Italo Svevo and Charlie Chaplin: Dramatic Irony and the Psychoanalytic Stance

2006 ◽  
Vol 63 (2) ◽  
pp. 183-200
Author(s):  
Robert A. Rushing
Keyword(s):  
Charlie Chaplin ◽  
Italo Svevo

A tribute to Charlie Chaplin: How feedback-based learning benefits from watching slapstick comedy (and other dopamine-boosters)

2011 ◽  
Author(s):  
K. R. Ridderinkhof ◽  
N. C. Van Wouwe ◽  
G. P. Band ◽  
I. Van De Vijver ◽  
W. P. Van Den Wildenberg ◽  
...  
Keyword(s):  
Charlie Chaplin ◽  
Slapstick Comedy

Der Roman als Reflexion und Mythisches Analogon: Italo Svevo

POETICA ◽  
1993 ◽  
Vol 25 (1-2) ◽  
pp. 195-219
Author(s):  
Hans Sanders
Keyword(s):  
Italo Svevo

Music and Gesture

2017 ◽  
Author(s):  
Lawrence M. Zbikowski
Keyword(s):  
Dynamic Processes ◽  
Thought Processes ◽  
Human Communication ◽  
Charlie Chaplin ◽  
Swing Time ◽  
The Relationship

This chapter explores the relationship between music and physical gesture, drawing on recent research on the spontaneous gestures that accompany speech. Such gestures appear to be motivated by thought processes that are independent from speech and that in many cases offer analogs for dynamic processes. The chapter outlines the infrastructure for human communication that supports language and gesture as well as music. This outline provides a framework for exploring how music and gesture are similar and for how they are different. These comparisons are made through analyses of the movements Fred Astaire makes while accompanying himself at the piano in the 1936 film Swing Time and those Charlie Chaplin makes to Brahms’s Hungarian Dance No. 5 in the 1941 film The Great Dictator. These analyses further explicate the role of syntactic processes and syntactic layers in musical grammar and introduce referential frameworks, which serve as perceptual anchors for syntactic processes.

Machine–Humans and Body-Subjects

2017 ◽  
Author(s):  
Cleo Hanaway-Oakley
Keyword(s):  
The Body ◽  
Early Cinema ◽  
Cartesian Dualism ◽  
Charlie Chaplin ◽  
Human Interface ◽  
The World ◽  
Body Subject

This chapter presents an alternative to the popular critical vein that sees Joyce’s Ulysses and early cinema as conveying a mechanical, impersonal view of the world. It is argued that Ulysses and certain genres of early cinema were engaged—naively or otherwise—in a revaluation of Cartesian dualism, involving the reappraisal of mind/body and human/machine binaries. The physical comedy of Bloom and Charlie Chaplin is analysed with reference to phenomenological ideas on prosthesis and the machine–human interface, while other genres of early cinema, such as Irish melodrama and trick films, are considered in the light of phenomenological theories of gesture and embodiment. By comically mocking mind/body separation and depicting the inseparability of subjectivity and corporeality, Joyce and the early film-makers go beyond the ideas of Bergson and anticipate Merleau-Ponty’s later notion of the ‘body-subject’.

Italo Svevo tra moderno e postmoderno

Italica ◽  
1998 ◽  
Vol 75 (1) ◽  
pp. 129
Author(s):  
Giuliana Minghelli ◽  
Mauro Buccheri ◽  
Elio Costa
Keyword(s):  
Italo Svevo

The comedy of Charlie Chaplin: artistry in motion

2011 ◽  
Vol 9 (4) ◽  
pp. 367-369
Author(s):  
Stephen Bottomore
Keyword(s):  
Charlie Chaplin

Booting a Tramp: Charlie Chaplin, the FBI, and the Construction of the Subversive Image in Red Scare America

2003 ◽  
Vol 72 (4) ◽  
pp. 495-530 ◽  
Author(s):  
JOHN SBARDELLATI ◽  
TONY SHAW
Keyword(s):  
Popular Culture ◽  
Communist Party ◽  
Red Scare ◽  
Federal Bureau ◽  
American Legion ◽  
Federal Bureau Of Investigation ◽  
Cultural Icon ◽  
Charlie Chaplin

This article examines the battle over popular culture in the age of McCarthyism. The Federal Bureau of Investigation, under J. Edgar Hoover, targeted Charlie Chaplin because of his status as a cultural icon and as part of its broader investigation of Hollywood. Some of Chaplin's films were considered ““communist propaganda,”” but because Chaplin was not a member of the Communist Party, he was not among those investigated by HUAC in 1947. Nevertheless, he was vulnerable to protests by the American Legion and other patriotic groups because of both his sexual and political unorthodoxy. Yet, although countersubversives succeeded in driving Chaplin out of the country, they failed to build a consensus that Chaplin was a threat to the nation. Chaplin's story testifies to both the awesome power of the countersubversive campaign at mid-century and to some of its limitations as well.

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