At first consideration, it would seem that Shakespeare and Monty Python have very little in common other than that they’re both English. Shakespeare wrote during the reign of a politically puissant Elizabeth, while Python flourished under an Elizabeth figurehead. Shakespeare wrote for rowdy theatre whereas Python toiled at a remove, for television. Shakespeare is The Bard; Python is-well-not. Despite all of these differences, Shakespeare and Monty are in fact related; this work considers both the differences and similarities between the two. It discusses Shakespeare’s status as England’s National Poet and Python’s similar elevation. It explores various aspects of theatricality (troupe configurations, casting and writing choices, allusions to classical literature) used by Shakespeare, Ben Jonson and Monty Python. It also covers the uses and abuses of history in Shakespeare and Python; humor, especially satire, in Shakespeare, Jonson, Dekker and Python; and the concept of the “Other” in Shakespearean and Pythonesque creations.
Known for its outrageous humor, occasionally controversial content, and often silly spirit, Monty Python's Flying Circus poked fun at nearly everything. Indeed, many of the allusions and references in the program were routinely obscure, and therefore, not always understood or even noticed. This exhaustive reference identifies and explains the plethora of cultural, historical, and topical allusions of this landmark series. In this resource, virtually every allusion and reference that appeared in an episode is identified and explained. Organized chronologically by episode, each entry is listed alphabetically, indicates what sketch it appeared in, and is cross-referenced between episodes. Scholars and fans who already appreciate the silliness of the Pythons can also enjoy the acculturated know-it-all-ness of their heroes.
This exhaustive reference identifies and explains the plethora of cultural, historical, and topical allusions in the film Monty Python and the Holy Grail, the first original film by the British comedy troupe.
This book identifies the plethora of cultural, historical, and topical references in the film Monty Python's Life of Brian. The author cites and explains virtually every allusion--from first-century Jerusalem through 1970s Great Britain, from terror groups ancient to modern, from Pontius Pilate to Margaret Thatcher--that appears in the film.
"This updated edition should be welcomed by anyone interested in Shakespeare. Particularly useful are its pithy introductions and bibliographies on various critical approaches". -- David Bevington, editor of Complete Works of Shakespeare. "A handy, compact map to the changing and contested field of Shakespeare studies". -- Bruce R. Smith, author of Homosexual Desire in Shakespeare's England. Copyright © Libri GmbH. All rights reserved.
"Darl Larson identifies and explains virtually every allusion and reference that appears in Monty Python's The Meaning of Life. Organized chronologically by scene, the entries cover literary and metaphoric allusions, symbolisms, names, peoples, and places, as well as the many social, cultural, and historical elements that populate this film"--
Monty Python’s Flying Circus was one of the most important and influential cultural phenomena of the 1970s. The British program was followed by albums, stage appearances, and several films, including Monty Python and the Holy Grail, Life of Brian, and Monty Python’s The Meaning of Life. In all, the comic troupe drew on a variety of cultural references that prominently figured in their sketches, and they tackled weighty matters that nonetheless amused their audiences. In Nobody Expects the Spanish Inquisition:Cultural Contexts in Monty Python, Tomasz Dobrogoszcz presents essays that explore the various touchstones in the television show and subsequent films. These essays look at a variety of themes prompted by the comic geniuses: Death The depiction of women Shakespearean influences British and American cultural representations Reactions from foreign viewers This volume offers a distinguished discussion of Monty Python’s oeuvre, exhibiting highly varied approaches from a number of perspectives, including gender studies, post-structuralism, psychoanalysis, and cultural studies. Featuring a foreword by Python alum Terry Jones, Nobody Expects the Spanish Inquisition will appeal to anyone interested in cultural history and media studies, as well as the general fans of Monty Python who want to know more about the impact of this groundbreaking group.
The development of this drama over 119 years is the subject of Frances M. Kavenik's British Drama, 1660-1779: A Critical History, a fascinating account of the people and events shaping the genre during the period. Approaching her subject from a popular culture perspective, Kavenik argues that the drama produced in these years was the most innovative since Shakespeare's time, giving rise to such forms as the musical and the situation comedy. A comprehensive first chapter describes the theaters, stage apparatus, playwrights, performers, audiences, and critics of the period, while four chronologically arranged chapters detail key developments during each subperiod. The Lincoln's Inn Fields and Drury Lane theaters, the Licensing Act of 1737, legendary figures like Nell Gwyn and David Garrick, the growth of the periodical press as a medium for dramatic criticism, the popularity of productions like John Gay's The Beggar's Opera and Aphra Behn's The Rover - these and much more are brought vividly to life for readers, as is Kavenik's theme that "late seventeenth- and eighteenth-century comedies, heroic plays, tragicomedies, and tragedies were the genre films and soap operas of their day, enthralling their audiences and speaking to their needs and desires, offering entertainment, excitement, and escape. They also were capable ... of creating or reforming their audiences' needs and desires".
Was there more to medieval and Renaissance comedy than Chaucer and Shakespeare? Bien sûr. For a real taste of saucy early European humor, one must cross the Channel to France. There, in the fifteenth and early sixteenth centuries, the sophisticated met the scatological in popular performances presented by roving troupes in public squares that skewered sex, politics, and religion. For centuries, the scripts for these outrageous, anonymously written shows were available only in French editions gathered from scattered print and manuscript sources. Now prize-winning theater historian Jody Enders brings twelve of the funniest of these farces to contemporary English-speaking audiences in "The Farce of the Fart" and Other Ribaldries. Enders's translation captures the full richness of the colorful characters, irreverent humor, and over-the-top plotlines, all in a refreshingly uncensored American vernacular. Those who have never heard the one about the Cobbler, the Monk, the Wife, and the Gatekeeper should prepare to be shocked and entertained. "The Farce of the Fart" and Other Ribaldries is populated by hilarious characters high and low. For medievalists, theater practitioners, and classic comedy lovers alike, Enders provides a wealth of information about the plays and their history. Helpful details abound for each play about plot, character development, sets, staging, costumes, and props. This performance-friendly collection offers in-depth guidance to actors, directors, dramaturges, teachers, and their students. "The Farce of the Fart" and Other Ribaldries puts fifteenth-century French farce in its rightful place alongside Chaucer, Shakespeare, commedia dell'arte, and Molière—not to mention Monty Python. Vive la Farce!
Aus dem Inhalt: I. Transgressive Erkenntniswelten V. v. Flemming, Das Andere der Vernunft? Giovanpietro Bellori und die Ambivalenz des Phantasiebegriffs in der italienischen Kunsttheorie der fruhen Neuzeit M. Boenke, Der Teufel der PhilosophenII. Imagination des Anderen. Das Wunderbare, Damonische und Groteske G. Butzer, Mirabilia und Phantasma: Die poetische Imagination des Anderen G. Scholz Williams, Confronting the Early modern Other: Johannes Praetorius (1630-1680) on Wonders and ViolenceIII. Das Fremde Ich: Wahnsinn und DomestizierungI. Schabert, Wombscapes: Abjektion in King Lear und Paradise Lost B. Bannasch, G. Butzer, Das Verschwinden des Anderen im Ich: Affektregulierung und Gedachtnispragung in Meditation und Emblematik IV. Das Fremde Nicht-Ich: Kulturelle Grenzziehungen B. Klein, Randfiguren. Othello, Oroonoko und die kartographische Reprasentation Afrikas V. Alteritat im sozialen Raum: Selbstinszenierung und Selbstgabe U. Jung, Weibliche Autorschaft im spanischen Barock: Selbstinszenierung als das Andere bei Maria de Zayas und Feliciana Enriquez de Guzman S. Schulting, Wa(h)re Liebe. Geldgeschafte und Liebesgaben in der Fruhen Neuzeit