 2019) to In-Between Days, analysis highlights the creator’s efforts to reconcile body and mind as she lives with metastatic disease.

Hitchcock and Humor: Modes of Comedy in Twelve Defining Films

Hitchcock and Humor: Modes of Comedy in Twelve Defining Films

Yuri Shevchenko's ballet "For two hares": musical and literary sections

The purpose of the article is to analyze the ballet "For Two Hares" based on a comparison of literature, film, and original music. Methodology. The article is based on a comparative analysis, analysis of the literary source, the musical component of ballet and film. Based on the comparison, the analysis of the main characters and related comic elements of the work of M. Starytsky and the ballet Shevchenko - Litvinov, based on this plot. These are Svirid Petrovich Holokhvasty, Pronya, Galya, Sekleta Pylypivna Limarykha and the Sirkiv couple. The scientific novelty lies in determining the peculiarities of Yuri Shevchenko's original music in the ballet "For Two Hares". The analysis of ballet music was performed for the first time. Conclusions. The comparative analysis of Yu. Shevchenko's ballet and M. Starytsky's comedy allowed us to single out common comic elements: "meeting" with the main character Golokhvasty; the choice of leittembs (clarinet, violin and piano) is associated with the comic nature of Golokhvasty and the emphasis on his external features: thinness and "mannerism", claims to chic and education; the portrait of Golohvasty in the ballet and his appearance (clothes and accessories) corresponds to the image of Golohvasty from the original source; Golohvastoy's weakness for girls; Golohvasty's love for songs and dances; hopak, which appears in both comedy and ballet. Common to comedy and ballet are also the leitmotif of the bells, the romanticization of the scene of the testimony of Golohvasty in the house of Proni. The multifaceted, contrasting image of Sekleta is also vividly represented in both works. The common comic element is defined by the red cap of Sulfur; Sekleta's "fig" gesture, we consider the motif of rumors to be a comic motif, which is conveyed in ballet by all means of expression (musical, choreographic and visual). Keywords: author's ballet music, literary source "For two hares", comedy by M. Starytsky, comic images.

COMEDY OF IDEAS: STUDY OF OZICK’S BLOODSHED AND THREE NOVELLAS

Cynthia Ozick is an emphatic voice of new Jewish American novels who reveals various issues that a Jew has to face while living in a mainstream American culture. She advocates ethnicity and chooses the comic mode to reveal the truth. The present paper aims at the in-depth study of the second collection of short stories "Bloodshed and three Novellas'. In these stories Ozick which focuses on the betrayal of tradition by Jews. She brings out the hilarious situations and ideas by focusing on various flaws and blemishes in the personalities of her characters. She also mocks at their defective physical appearances. In fact the comic elements in her fiction have a much higher purpose than only evoking laughter. The present paper also attempts to study how Ozick's comedy is a mirror of human reality and focuses on humanity. The present paper is an endeavour to show how Ozick's comedy has a fair share of flippancy, folly and jest and how it manifests itself in forms like irony, satire, grotesque and farce.

Komiczno-humorystyczny charakter wypowiedzi w dramatach Olega Bogajewa

The aim of this paper is, first of all, to discuss the linguistic sphere in Oleg Bogayev’s comedy works. We would like to pay special attention to the way the characters express themselves. The way Bogayev’s characters create reality is deeply rooted in the spirit of postmodernism, which is reflected primarily in the playwright’s bold experimentation with words, especially in the area of constructed replicas. Language saturated with humour and comical elements can be found in the plays Maria’s field (2004) and Notes of a prosecutor in love (2019). In each of these works, the mode of expression is shaped slightly differently, primarily because of the relationship between the word and the reality presented. They have been constructed according to different genre patterns. The comical and humorous character is most clearly manifested in the former at the linguistic level, while in the latter it is conditioned by the situation. On the one hand, there is humour in Bogayev’s works that can be described as good-natured and comical, directed at human existence and social problems, both as perceived by the author and the characters. On the other hand, there is satirical humour that destabilises the image of the presented world, shattering stereotypes and fixed beliefs. Humour often lurks the tragedy and absurdity of the human world, with all its weaknesses and problems.

Satire as the Comic Public Sphere: Postmodern “Truthiness” and Civic Engagement

Satire as the Comic Public Sphere: Postmodern “Truthiness” and Civic Engagement

Means of the comic as a way of representing ideology in I. Bahrianyi`s novel “The Garden of Gethsemane”

The article engages in an attempt to survey I. Bahrianyi`s novel “The Garden of Gethsemane” on the subject of comic elements. The novel is perceived as a realistic depiction of inhumane Soviet reality, so the question of how risorial culture is blended seamlessly with the text is relevant. The aim of the article is to find out the nature of the comic as an aesthetic category, in particular its varieties: irony, sarcasm, grotesque, and to analyze how the comic functions in the novel, what forms it takes, what functions performs. The descriptive method was used during the work. In I. Bahrianyi`s novel the most frequent manifestation of the comic is irony, which is used on different levels: in journalistic excursus, in depicting the interior, exterior, and most of all – in the dialogues between characters. Humor is also an inalienable part of prisoners’ lives. As a result of processing the material, we came to the following conclusions: the theme of I. Bahrianyi`s novel “The Garden of Gethsemane” envisages a profound pathos, but the comic elements are harmoniously woven into the fabric of the text. With the help of irony and sarcasm the author supports the anti-Soviet ideology and exposes the drawbacks of the Soviet system. The discrepancy between reality and the image, created employing irony draws attention to the issue, foregrounds it. In the dialogues between the two antagonists: the investigator and the prisoner – the irony serves as a means of characterizing the depicted world and the nature of the relationship between them, outlining the author's attitude to what is being said. Irony reduces the significance of Soviet reality as if depriving it of power because it recategorizes everything: now the absurd reality inspires not terror, but disdain. This way of reacting in a borderline situation protects the psyche of prisoners from feelings of doom and persecution. For prisoners irony and humor are one of the available ways of escapism, as well as the ability to preserve the integrity of one's self.

Representation and Memory in Graphic Novels by Golnar Nabizadeh

Reviewed by: Representation and Memory in Graphic Novels by Golnar Nabizadeh Yun Lan Golnar Nabizadeh, Representation and Memory in Graphic Novels. London: Routledge, 2019. 208 pp. The past decade has witnessed an explosive interest in graphic narrative, which was once dismissed as frivolous and heterodox but is now praised as innovative and flexible in its ability to accommodate both fiction and nonfiction and to address an array of topics, old or new. Among thought-provoking studies such as Hillary L. Chute's Graphic Women: Life Narrative and Contemporary Comics (2010), Elisabeth El Refaie's Autobiographical Comics: Life Writing in Pictures (2012), Karin Kukkonen's Contemporary Comics Storytelling (2013) and Studying Comics and Graphic Novels (2013), Daniel Stein and Jan-Noël Thon's From Comic Strips to Graphic Novels (2013), Achim Hescher's Reading Graphic Novels (2016), Kai Mikkonen's The Narratology of Comic Art (2017), and Bettina Kümmerling-Meibauer's The Routledge Companion to Picturebooks (2018), Golnar Nabizadeh's Representation and Memory in Graphic Novels is noteworthy for its original focus. It centers on the issue of how marginalized and minority groups reproduce their memories in comic form. Nabizadeh attempts to do justice to the enormous potential of a word-image alliance to "materialize" the past, contending that the fragmented panels, the gutters, and the drawings in comics document the episodic, imaginative, reconstructive, and visual nature of memory, especially traumatic memory. Comics are valorized as an effective medium for the socially excluded and the neglected to challenge authoritative discourses and to make their suppressed voices heard. The ethics of comics that stand for occluded voices is showcased in Nabizadeh's selection of the works analyzed. The book covers memory of sundry types of human experience and shows how the texts discussed, incorporating both fictional and non-fictional, realistic and non-realistic constituents, represent individual and collective memories through multifarious visual techniques, media, and distribution channels. Chapter 1 examines two graphic narratives that display the experience of immigrant arrival in foreign countries. When analyzing Henry Yoshitaka Kiyama's The Four Immigrants Manga: A Japanese Experience in San Francisco, 1904–1924 [Manga Yonin Shosei] (1999 [1931]), Nabizadeh attends to the work's major technical features: humor, cinematic and comic elements, the appropriation of Western art styles, bilingual conversations, and, most importantly, references to influential historical events—for instance, "The Turlock Incident"—which are interconnected with episodes embodying the immigrants' painful memories. When coming to Shaun Tan's The Arrival (2006), which reproduces the experience of an unnamed migrant in an unknown place, Nabizadeh dissects references to historical facts as well as the artistic and conceptual inspirations that the book draws from films, pictures, and literary works. She discusses the material features of the book—the spine, the cover, the page color, the use of a gold ribbon—which contribute to a sense of nostalgia and make the book [End Page 179] resemble a mysterious photographic album. Through an insertion of other migrants' narratives into the main account, this wordless "photo album" serves as a repository for memories, visually representing the traumatic past and vulnerability of immigrants from distinct backgrounds. Nabizadeh also shows how iconic elements such as origami and gestures buttress the representation of the immigration experience. Chapter 2 continues the theme of immigration with Gene Luen Yang's American Born Chinese (2006) and Pat Grant's Blue (2012) but from a different angle, that of cultural identity and exclusion, as well as the ways in which the two authors strive to dismantle the stereotypes that the hegemonic "us" imposed on the "other." In her historical and cultural unpacking of American Born Chinese, Nabizadeh demonstrates how notoriously negative cartoon images of Chinese people give birth to the stereotype Cousin Chin-Kee that the protagonist is desperate to break away from. The deliberate placement of Chin-Kee in sitcom context self-reflexively manifests the flatness of both the medium and the image of the Chinese in the West. The book interweaves three story lines, which "mimics the compartmentalisation that can take place with regards to difficult memories" (66), as in the protagonist's "cultural amnesia" (71). If American Born Chinese reflects on the internal apprehension of "otherness," Blue, dealing with the...

Русская и английская литературные традиции и поэтика комического в «английских» повестях Е. И. Замятина

The paper aims to show how the Russian and English literary traditions influenced the way of creating satirical and ironic text by analyzing the poetics of the comic elements in the stories “Ostrovityane” (The Islanders) and “Lovets chelovekov” (The Fisher of Men) by Evgeny Zamyatin. The analysis has revealed the dystopian text in world literature to be closely related to humor, with this relation being particularly apparent in the English stories of Evgeny Zamyatin, the latter having interconnections with the literature of nonsense. It is for this reason that a dystopian text, representing an anti-genre (with humor, irony, and parody in the foreground), can be considered a reaction to a utopian one, or it can be regarded as a unique phenomenon, not restricted to the negation of the utopian tradition. The latter case highlights the problems of human nature, the propensity to move along a spiral trajectory, according to which forward movement occurs not without destroying the old foundations and returning to something even more ancient, forgotten. This movement is seen to be infinite, there being no way to stop at one point and create something perfect, unchanging and finite. The problem of the humor in Zamyatin’s work has an obvious research perspective. Future research is expected to extend knowledge of early 20th-century Russian-English literary connections and develop an understanding of the English literature influence (in particular, nonsense) on the mature work of the Russian writer and the formation of a dystopia of the 20th century as a genre.

«Возврат Чацкого в Москву…» Е.П. Ростопчиной и «Горе от ума» А.С. Грибоедова: особенности структуры текста

The article contains a comparative analysis of two comedies: Woe from Wit by A.S. Griboedov and Return of Chatsky to Moscow… by E. P. Rostopchina. The dramatic composition by Rostopchina (1856) is a kind of continuation of Griboedov’s play. The Rostopchina’s play suggests Chatsky’s new arrival in Moscow, timed to 1850, and its consequences. It is a frank pamphlet in nature, representing mainly a satire on personalities. The pamphlet is created primarily due to the obvious portraits of two characters added by the writer: the Slavophile poet Eleikin and the Westernizer Evlampy Moiseevich Feologinsky. The prototype of the first is the Slavophile A.S. Khomyakov, the second ― N.G. Chernyshevsky. Rostopchina dramatically changes the ratio of the center and the periphery in the system of characters. If Griboedov’s characters are tertiary, then in his successor’s play they come to the forefront: the conflict between the Slavophile Eleikin and his adherents Gorich with the Westerner Feologinsky and his adherents Tsurmayer, Petrov, the wife of Feologinsky (nee Mimi Tugouhovskaya) and her sister Princess Zizi Tugouhovskaya is the main spring of action in Return of Chatsky…. Another transformation made by Rostopchina is the rejection of a love affair as the basis of the plot. In addition, the writer completely deprives the image of Chatsky of the potentially comic elements that the first critics found in him. In the character system, she balances his image with the figure of his confidant Princess Olga Yuryevna Tsvetkova, the prototype of which is the writer herself. The Return of Chatsky… is an ideological satirical comedy.

Author’s Narrative Strategy with Comic Elements as a Component of the Conceptual Picture of the Prose World of B. Kanapyanov

The purpose of the article is to identify the originality of the author’s strategy of the Russian-speaking Kazakh poet B. Kanapyanov as an integral element of the conceptual picture of the world. The scientific novelty of the work is determined by a systematic approach to the studied material, as well as by the fact that for the first time the author of the article considers the novels of a prose writer in the stated perspective. “Tales of the Old Combiner” are written in a comic vein, and the genre definition is already given by the title itself. The plots of small chapters demonstrate the ethical “difference” between ideological slogans and everyday reality in which rural workers are immersed. The figure of the narrator here is quite remarkable: this is a young man, on the one hand, who is a product of the Soviet era, and on the other, who has just graduated from an agricultural technical school in the city and has arrived at a state farm, who does not have much life experience, whose consciousness is not yet clouded by ideology, and therefore looking at the world ironically and objectively. The Kazakh author seeks to convey the peculiarities of the laughter outlook of the 1970s–1980s through the use of speech clichés of the Soviet era. He clearly demonstrates Soviet ideologemes, bordering in meaning, with “carnival misalliance”. The results of the study showed that the author’s preface, a kind of communication between the author and the reader through the author’s mask and fairy tale narration, etc., become elements of the author’s strategy of B. Kanapyanov, placed in a comic narrative discourse. The latter unfolds in the description of the ironic impressions of the protagonist, his dreams, the description of the harvesting of bread, the actions of the labor mentor. Prospects for further research can be associated with identifying the features of the author’s strategy of B. Kanapyanov in the story Spray of Champagne, understanding the functional role of comic elements in its construction.

O komizmie w dwu staropolskich dramatach sceny popularnej: „Tragedia żebracza nowouczyniona” (1552) oraz „Mięsopust abo Tragicocomaedia” (1622)

The aim of the article is to compare two old-Polish dramas of the so-called “popular scene”, and thus point to the directions of evolution of carnival representations in the former Polish Nobles’ Republic. The first work comes from the mid-sixteenth century and is characterised by a simple story. The second , written in the first half of the seventeenth century, has a vast plot and much more extensive stage directions. By contrasting both the story and the type of heroes and the way of constructing a verbal joke by anonymous authors, the author comes to the conclusion that although both performances meet the convention of old-Polish “tragicomedy”, one can see not only similarities, but also significant differences. In Tragedia żebracza of 1552, the story is based on one plot only (the conflict between beggars and a merchant), while in the text written in the seventeenth century there are many more plots. In both texts, cheerful scenes are intertwined with sad ones (according to the then convention of “tragicomedy”), and the finales of the stories in both works are happy.
 The comedy is achieved, both in the sixteenth- and seventeenth- century drama, mainly through contrast and surprise (e.g. contrasting characters with a different mentality, ways of thinking and speaking; the contrast between stereotypical images and authentic images of people, inadequacy of declarations in relation to real people, behaviour of some stage characters incompatible with the viewer’s expectations, an example of which is a lively dance of an allegedly sick and lame beggar, etc.) In both texts we observe a type of humour that fits into the old-Polish concept of so-called “satirical comedy”. This means that some characters are consciously and deliberately degraded by ridiculing and highlighting their negative traits. Thus, comic elements do not serve only a ludic function and are not merely “attached” to the story itself to achieve humorous effects, as Julian Lewański, a researcher of old-Polish drama, wrote many years ago. This is because comedy also serves for didactic purposes.
 More recognizable as a “carnival” drama is the seventeenth-century work. It contains, unlike the sixteenth-century work, a lot of allusions to the carnival time and post-New Year’s party (organised after t New Year’s Day). In the extended stage directions of the Baroque text, the author signalled much more stage means to build comic situations than in the sixteenth-century drama, for example, the author’s information on the facial expressions or, close to pantomime, the actors’ clownish movements are significant. This is related to the appearance, the action and the characteristics of the mask-characters. The masquerade is still very poorly outlined in Renaissance tragicomedy (removing rags and putting on beautiful robes by the beggars can be treated as the masquerade). The Baroque text is dominated by stage characters wearing masks. In the seventeenth-century work we can also observe a desire to diversify the action, increasing the number of comedy heroes and verbal jokes. In these jokes there is a play on words, funny associations, paronymity and ambivalence of meanings. In the Baroque drama the number of means and ways of expressing comedy has also increased, e.g. we observe language parodies absent from the sixteenth-century text, unusual concepts and arguments of stage characters based on absurdity. Moreover, the anonymous seventeenth-century author used literary irony in his text (in the “sophist’s” utterance) as a separate means of provoking comedy.
 The contrast of those two “carnival” shows originating from two old-Polish literary periods — the Renaissance and the Baroque, is a testimony to the development and transformation of the “tragicomedy” genre.

Apuleius Madaurensis. Metamorphoses, Book III. Text, Introduction, and Commentary by Leonardo Costantini

Reviewed by: Apuleius Madaurensis. Metamorphoses, Book III. Text, Introduction, and Commentary by Leonardo Costantini Donald Lateiner Apuleius Madaurensis. Metamorphoses, Book III. Text, Introduction, and Commentary. By Leonardo Costantini. Leiden and Boston: Brill. 2021. Pp. xiii, 375. The "Groningen Commentaries" on the Metamorphoses began with Rudy van der Paardt's edition of Book 3 (Amsterdam 1971). Recent developments in the study of ancient fictions and of Apuleius with regard to his career, context, and the influences on him have required a new commentary on this book, which relates Lucius' arrest and trial for murder during the parochial Risus festival as well as his transformation into an ass. Costantini differs at points from van der Paardt's predecessor commentary and copiously adduces perceptive but less familiar Italian scholarship. He divides the third book into three principal sections occupying few days: the Risus festival's capital trial (ch. 1–12), Lucius and Photis' erotic pleasures (ch. 13–20), and Lucius' disastrous curiosity and risible transformation (ch. 21–29). The incidents of Pamphile's lust for a handsome blond lad and the consequent (but previously narrated) unheroic "utricide" (3.18) are also covered. Costantini provides a conservative text (printed consecutively, 20–41), a wide-ranging introduction of twenty-seven pages, and commentary on its twenty-nine chapters. Thirteen [End Page 383] chapters offer extended introductions on germane topics, such as "Pamphile turning into an owl: the motif of metamorphic witches" in Chapter 21. Chapter 3 (Comm. 74–89) has an introduction to declamation in the ancient novel and to the head night-watchman's oratorical strategy. Costantini notes that Apuleius presents all the canonical elements of a forensic accusation in the gruesome trial scene interrupting Lucius' witless search for magical transformation. He explicates, for example, puzzling phrases such as praeconis amplo boatu (3.3) by tracing Apuleius' figurative use of a verb initially denoting the bellowing of oxen, first to Varro, but before him, to Ennius and Pacuvius. For further history, Costantini refers readers forward to 5.29 (GCA 2004, 333–334), where we meet Venus, another histrionic seeker of attention, quam maxime boans.1 The mock trial allows the sophist/novelist and the desperate dabbler in magic Lucius to dazzle with inappropriate but otherwise impressive rhetoric of a long literary lineage. In the Introduction to Chapter 4, the author surveys the characters of Met. 3. Here Costantini points out stock comic elements in the maid Photis, the host Milo, the witch Pamphile, Lucius' fabricated latrones, and the real ones by whom he is abducted with their Plautine slapstick, door-banging irruption. Lucius is ass-ish before he becomes Lucius-ass. The "reality-show" drama, as Costantini observes (9, and Comm. 3.3.2–9), features the commander of the night-watch's grotesque narrative and the grieving women "relatives" of the three dead men—magically inflated goat-skin-bags. Forensic oratory and hysteria introduce Lucius' pompous but unprepared defense and "hilarious" (3.12), humiliating moment of truth.2 The Introduction to Chapter 8 examines Apuleius' "baroque aesthetics" (Louis Callebat's phrase),3 situating it in the Antonine epoch, and highlighting its innovative stylist, Fronto the hypochondriac (23). Numidian Fronto, the imperial Tutor to Marcus Aurelius (and Lucius Verus) and consul in 143, wrote a Laudes Fumi et Pulveris (and another essay carefully praising Carelessness) explicitly with a view of producing pleasure, not wisdom. The Frontoniani embraced early Latin writers and popular speech; Apuleius was arguably his most successful enthusiast. The style's characteristics include obscure archaizing, epicisms, neologisms, idiolectic syntax, pleonasms, diminutives, suspected hapax legomena (which may have once been less rare or even colloquial), and colloquial phrases. Is plusculus (3.17.2), for example, archaic or colloquial—or both? Costantini limits the noted effect of Apuleius' Platonism in Book 3 to the "negative characterisation" (21) of Lucius—wisely so. He frequently notes allusions to and quotations of Plautus, Cicero, Vergil, and Ovid, and illustrates how metaliterary references to comedy, tragedy, and epic enrich the narrative texture. Travel narratives invite sudden peripeteiai and inset narratives such as Diophanes the Chaldaean's prophetic words to [End Page 384] young Lucius: gloria satis florida...

Translating the gay identity in audiovisual media

Abstract In this study we analyse different linguistic elements in the TV series Will & Grace that shape the gay identity of the main characters of the show. We will base the analysis on the inclusion of the cultural turn into the field of audiovisual translation studies and on the technical time and space constraints that may emerge when conveying the message in this type of texts. Therefore, we will focus on the treatment of cultural references associated to the LGBTQI community that are shown on the series, as well as the linguistic variant of gayspeak and the comic elements included in the dialogues in order to observe whether the information that viewers of the Spanish dubbed version receive regarding gay identity is the same that is portrayed in the original version in English.

Некоторые особенности юмористических рассказов Марка Твена

The article deals with the early short stories of Mark Twain. It illustrates the key features of the humor of Mark Twain’s short stories, and the role of American lifestyle, especially in the Western region’s historical culture, folklore and traditions of newspapers humor in the formation of Mark Twain as a writer. There is an analysis about the mutual relations between humor and critique in the article too. To our conclusion humor was not the main goal in the literary activity of Mark Twain, the main principle and goal of the writer’s works were to discover the materials coming from hypocrisy, dissimulation, ugliness and realities of those times, and their comic potential. That is why to use widely the ways and methods of the comic elements helped the writer to show and describe the personages, characters, things and objects in a conflicting manner with their full details and bareness in various colors.

Pandangan Masyarakat Indonesia Terhadap Budaya Korea Selatan: Studi Kasus Manhwa Noblesse pada Aplikasi Line Webtoon

Line Webtoon is one of the media used by South Korea in spreading Hallyu Wave. It has driven the views or opinions of the South Korean culture through manhwa (Korean Comic) called "Noblesse" in the application Line Webtoon using Comic Theory from Scott McCloud. The analysis of case studies on the Noblesse manhwa showed that opinions were presented and exhanged related to the characters, the messages being conveyed, and reader's expectations about in the manhwa. The readers' enthusiasm for this manhwa has made Noblesse one of the most favored manhwas. The implications of this research led to the intercultural communication associated with the comic elements in this manhwa.

‘I try to stay true to my memories, even if it means making a mistake’: an interview with Riad Sattouf

ABSTRACT As we entered 2021, we interviewed Riad Sattouf about his Arab of the Future series, reflecting on how comics explore memory and the importance of narrative storytelling not limited to 280 Twitter characters or conforming to rigid and oversimplified ideology. Sattouf shared how he understands elements of comics, including the thought bubble and the uses of colour in his comics, as well as his many comics influences. There is an urgency in his work that we explore in this interview: his stories depict the corruption of political promises and ideologies. Sattouf’s work reminds us that human life, and particularly child development intersects in painful and often confusing ways with cultural violence and political oppression. Comics as an art form can help us to depict and contend with the complexities of modern living, challenging and transcending nationalist boundaries.