摘要：城市艺术田野研究是近年来艺术人类学研究领域出现的一个新动向,关于城市艺术田野研究理念的形成以及国内外的研究状况颇受学界关注。城市艺术田野的理念与日本的民族艺术学、中国艺术田野研究出现由乡村为主转向城市为主这一动向的成因及方法,这是由社会发展的具体境况决定的。而城市艺术田野在未来的两个重要研究方向——大众艺术研究与小众艺术研究直接构成城市中的艺术活动,却也存在与城市发展等不协调的一面。

摘要：This paper delves into Anton Chekhov＇s The Seagull and George Bemard Shaw＇s The Apple Cart to extensively analyze their infusion of certain comical elements in depicting ostensibly tragic concerns. The paper aims at exploring the use of the comic elements that is not without purpose. Instead through this incorporation of farce, linguistic humor, witty repartee and exaggeration, the holistic vision of life is obtained which was earlier compartmentalized by the Greeks and Roman playwrights. Comic elements including slapstick humor, the singing of songs, and certain character portrayal are discussed as techniques employed at the hands of the playwrights to reflect over the real historical milieu of their respective times, yet giving a boost to realism as a theory and a practice. This is a qualitative study based upon hermeneutic theory of textual analysis. The paper establishes the similarities in Bernard Shaw＇s and Anton Chekhov＇s employment of comical elements as well as the difference between their essential purposes in generic transgression. Although the two writers have their roots in different countries, their humorous portrayal of various issues is seen to be similar. From the microanalysis of these plays, the same comic strains can be traced out in modern drama at macro level that will enhance the implication of this research paper. This paper therefore concludes that comic and tragic elements are not antagonistic rather complimentary to each other.