By Lisa Colletta
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Firstly look Dr Angus Petworth (also known as Pitwit, Pervert, and Petwurt by means of his Soviet-bloc hosts) may possibly seem stuffy; his is a pale-faced, middle-aged British professor of linguistics. yet once he units out on a lecture travel in the back of the Iron Curtain and turns into embroiled in a war of words with a matronly stewardess at the airplane, it’s transparent that he's off on a hugely strange event.
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KurzbeschreibungSie brauchen für Ihre Schullektüre sofort eine ausführliche Inhaltsangabe, ohne womöglich Zeit gehabt zu haben, das entsprechende Werk zu lesen? Sie müssen sich noch ganz schnell über den Aufbau eines Werkes informieren? Bei Königs Erläuterungen bekommen Sie klare und universelle Informationen!
Unglaublich aber wahr: In North Carolina ist Niesen auf offener Straße bei Strafe untersagt und in Wisconsin darf ein Mann nicht mit einer Waffe schießen, um den Orgasmus seiner Frau anzuzeigen. - Die strenge Welt des Rechts steckt voller absurder Überraschungen. Aber zum Glück ist Lachen noch nicht strafbar - zumindest soweit uns bekannt.
Extra info for Dark Humor and Social Satire in the Modern British Novel
Though pleasure does momentarily triumph over pain, the reality of the victim is never denied, as Freud makes clear in the numerous Jewish jokes that run throughout Jokes. The symbolic action of the joke does not deny the real conditions of oppression but simply finds a way of adapting to conditions while maintaining an acute awareness of them. This, of course, is the position represented by many modern writers, and Freud’s theories at the beginning of the century offer a way of reading comedic literary responses to violence and brutality.
27 Clarissa has not lost the ability to create comic little dramas—this is basically what her party is—but Peter has lost the ability to recognize her creations as courageous, though he momentarily regains this at the very end of the novel. Her sense of comedy allows her to carry on and create pleasure in a dark and threatening world. Aware of death and the “horror”28 of the fundamentally isolated existence of the individual, Clarissa does not shut her eyes but rather dons a party dress in her determination to remain creative and to insist on her own subjectivity.
With this narrative technique, she ridicules social conventions when they are taken as essentially meaningful and used to define and circumscribe individual lives. Though Clarissa uses the social world creatively and protectively, she is “a Lady of Fashion”—a title Woolf had considered using before she settled on Mrs. Dalloway—and her social world is mocked by Woolf for its pretension and hypocrisy. With comic vengeance, Woolf reveals the disparity between the reputations many of the characters have within the world of the novel and their actions and motivations as revealed by the narrator.