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Plaute est l'un des deux seuls auteurs latins dont des pièces entières aient été conservées : le corpus plautinien reste toutefois un ensemble problématique car les manuscrits ne nous ont transmis, sur les 130 circulant sous le nom de Plaute dans l'Antiquité, que vingt-et-une pièces, identifiées au Ier siècle avant J.-C. par le grammairien Varron comme étant caractéristiques de Plaute. Il n'est pas douteux que ces pièces du corpus plautinien soient des comédies car c'est dans le cadre rituel et ludique propre aux comédies que le poète les a fait représenter. Les pièces elles-mêmes évoquent par ailleurs à plusieurs reprises, dans leur texte, cette appartenance au genre de la comoedia. Il peut alors être intéressant de s'interroger sur ce genre théâtral : Plaute le revendique clairement comme cadre d'inscription de ses pièces, mais le genre comique semble jouer dans ses comédies une fonction supplémentaire. Notre travail cherche à interroger la spécificité du rapport de Plaute à la comédie, et met pour cela en lumière les différents moyens par lesquels la comédie plautinienne se désigne comme théâtre et plus spécifiquement comme comédie. La métathéâtralité, ou le fait de se désigner comme théâtre, apparaît alors comme un procédé ludique, qui cherche à jouer avec le spectateur et à susciter le rire. Notre travail vise également à montrer que certaines comédies de Plaute se constituent spécifiquement comme comédies à travers un jeu sur les genres littéraires de l'épopée et de la tragédie : Plaute proposerait ainsi ce que l'on peut appeler une métapoétique du genre comique. / Plautus is one of the only two Roman playwrights whose plays have been preserved. However, the Plautinian corpus remains a problematic object : among the 130 plays that circulated under Plautus' name in the Antiquity, only 21 have been transmitted to us – those identified by the grammarian Varro in the 1st century BC as characteristic of Plautus. No doubt that these plays belonging to the Plautinian corpus are comedies, for the poet had them performed as comedies in the ritual context of the ludi. Moreover, the text of the plays themselves, on various occasions, mentions them as belonging the the genre of the comoedia. For those reasons, it can be interesting to question the dramatic genre : Plautus claims it as a framework for his plays, but the comic genre seems to play a further part in his comedies. This work aims at questionning Plautus' relationship to comedy : to do so, it lights up the various means through which Plautinian comedy shows itself as theatre in general, and as comedy in particular. Metatheatre – the explicit self-consciousness of being theatre – thus appears as a ludic process which tries to play with the audience and to trigger laughter. This works also aims to demonstrating that some of Plautus' comedies draw their comic specificity from playing on the epic and tragic genres. One could talk about Plautus of a metapoetics of the comic genre.

Trots ett något befläckat och periodvis kontroversiellt förflutet, har metal och hårdrock blivit en av de större musikgenrer som har fått sin spridning och sitt fäste i stora delar av världen. Denna uppsats är ett stickprov i spontana känslor och reaktioner som metal, skriven som konventionell filmmusik, framkallar i en actionkomedi. I studien har progressiv, instrumental metal komponerats som filmmusik till en scen ur kortfilmen Clean Objective (2022) och sedan översatts till klassisk orkestermusik. Samma scen med de två olika orkestreringar visades för fyra fokusgrupper med varierande bakgrund, för att undersöka respondenternas spontana reaktioner och känslor på metal som filmmusik i jämförelse med orkestermusiken som generellt förekommer oftare än metal i film. Alla respondenter upplevde att metal förstärkte komiken i och med kontrasten mot flera av filmens element, så som det visuella, pauser i musiken, samt mot en annan låt av en annan genre som också fanns med i scenen som studien gjordes på. De flesta respondenter tyckte att orkestern var mer dynamisk, bidrog med seriositet och passade bättre för uppbyggnaden av spänning, men tyckte att metal passade i actionsekvenserna. Respondenterna bidrog även med många olika enskilda åsikter och reaktioner som också presenteras i uppsatsen.

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The US comedy show Saturday Night Live has been parodizing politicians since the show's early beginnings in the 1970s. The political content of the late night series even affects presidential elec-tions with its impersonations. In 2016, Donald Trump and Hillary Clinton dominated the headlines, so of course they were parodied on SNL as well. The portrayal of Trump focused on his incompetence, sexism, and history of sexual abuse allega-tions. They use verbatim quotes from the real presidential debates, therefore only exaggerating the image of an inept man running for president. SNL clearly favors Clinton and portrays her as more capable than Trump, yet also poking fun at her attempts to insinuate more likeability. The show also decided to comment on Trump’s victory by impersonating Clinton once again, this time as a mourning woman performing Leonard Co-hen’s “Hallelujah.” Trump reacted on Twitter multiple times, referring to the show as “rigged” and “biased” media. This, however, helped Trump win the election. By portraying him as the laughingstock of SNL, viewers felt estranged from the show. Some considered it as the prime example of rigged media which loathes Republicans and their values. It motivated political action and questioned America's civic judgement. The aim of the paper is to prove that popular culture is able to influence many people, and it even holds the power to impact voting behavior. SNL is a cornerstone of American media landscape and shows that comedy does affect politics.:About The Prodies The Impact The Reactions

No Sleep '˜Til Minsky's is a one-man show paying tribute to early 20th century variety entertainment. The writing process began with research into the forms of vaudeville and burlesque, including films of period acts, study of autobiographies and biographies of burlesque performers, and study of historical scripts performed in the time period and stored at the Library of Congress. The format of the show consists of a one-hour core script in which Lou Drake speaks of his life and career in burlesque. In addition to the core script, the structure is designed to allow more actors to participate in staging sketches described by Drake, as well as allowing external acts to splice their material into a performance.

Dante Alighieri’s transcendental work the Divine Comedy is masterfully appropriated in this cartoon mini-series titled Over the Garden Wall in order to explore the issue of suicidal ideation and depression while contradicting Dante. Through different textual and conceptual appropriations, the show invokes the imagery of the Divine Comedy while creating an ending that is the complete opposite of its source text, turning Dante on his head and becoming an anti-Divine Comedy. The different characters of the epic poem are reimagined for these purposes, and the result is a work of art that makes the personal into the universal.

A young man disappointed with the way his life has turned out is forced to live two other versions of himself from other universes that made different choices in life.