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This book argues that Augustine's Confessions may fruitfully be read as a series of encounters with language and signs: as a baby learning to speak, as a schoolboy orator, student, professor of rhetoric, and Christian exegete. While language is a universal human characteristic, the fact of languages tends to divide humans into arbitrary and uncomprehending communities; and even in individual communities, language can be manipulated or simply misunderstood. On the theological level, Augustine faces question of how to describe (and invoke) an absolute and immutable God in language that is necessary arbitrary and mutable. This book seeks to explore these questions through a close analysis of specific linguistic features of the work, such as his use of the language of Roman comedy, his attitudes towards Greek, or his use of biblical Latin. Consideration is given also to such ‘paralinguistic’ activities as singing or laughing, and to the relationship between the spoken and the written word.

Molière wrote, directed, and starred in comedies for public and court audiences in 17th-century France. He is perennially successful, but perennially subject to critical controversy: do his plays aim to do more than make audiences laugh? This book focuses on a group of characters in the plays, the interpretation of whose role lies at the heart of any answer to this question. For over a century critics have called them raisonneurs. They are characters who engage with some of Molière's most foolish protagonists, but they have been variously interpreted as either exponents of wisdom or as bores who are subject to ridicule. This book argues that new light can be shed on the words and actions of these characters, and on the tenor of the plays as a whole by detailed contextual analysis of the structures of dramaturgy and comedy in which they are deployed. They emerge neither as the mouthpieces of common sense nor as pompous fools, but as thoughtful, witty, and resourceful friends of the foolish protagonists whom Molière himself played. The book takes into account what is known of the performance styles of Molière's troupe of actors as well as engaging closely with the text of the plays and the critical debate to date. Some of Molière's most teasingly problematic plays are held up to fresh scrutiny, including L'Ecole des femmes, Le Tartuffe, Le Misanthrope, and Le Malade imaginaire.

James Joyce's Ulysses, once regarded as obscure and obscene, is now viewed as a masterpiece of world literature. Yet Joyce's final novel, Finnegans Wake, to which he devoted seventeen years, remains virtually unread. Its linguistic novelties, layered allusions, and experimental form can make it seem impenetrable. This book attempts to dissolve the darkness that surrounds the Wake and to display instead its mesmerizing play of light. The book offers an original, appealing interpretation of Joyce's novel while also suggesting an approach to the magnum opus. Focusing throughout on the book's central themes, the book proposes that Finnegans Wake has at its core an age-old philosophical question—“What makes a life worth living?”—that Joyce explores from the perspective of someone who feels that a long life is now at its end. Alert to echoes, the book progresses through the novel, adding texture to his portrait of an aging dreamer who seeks reassurance about the worth of what he has done and who he has been. The novel's complex dream language becomes meaningful when seen as a way for Joyce to investigate issues that are hard to face directly, common though they may be. At times the view is clouded, at times it's the music or sheer comedy that predominates, but one experiences in the retrospective momentum a brilliant clarity unlike anything else in literature. With a startlingly profound compassion and a distinctive brand of humanism, Joyce points us to the things that matter in our lives. His final novel, this book believes, is a call to life itself.

The importance of sound in poetry is indisputable, yet it is not at all an easy subject to discuss, and is rarely treated systematically by literary scholars. This book uses a variety of computer-based processes to construct a systematic analytical description of the sounds of Dante's Divine Comedy in the sense of their overall distribution within the text. The description is developed through a comparative treatment of the same features in a range of related texts, with a view to defining the distinctive characteristics of Dante's practice; and by a discussion of the function and effect of sounds in the work, with special attention to unusually high incidences of particular features. The book is thus both a contribution to the scholarly debate about Dante's poem, and an illustration and discussion of the ways in which new electronic technology can be used for this kind of purpose.

The contributions to this book illustrate how linguistic study of Greek comedy can deepen our knowledge of the intricate connections between the dramatic texts and their literary and socio-cultural environment. Topics discussed include the relationship of comedy and iambus, the world of Doric comedy in Sicily, figures of speech and obscene vocabulary in Aristophanes, comic elements in tragedy, language and cultural identity in 5th-century Athens, linguistic characterization in Middle Comedy, the textual transmission of New Comedy, and the interaction of language and dramatic technique in Menander. Research in these topics and in related areas is reviewed in a bibliographical essay. While the main focus is on comedy, the book adopts a diversity of approaches (including narratology, pragmatics, lexicology, dialectology, sociolinguistics, and textual criticism).

This book argues that Elizabethan seasonal festivals such as May Day and Twelfth Night are the key to understanding Shakespeare's comedies. Interweaving anthropology, social history, and literary criticism, the book traces the inward journey—psychological, bodily, spiritual—of the comedies: from confusion, raucous laughter, aching desire, and aggression, to harmony. Revealing the interplay between social custom and dramatic form, the book shows how the Elizabethan antithesis between everyday and holiday comes to life in the comedies' combination of seriousness and levity. “I have been led into an exploration of the way the social form of Elizabethan holidays contributed to the dramatic form of festive comedy. To relate this drama to holiday has proved to be the most effective way to describe its character. And this historical interplay between social and artistic form has an interest of its own: we can see here, with more clarity of outline and detail than is usually possible, how art develops underlying configurations in the social life of a culture.” This new edition includes a foreword that discusses the author's influence on later scholars and the recent critical disagreements that the author has inspired, showing that this book is as vital today as when it was originally published.

Hollywood romantic comedy inevitably ends with the union of a heterosexual couple. But does this union inevitably involve marriage? What part does equality play? Are love and desire identical? This book explores the genre's changing representation of the couple, focusing on marriage, equality and desire in screwball comedy, career woman comedy and sex comedy. The shifting discourses around heterosexuality, gender, romance and love are considered in relation to such socio-historical transformations as the emergence of companionate marriage, war-time gender roles and the impact of post-war consumerism. Going well beyond the usual screwball territory, the book provides an understanding of the functions of conventions such as masquerade, gender inversion and the happy ending. This is complemented by a distinctive focus on individual films and their star couples, including detailed discussion of Myrna Loy and William Powell, Katharine Hepburn and Spencer Tracy, and Doris Day and Rock Hudson. The book offers foundational explanations of genre and an analysis of cycles and films.

Cratinus, one of the great lost poets of fifth-century Athenian comedy and a canonical author of the classical world, had a formative influence on the comic genre, including Aristophanes himself. In what is the first major monograph in the best part of a century devoted to this author, Emmanuela Bakola offers a modern, comprehensive overview of Cratinus and his position within the genre of Greek comedy using a methodologically innovative approach. Unlike traditional ways of addressing fragmentary drama, this book does not merely reconstruct plays or texts, but by drawing on a range of hermeneutic frameworks, it adopts a thematic approach which allows her to explore Cratinus' poetics. Major issues which this book addresses include the creation of a poetic persona within a performative tradition of vigorous interpoetic rivalry; comedy's interaction with lyric poetry, iambos, and the literary-critical debates reflected by these genres; the play with the boundaries of the comic genre and the interaction with satyr drama and tragedy, especially Aeschylus; the multiple levels of comic plot-construction and characterization; comedy's reflection on its immediate political, social, and intellectual context; stagecraft and dramaturgy; comedy and ritual. Whilst being firmly based on principles of rigorous textual analysis, philology, and papyrology, by taking a broad and diverse outlook this study offers not just an insight into Cratinus, but a way of opening up and enriching our understanding of fifth-century Athenian comedy in a dynamic evolving environment.

This book studies Charles Darwin's writing as literature, and The Origin of Species as the most important book in English in the 19th century, and surprisingly, one of the most beautiful. Reading Darwin's work with the kind of attention one might direct to a great novel helps reveal Darwin's own personal voice in the midst of the scientific context, helps emphasize his extraordinary handling of language and his strategies of argument and representation, while emphasizing the emotional implications of his writing. The book traces the development of Darwin's way of seeing and imagining from his first book, The Voyage of the Beagle, through the On the Origin of Species, to The Descent of Man. It emphasizes the importance of his metaphors, his instinct for paradox (and their scientific and strategic uses), the ‘double movement’ of his writing, the love of nature evident in his meticulous descriptions, and the way his writing anticipated and influenced modernist or proto-modernist writers like Walter Pater, Thomas Hardy, and Oscar Wilde. It attempts to demonstrate that Darwin's ‘tragic vision’ is often also a ‘comic vision’, and that he renders mindless nature as awesome and beautiful. For Darwin, the world was marvellously ‘entangled’ and interconnected, every organism related to every other, and each slightest detail implicated in a vast history.