Master Is Becoming More And More Humorous

I just put the watch to my ear, but before I could hear anything, Uncle Ma grabbed my wrist. Uncle Ma took the watch back and slapped me on the head. "How could you do this to a naughty kid?" Uncle Ma scolded Dao Jian angrily, "Why are you so annoying?" He scolded me and slapped me again. Although I received two slaps, I was still very satisfied. After all, I touched Comrade Dong's watch. Not only did I touch Comrade Dong's watch, but I also put Comrade Dong's watch to my ear and listened. I almost heard the sound of the watch

Satan, Judas, a Soviet writer, and a talking black cat named Behemoth populate this satire, “a classic of twentieth-century fiction” (The New York Times). In 1930s Moscow, Satan decides to pay the good people of the Soviet Union a visit. In old Jerusalem, the fateful meeting of Pilate and Yeshua and the murder of Judas in the garden of Gethsemane unfold. At the intersection of fantasy and realism, satire and unflinching emotional truths, Mikhail Bulgakov’s classic The Master and Margarita eloquently lampoons every aspect of Soviet life under Stalin’s regime, from politics to art to religion, while interrogating the complexities between good and evil, innocence and guilt, and freedom and oppression. Spanning from Moscow to Biblical Jerusalem, a vibrant cast of characters—a “magician” who is actually the devil in disguise, a giant cat, a witch, a fanged assassin—sow mayhem and madness wherever they go, mocking artists, intellectuals, and politicians alike. In and out of the fray weaves a man known only as the Master, a writer demoralized by government censorship, and his mysterious lover, Margarita. Burned in 1928 by the author and restarted in 1930, The Master and Margarita was Bulgakov’s last completed creative work before his death. It remained unpublished until 1966—and went on to become one of the most well-regarded works of Russian literature of the twentieth century, adapted or referenced in film, television, radio, comic strips, theater productions, music, and opera.

A comprehensive guide to writing, selling and performing all types of comedy. Includes comments, advice, gags and routines from top comics.

A self-involved academic struggling to cope with his own neurological problems, Jeff could hardly take care of himself, let alone a child with special needs, when his son, Ethan, was born. But despite multiple surgeries, hospitalizations, serious breathing and swallowing problems, hearing loss, and a challenging social environment in his first months of life, Ethan thrived—all the while teaching Jeff to take things as they came. And eight years later, the arrival from China of adopted baby sister Penelope took Jeff's on-the-job training to a whole new level. Ethan's instinct for fun proved the perfect complement to Jeff's determination to live life fully. He died too young, but not before he, Penelope, and their mother, Janet, taught Jeff that the true path to happiness was putting other people's needs before his own—and living in the moment rather than trying to control it.

What pleasures did Plautus' heroic tricksters provide their original audience? How should we understand the compelling mix of rebellion and social conservatism that Plautus offers? Through a close reading of four plays representing the full range of his work (Menaechmi, Casina, Persa, and Captivi), Kathleen McCarthy develops an innovative model of Plautine comedy and its social effects. She concentrates on how the plays are shaped by the interaction of two comic modes: the socially conservative mode of naturalism and the potentially subversive mode of farce. It is precisely this balance of the naturalistic and the farcical that allows everyone in the audience--especially those well placed in the social hierarchy--to identify both with and against the rebel, to feel both the thrill of being a clever underdog and the complacency of being a securely ensconced authority figure. Basing her interpretation on the workings of farce and naturalism in Plautine comedy, McCarthy finds a way to understand the plays' patchwork literary style as well as their protean social effects. Beyond this, she raises important questions about popular literature and performance not only on ancient Roman stages but in cultures far from Plautus' Rome. How and why do people identify with the fictional figures of social subordinates? How do stock characters, happy endings, and other conventions operate? How does comedy simultaneously upset and uphold social hierarchies? Scholars interested in Plautine theater will be rewarded by the detailed analyses of the plays, while those more broadly interested in social and cultural history will find much that is useful in McCarthy's new way of grasping the elusive ideological effects of comedy.

Abraham and Sarah were presented with a paradox when God told them they would have a son in their old age. Paradox in the Old Testament plays an important part in the dialogue between God and the Jews. In the New Testament, paradox is prominent in Jesus' teaching and helps to explain the Christian understanding of salvation.

A family memoir about the beloved comedian John Clarke by his daughter, writer Lorin Clarke. A warm, witty and uplifting book about how our families make us who we are.