The life of comedy in the west dates back to the beginning of the dramatic activities of ancient Greece and then, ancient Rome and it is observable in abundance in the east in the works of great poets like Roudaki, Sana’i, Anvari, Sa’di, Hafez, Mowlavi, etc. The important point among all these texts is acceptance of them as a form of literary expression to correct the affairs and merely entertainment and mastery of literature are not meant. The advancement of literature owes to noticing the society. The path and trend of the literary theories also show that verbal comedy is “deed and action”. This way of looking at comedy prepares the audience and society for doing and changing behavior and regards comedy as a dielectric action in society that influences the audience’s behavior and makes him/her ready to accept the change. Based on this yardstick, many of the laughable contents are not comedy as they do not make us change and no dramatic condition and social dimension is not observed in them. In this article, it was tried to analyze the social dimensions of comedy with library research. The results show that nowadays, combining comedy and tragedy is more compatible with human’s mood and they reach change, thinking and calmness with that more. With these considerations, comedy of that person is stronger who knows tragedy well and one who knows it well, has paved the long way for it and come back.

Shakespeare differs from other playwrights in several ways but more conspicuously in the creation of characters and situations. More than any other writer of comedy it is Shakespeare who developed the myth of Romantic marriage. However, what makes him so unique is that in the very act of reprobation or derision he enters the minds and hearts of his characters. Shakespeare never writes a comedy within the commonly accepted sense of the term, the secret of Shakespeare's art lies in the quality of his imaginative reaction to life. This paper attempts to discuss Shakespeare's comic art as different from that of his predecessors, especially classical writers of comedy. The selected play for discussion is As You Like It with its various features of idyllic setting, the pastoral, romance and disguise.

Nowadays, where the media has overshadowed all aspects of human life and is one of the important factors influencing the individual and group lifestyles, the need to increase happiness and vitality is increasing every day. Events such as natural disasters, war, and disease outbreaks such as COVID-19 also add to the importance of noticing making peace and happiness. Comedy series are among the most popular programs that attract a wide and diverse audience. But it is often observed that the use of verbal aggression as a deliberate behavior is high in comedy series. Therefore, in the present article, an attempt was made to examine the level of verbal violence in the form of Culpeper's verbal illiteracy strategies (1998/2011) by examining three sets of comedies that were broadcast in the first half of 1400 (SC) (April-September, 2022). Three sets of Butimaar, Zirkhaki 2 and Dudkesh 2 were selected as the statistical population and three parts of each set were randomly selected and thoroughly studied. The results show that verbal violence is manifested by the use of taboos and the use of harsh sentences in which overt rudeness and negative rudeness are used. Overall, the use of verbal violence was higher in the Butimaar. The results of this research show the necessity of examining the language of comedy productions before broadcasting.

The purpose of this study is to look at Iranian Comedy during the 1983-2013 from an aesthetic point of view. Using the analytical tools of the genre theory and considering the variables such as the generic crossroads (the counter culture vs. cultural values), and the hybridization status, analyzes the best-selling statistical samples of comedy in Iranian cinema. Data are collected through documentary, library and observational study and by a descriptive-analytical approach, the relationship the generic crossroads and the hybridization status in each sample is examined. On the one hand, the statistical samples examined indicate the ability to hybridize the comedy genre with various genres and endorse the process of comedy genre. On the other hand, the hybridized genres provide a platform for genre counter culture dimension. The more tension the counter culture and cultural values is, the greater the impact of the genre will be palpable.

This qualitative study, using the analytical explanatory method, inferentially and explanatorily seeks to answer the basic question: which basic criteria should be set in TV series in order to produce comedy? To answer this question, an attempt has been made to base the explanation of the criteria on meta-theory. That is, the basic criteria are explained with a macro view through Triangulation of the basics of Islamic thought, rational teachings, and theories of making comedy in the dramatic literature. The findings indicate that the criteria for comedy are general and specific. General criteria based on the monotheistic theory of happiness, bliss, reformism, and epistemology must be the basis of action, and the specific criteria that play a major role in constructing the world of the story and its supposed conditions include honesty and truth in choosing the subject, advice and benevolence in creating dramatic situations and adherence to norms such as maintaining human dignity, respecting privacy, avoiding insults to individuals and the sacred, in characterizing and writing dramatic dialogues.

The importance of attracting audiences by paying attention to their needs in the competition between the media and, on the other hand, the audiences' seeking entertainment due to the need for calm and cheerfulness; also, the need to convey the educational messages to the audience, is caused media practitioners to create a new type of programming called learning entertainment by using a happy and entertaining context in the production of educational programs. In this study, the entertainment learning strategy as a communication strategy in the comedy TV program Khandovaneh has been studied. The present study was conducted using in-depth interview technique in which were interviewed 12 professors, communication and media experts, producers and directors of successful and popular programs in the field of entertainment and education of the Islamic republic of Iran broadcasting, whom were purposefully selected. Thematic analysis method was used to analyze the data. Findings showed that Khandovaneh TV program has used entertainment learning as a kind of communication strategy; by providing a happy and attractive environment, it has tried to present the educational tips of the programmers to its audience in an indirectly way. Some of the elements and techniques that make up an entertainment learning model in this program are: participation, humor, setting, personal and emotional attractiveness, talk, variety and order.

Stand-up Comedy is a type of audio-visual art that has received serious attention in recent decades. It is a combination of verbal and dramatic arts derived from Oral literature and deeply ingrained in folk culture. Stand-up comedy encompasses different forms of art and performance such as storytelling, acting, music, presenting and oration. Comedians engage with the audience directly on stage, regaling them with amusing anecdotes about life and societal matters, inducing laughter and providing a mental release. The findings of this survey indicate that owing to the distinctive features of stand-up comedy, this form of art will gain significant popularity in future. This particular form of contemporary art serves various purposes including, entertainment, education, creating social solidarity and empathy, as well as critiquing political and societal issues. Its notable interartistic features encompass storytelling, being audience's oriented, being critical, improvisational, flexibility, and drawing on informal language and colloquialisms. The present article explores the history of stand-up comedy in Iran, its functions, its structure and defining characteristics. Additionally, the article delves into the significant themes, elements, styles, and techniques employed by comedians in crafting their performances, and three cases of Iranian performances are analyzed as examples.

Comedy and humor are known to be fundamental elements in the proper design of media messages for children. For producers of children's programs in the media, achieving successful communication with the child as an audience depends on the use of appropriate and understandable language for children. Therefore, using the element of comedy and humor as an effective tool to communicate and attract children has a special place in the media. Successful application of humor in media productions specific for children depends on knowing the child and his/her developmental characteristics, understanding comedy and its meaning, and mastering the media and its capacities in creating comic situations. Humor enables the teaching of many educational issues and topics in an indirect way and does it in an effective and fun language for children, and satisfies their needs for entertainment and happiness, and provides the ground for their development. The present article, with the library method, tries to examine how humor is used in children's programs while explaining the concept of children's humor by considering the educational goals of humor and its characteristics, and emphasizing the importance of humor for the child.

In comparative literature, Dante’s Divine Comedy and Sanayee’s Seir al-Ebad el al-Ma’ad are models for a spiritual journey to the innermost layers of the self and the worlds after death. Philosophical and religious knowledge, imagination, mystic revelation, existing reality and what ensues from it are all so interrelated in these two works that the reader cannot wisely judge whether the authors are aware or awake, conscious or subconscious, …. Dante was not the first person to speak of a journey into the world of spirits; he was undoubtedly influenced by his predecessors. He had also been externally influenced by factors like social injustice and political fluctuations and internally influenced by factors, such as imagination, revelation, dreams, spiritual and psychological deficiencies.Although Dante had been inspired by many works, why are Divine Comedy and Seir al-Ebad el al-Ma’ad more similar than others? The present article analyzes Divine Comedy as a work that mixes reality and imagination and by comparing it with similar books, it tries to focus on internal factors conducive to its creation.

In this review article, characteristics and parameters of children’s humor were investigated. The focal point of discussions in this area are developmental and transformational differences and cognitive developments of children in receiving, processing and perceiving the information, especially the media information. The quantity and quality of children’s processing have an innate difference from the adults. So, in all contents provided in various verbal, written, pictorial and multi-media forms, this important principle must be considered and the concept of comedy for children shall, also, be analyzed within the same framework and its features and dimensions be explained. By “children”, we mean kids up to the age of 9, that is, before they develop cognitive growth in concrete and abstract reasoning. So, humor is also defined based on their cognitive system and includes all content that can lead to positive emotions and laughter. To explore the characteristics of humor for children, especially the humor they observe in media, in addition to emphasizing the unique relationship between children and the media, different humorous contents were categorized based on Artur Asa Berger's taxonomy of humor and those comprehensible for children were introduced. Also, regarding the importance of laughter in this approach, the development of laughter and humor in children's cognitive growth and the epistemology of the development of humor in children are recognized backed up by previous studies.