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.

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.

TV comedy mixed programs, are among the most watched TV shows and possess the capacity to have the greatest and most lasting impact on the audience. The present study has been conducted to identify the factors affecting the quantitative and qualitative promotion of TV comedy mixed programs and to identify the views of media experts in order to achieve final and operational solutions. The research method of this article is qualitative and its conducting  method is using semi-structured interview. The statistical population includes media professionals who have been temporarily or permanently active in the field of critique and analysis of TV comedy mixed programs. The research sample was purposefully selected from those who are theoretically and practically in association with the stages of pre-production, production, distribution and analysis of comedy/ humorous mixed programs. The interview questions were researcher-made and the interviewees were selected trough snowball sampling. The analysis of the interviews has been done based on thematic analysis and with coding technique (open, axial & selective codes). The questions are also organized based on SWOT model and for quantitative and qualitative improvement of the programs. Among the most important findings of this study, the need to increase the experience and tolerance of managers regarding political and social humor, creating creative dramatic items and establishing online and interactive tools between people and comedy programs, changing the general policies of IRIB’s TV in the field of comedy writing and building culture among classes and social groups, in order to increase the spirit of liquidity in context of TV comedy mixed programs.

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.

Introduction: In the evaluation of Decision Making Units (DMUs) using Data Envelopment Analysis (DEA) models, more than one DMU may be identified as efficient. So ranking them is necessary for Decision Makers (DM). One of the main problems in ranking DMUs, by using Data Envelopment Analysis, is the ranking of non-extreme efficient DMUs. Most of the existing methods can only rank extreme DMUs.Aim: In this paper, we propose a method to rank non-extreme DMUs in Tv.Materials and Methods: We rank non-extreme DMUs by finding a positive convex combination (with the best score) of extreme efficient DMUs located on the minimum face containing the non-extreme DMU.Results: Our proposed method can rank all efficient DMUs in 3 steps: at first, extreme and non-extreme efficient DMUs must be identified (It can be done by AP model). Ranking related score for each extreme DMU can be attained by one of the existing ranking methods that can rank extreme DMUs. Then for obtaining ranking related score for non-extreme DMU, we consider the face with minimum dimension, containing the non-extreme DMU. At last, by solving a model or its dual, and based on the ranking related scores of extreme efficient DMUs located on the minimum face containing the non-extreme DMU, a ranking related score for non-extreme DMUs can be obtained.Conclusion: Although, we rarely have got observed non-extreme efficient DMUs, we must theoretically be able to rank them, because, all virtual efficient DMUs are almost non-extreme. Our method can rank non-extreme efficient DMUs as same as extreme efficient DMUs.

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.