Happy day by The Sun

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Beckett in Russian in Aleksey Balabanov’s Happy Days: Summing up

“…The article is devoted to Happy Days, a 1991 Russian drama film, written and directed by Aleksey Balabanov. …”
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Happy Days: from stage to screen. A way to approach Samuel Beckett and his absurdity to a public that is not traditionally close to his type of art by Ana Bárbara Pedrosa

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Expressing the Bewilderment of the Modern Man through Silence in Samuel Beckett’s Happy Days by Basaad Maher Mhayyal, Munthir A. Sabi

“…Samuel Beckett’s Happy Days (1961) clearly portrays a lack of communication among the characters of the play which refers to the condition of modern man. …”
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Confining, Incapacitating, and Partitioning the Body: Carcerality and Surveillance in Samuel Beckett’s Endgame, Happy Days, and Play by Victoria Swanson

“…His preoccupation with confined bodies is expressed across multiple dramatic texts and the characters of Endgame, Happy Days, and Play are forced to endure such strictures to varying degrees. …”
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Revisitando las interfaces literatura española –hispanoamericana: noches lúgubres, de José Cadalso y noches tristes y día alegre, de José Joaquín Fernández De Lizardi by José Alberto Miranda-Poza

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Performing embodiment in Samuel Beckett's drama / by McMullan, Anna, 1957-

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"Szczęśliwe dni" Stefana Badeniego jako źródło socjolektu łowieckiego dwudziestolecia międzywojennego by Renata Janicka-Szyszko

“…The subject of the research in the following article is the language of the hunters from the beginning of the 20th century depicted in memoirs “The Happy Days” by Stefan Badeni.The linguistic analysis proves that in accordance with the thesis by Bogdan Walczak, from the areas of historic sociolinguistics, the language used by the author constitutes a precious source for research connected with hunters’ sociolects, showing typical items as well as those rare in usage. …”
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Medytacja nad Pustką. Konteksty buddyjskie w „Końcówce" i „Szczęśliwych dniach” Samuela Becketta by Dariusz Piotr Klimczak

“…Beckett's two long plays (The Endgame and The Happy Days) we understand that death, signifying the ultimate Nothingness and Emptiness appears to be the change of the perceiving substance, which getting rid of the body, is joined with the nonbodily content of the things. …”
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Is Jamie Oliver “Easy Peasy” in Slovene? by Metka Lovrin

“… The research aims to identify the idiolectal features in selected cookbooks by Jamie Oliver (The Naked Chef, Happy Days with the Naked Chef and Jamie’s Ministry of Food), and how they were rendered into Slovene by Oliver’s translators. …”
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The metamorphosis of language and character in Samuel Beckett's dramatic literature by Mohammad Mohammadi-Aghdash

“…In this study we will look at the meaningless of the existence and metamorphosis of Samuel Beckett's language drama, beyond the three famous plays, Waiting for Godot, End the game, Oh! Happy days. The literature that used from every possible language instrument and dramatic tools to convey the great concept of human condition with a ridiculous and humorous statement to the audience.…”
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Samuel Beckett’s Theatre: from “things” to “The Thing” by Geneviève Chevallier

“…The most “telling” example of this is to be found in Happy Days, as Winnie keeps enumerating the contents of her bag so as to make sure that she is still alive, still having something to say. …”
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Językowo-kulturowa kreacja myśliwego we wspomnieniach polujących (Szczęśliwe dni Stefana Badeniego i Wspomnienia myśliwskie Juliana Ejsmonda) – rekonesans by Renata Janicka-Szyszko

“…There has also been done the attempt of analysis of the linguistic and cultural creation of hunters in the world presented in “The Happy Days “ by Stafan Badeni and “ Memoirs of Hunters “ by Julian Ejsmond.The analysis of the excerpted parts shows that in both works the image of the hunter is complex. …”
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Il corpo distopico e il corpo utopico nei graphic novel di Zuzu by Gaetano Lacalandra

“…Attraverso il continuo richiamo al testo teatrale di Samuel Beckett Happy Days, l'autrice racconta la storia di Claudia e del suo tentativo di appropriazione del corpo utopico, mostruoso e capace di commettere violenza, che supera la dipendenza affettiva, guadagna amor proprio e raggiunge l’accettazione di sé. …”
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A witness to pain: Samuel Beckett and post-war Francophone drama by Simpson, H

“…<p>This thesis examines how Beckett stages physical pain in his early theatre plays, arguing that <em>Eleutheria</em> (1947, pub. 1995), <em>En attendant Godot/Waiting for Godot</em> (1952/1954), <em>Fin de partie/Endgame</em> (1957), <em>Happy Days/Oh les beaux jours</em> (1961/1963), <em>Play/Comédie</em> (1964) and <em>Not I/Pas moi</em> (1972/1975) generate intensely sceptical readings of sympathetic or redemptive forms of witnessing. …”

FIREWORKS / by Moore, James A.

“…It began on a happy day. The small town of Collier had gathered on the fourth of July to watch the fireworks. …”

Arabia Felix 2.0: a cross-linguistic Twitter analysis of happiness patterns in the United Arab Emirates by Aamna Al Shehhi, Justin Thomas, Roy Welsch, Ian Grey, Zeyar Aung

“…Findings indicate that 7:00 am was the happiest hour, and Friday was the happiest day for both languages (the least happy day varied by language). The happiest months differed based on language, and there were also significant variations in sentiment patterns, peaks and troughs in happiness, associated with events of sociopolitical and religio-cultural significance for the UAE.…”
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Arabia Felix 2.0: a cross-linguistic Twitter analysis of happiness patterns in the United Arab Emirates by Al Shehhi, Aamna, Thomas, Justin, Welsch, Roy, Grey, Ian, Aung, Zeyar

“…Findings indicate that 7:00 am was the happiest hour, and Friday was the happiest day for both languages (the least happy day varied by language). The happiest months differed based on language, and there were also significant variations in sentiment patterns, peaks and troughs in happiness, associated with events of sociopolitical and religio-cultural significance for the UAE.…”
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William Shakespeare and Slovene dramatists (I): A. T. Linhart's Miss Jenny Love by Mirko Jurak

“…It was first performed in Ljubljana by the Association of Friends of the Theatre on 28 December 1789, and it was printed in 1790 together with Linhart's second comedy, Ta veseli dan ali Matiček se ženi (This Happy Day, or Matiček Gets Married; which was also published in 1790, but not performed until 1848). …”
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