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Consacré aux Comiques, cet essai aménage une promenade dans les Lettres et les Arts, d’Alphonse Allais à Marcel Duchamp, en passant par Charlot - mais aussi du politique au poétique ou de l’incongruité au sublime. Car la veine comique s’entremêle à d’autres, qui l’exaltent. Tout en confrontant les principales théories du rire, l’ouvrage interroge la teneur d’un comique pur, cher à Baudelaire. Produisant le non-sens, la mystification et toutes sortes d’effets problématiques, l’humour « moderne » profane la composante sacrée de l’Art.

French literature --- Thematology --- Art --- Comic, The, in literature --- Comic, The, in art --- Comic, The, in literature. --- Comic, The, in art. --- littérature --- comique --- humour

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parody --- Painting --- Iconography --- Carnival [pre-Lenten festival] --- komedie --- anno 1500-1599 --- Parody in art. --- Comic, The, in art --- Art and society --- History --- Art and society - Europe - History

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Das Komische ist ein wesentliches Element jeder Kultur. Es entfaltet seine Wirkung im Spiel mit geltenden Normen, im gezielten Überschreiten der von Anstand und Sitte gesetzten Grenzen, im Unterlaufen der Gesetze einer herrschenden Logik. Seinen Platz findet es vor allem im Performativen, so dass Fest, Tanz und (Schau-)Spiel seine natürlichen Orte sind. Zum ersten Mal in der Geschichte des Bildes wurde in der korinthischen Vasenmalerei des 7. Jahrhunderts v. Chr. eine Ikonographie des Komischen entwickelt. Detlev Wannagat versteht es, den Blick für diese ersten Entwürfe komischer Figurentypen zu öffnen. Prägnant analysiert er, wie diese Darstellungen im archaischen Griechenland eingesetzt und wahrgenommen wurden. Die bislang vernachlässigte Nahsicht auf die neuen Figurentypen erweckt den erstaunlichen Esprit und überraschenden Witz dieser Bildschöpfungen. Aus dieser anthropologisch zugespitzten Perspektive wirft Detlev Wannagat neues Licht auf die gesellschaftlichen Wertvorstellungen, die in den Bildern des Komischen gebrochen und spielerisch präfiguriert werden. Die griechische Kultur erweist sich auch auf diesem Gebiet als eine Bildkultur, die ungemein kreativ und prägend wirkt. The comic is crucial to every culture: mocking established values, transcending the boundaries of morals and proprieties, dodging the laws of accepted logic. Being based mainly on performance, it takes its natural place in festival, dance and play(-acting). This nature of the comic is expressed far more directly in images than in language. Already in the Corinthian black-figure vase-painting of the 7th century, comic images hold an important position. Detlev Wannagat analyses their typology and visual strategies, starting from the grotesquely shaped 'padded dancers', in which the original performative context of the festival and its alienation appears the most clearly. His close-up focus on these pictures - mostly neglected so far -, draws into clearer perspective the values which they alienate and mockingly transgress.

Vase-painting, Corinthian --- Vases, Corinthian. --- Vases, Black-figured --- Comic, The, in art. --- Wit and humor in art. --- Parody in art. --- Art and society --- Social values --- Themes, motives. --- History. --- Corinth (Greece) --- Antiquities. --- Antiquity. --- Greece. --- archaeology. --- art. --- culture. --- pottery.

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"The Dutch painter Jan Steen (1626-1679) has long enjoyed a reputation for his dissolute life, redeemed only by a keen eye for the follies of his contemporaries and an exquisite ability to capture his observations in paint. Steen's paintings of unruly households, rambunctious revels, and wily seductresses have come to define our image of the delicious and immoral excesses of the Golden Age. But rather than simply recording the illicit pleasures of Dutch burghers and peasants, Steen transformed them into ambitious genre paintings that rival the peasant epics of Bruegel the Elder and jest with the genteel idylls of Vermeer and Terborch." "By placing Steen within Dutch society and culture of the seventeenth century, Mariet Westermann shows how the contradictions and parallels between his life and his art were essential to his innovative achievements. In a detailed analysis of his career and audience, she suggests how Steen became a comic painter and why his pictures appealed to prosperous urban connoisseurs. Documented throughout with seventeenth-century jokes, poems, and plays, The Amusements of Jan Steen gives the first full account of Steen's creative relationship to comic literature and performance."--Jacket.

humor --- lachwekkende wereld --- komedie --- Steen, Jan --- Comedians in art --- Comedianten in de kunst --- Comédiens dans l'art --- Genre painting [Dutch ] --- Genreschilderkunst [Nederlandse ] --- Peinture de genre néerlandaise --- Comic, The, in art --- Steen, Jan, --- Steen, Jan Havickszoon, --- Criticism and interpretation. --- Houbraken, Arnold --- 17de eeuw --- Noordelijke Nederlanden --- amusement --- lachen --- Steen, Jan Havickszoon --- Genre painting --- 17th century --- Netherlands --- glimlachen --- Steen, Jan. --- Houbraken, Arnold. --- 17de eeuw. --- Noordelijke Nederlanden. --- humor. --- amusement. --- glimlachen. --- Comic, The, in art. --- Comique dans l'art. --- Komik --- Malerei --- Schilderkunst. --- Genreschilderkunst. --- Humor (grappigheden) --- Cultuurgeschiedenis. --- Receptie. --- Kunstschilders. --- Painters --- Peinture néerlandaise. --- Peinture --- Painting, Dutch --- Genre painting, Dutch --- Peinture hollandaise --- Peinture de genre hollandaise

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Using both textual and iconographic sources, this richly illustrated book examines the representations of the body in Greek Old and Middle Comedy, how it was staged, perceived, and imagined, particularly in Athens, Magna Graecia, and Sicily. The study also aims to refine knowledge of the various connections between Attic comedy and comic vases from South Italy and Sicily (the so-called 'phlyax vases'). After introducing comic texts and comedy-related vase-paintings in the regional contexts, The Comic Body in Ancient Greek Theatre and Art, 440-320 BCE considers the generic features of the comic body, characterized as it is by a specific ugliness and a constant motion. It also explores how costumes, masks, padding, phallus, clothing, accessories, and gestures contribute to the characters' visual identity in relation with speech : it analyzes the cultural, social, aesthetic, and theatrical conventions by which spectators decipher the body. This study thus leads to a re-examination of the modalities of comic mimesis, in particular when addressing sexual codes in cross-dressing scenes which reveal the artifice of the fictional body. It also sheds light on how comic poets make use of the scenic or imaginary representations of the bodies of those who are targets of political, social, or intellectual satire. There is a particular emphasis on body movements, where the book not only deals with body language and the dramatic function of comic gesture, but also with how words confer a kind of poetic and unreal motion to the body.

Art, Greek. --- Comic, The, in art. --- Comic, The, in literature. --- Comique dans l'art. --- Comique dans la littérature. --- Comédie grecque --- Corps humain dans l'art. --- Corps humain dans la littérature. --- Greek drama (Comedy) --- Greek drama (Comedy). --- Human body in literature. --- Human figure in art. --- Peinture de vases grecque. --- Vase-painting, Greek. --- Histoire et critique. --- History and criticism. --- Art --- Theatrical science --- Thematology --- drama [literature] --- Greek vase painting styles --- Antiquity --- Greece --- Corps --- Art grec --- Dans la littérature --- Thèmes, motifs. --- drama [discipline] --- Vase-painting, Greek --- Human body in literature --- Human figure in art --- Themes, motives --- Themes, motives.