Popular Culture as Pedagogy : Teaching “Il Canto di Ulisse” from Dante to Jovanotti in the American College Classroom by Marzia Caporale

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HUMOUR AS AFFECT IN SUSANNA CENTLIVRE’S PLAY A BOLD STROKE FOR A WIFE by Ellen DENGEL-JANIC

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Fantozzi perverso. Masochismo, desiderio inesausto e altre viziose amenità del ragioniere e dei congiunti by Federico Giordano

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Dante : un guide spirituel pour l’Europe moderne. Quelques remarques sur les lectures dantesques d’Ernst Troeltsch à l’occasion du jubilé allemand de la mort du poète en 1921... by Bérénice Palaric

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Book review by Villy Tsakona

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Phonological Exploitation in Constructing Humourous Utterances by M. Masqotul Imam Romadlani, Eka Susylowati, Meria Zakiyah Alfisuma

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The role of humor discourse in the construction of gender identity by Esther Linares Bernabéu

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Deviations and Displacements of Motherhood: On Ana Katz’s "Mi amiga del parque" (2015) by Julia Kratje, Román Setton

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Le rire dans la littérature gréco-romaine by Warda Derdour

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The Merry Mystery of the Maypole. A Few Observations on the Role of the Comic Object in Religion and Culture<br>Vedra skrivnost mlaja. Nekaj opažanj o vlogi komičnega v verovanjih... by Izar Lunaček

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South Park : a stickyforms adventure! / by Parker, Trey, 1969- , author, Stone, Matt,d1971- , author

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Formes et voix chez Ruzzante by Georges Ulysse

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« Le grand art est de se contrefaire » : les comedies de l’aveu dans le theatre du Marquis de Sade by David Yvon

“…Place of deception and hoax, full of secrets, this baroque theatre cannot help but stage itself, exposing its own codes. Playing comedy is not only a way to avoid censorship but to enunciate: the theatre of Sade has to take on the speech of truth, making the confession a true entertainment. …”
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“Puisque Esther, elle aussi comédienne, sut jouer la comédie au roi”: la storia di Ester nel teatro giudeo-provenzale by Erica Baricci

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La Virginie de Jean de Mairet y el desarrollo de la tragi-comédie en Francia en el siglo XVII by María del Carmen Aguilar Camacho

“…This work deals with the term tragi-comédie in the first decades of the 17th century in France, when the standards of the literary genre were established: a novelistic and sentimental topic, a happy ending, and the mixture of the tragic and the familiar. …”

LA TRADUCTION DE LA COMÉDIE «QU'EST-CE QU'ON A FAIT AU BON DIEU?»: UNE TRADUCTION SOURCIÈRE OU CIBLISTE? by USM ADMIN

“…Cette activité d’analyse a été centrée sur l’indentification des difficultés de traduction et de leurs techniques de traduction dans la comédie «Qu'est-ce qu'on a fait au Bon Dieu?» sous-titrée en roumain. …”
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PESAN KRITIK DALAM KOMEDI DI TELEVISI (Analisis Isi Kualitatif Pesan Kritik dalam Stand Up Comedy Show di Metro TV) by , AMALIA AJENG DAMAYANTI, , Muhammad Sulhan, S.I.P.M.Si. P.Hd Chan

“…Through its programs, the Stand Up Comedy Show is not only to entertain, but also to educate and persuade audiences. …”

Suspicious diseases of grumbling old women: Paltrana (<i>Segunda Celestina</i>), Alisa (<i>La Celestina</i>) and other comedy mothers oblivious of their duties by Rafael Beltrán

“…Coming from the tradition of comedy, Feliciano de Silva takes advantage of some of them with total originality.…”
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As good as it gets [video compact disc] / by Brooks, James L.

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Re e carbonai in scena. Il conflitto corte-aldea ne Los carboneros de Francia. Una commedia palatina del fondo Gondomar by Elena Merlino

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