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.

In this research, first, it has been tried to introduce a brief background of the Persian drama. Then a sort of terminology and classification concerning the word "drama" has been done.A comparative study and a contrastive analysis of the terms epic, tragedy, Comedy, and lyric have been put forward as well. At the end, the main purpose of this research, i.e. the Dramatic aspects of Shahnameh and Khamseh, has been investigated and discussed.The story of Rostam and Esfandiyar and the story of Khosrow and Shirin have been selected and analyzed. A scientific conclusion out of the critical analysis of these two stories on the basis of the Dramatic elements and structures has been finally presented.

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.

Advanced research based on the model of “contextual interpretation” and relying on the rule of “tradition as context” to investigate the reflection of the “tradition of reciting poetry” in the language of the first surviving Arabic translation of the Poetics, that is, the translation of Abu Bishr Matta and specifically the translation of Comedy to satire. The premise of the research is that the reciting of poetry has a Dramatic nature in the tradition and Abu Bishr Matta has paid attention to it; therefore, the art of reciting poetry should be regarded as the “textual texture” that dominates his mind and perception, and the “hidden text” of his translation language of Aristotle’s Poetics. The study shows that the rendering of word “Comedy” to “satire” in the translation of Abu Bishr Matta has roots in two things: a) the connection of Comedy and satire in the textual network of source language, that is, the Greek language and literature, referencing the historical fact that signs of satire can be seen in ancient Greek comedies. b) Dramatic nature of reciting satire in the target textual network i.e. Arabic language and literature, referring to numerous reports about the Dramatic pattern of poets in reciting satire. The distinction of Matta’s work is his combination method in translating the specialized terms of the Poetics, such as “Comedy”; a method that has led to preserving the Dramatic nature of Comedy in translation; The translation of Comedy into satire is a “hybrid and threshold” translation and is close to the linguistic-literary context of source and target, that is, has roots in the cultural, literary and social contexts of both.

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.

Abdolhosein Sanatizadeh is one of the prominent writers of Iran. He is famous for his historical novels. He wrote at the beginning of the twenty century in Iran. He began his career by writing a play called "Lekpelekolmolk" and, influenced by Constitutionalism, had it performed in an inn in Kerman, Iran. He was arrested and obliged not to write any more such plays. He then turned to writing historical novels.This article describes the writer's career and his first experience in Dramatic literature and explores the play "Lekpelekolmolk".

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.