Deconstructing the comedyFollowing Aristotle, writers and reviewers have developed the brief exposition of the Poetics by adopting different approaches. For Aristotle, comedy has these characteristics: it is the performance of a low-level action that has greatness; it is presented dramatically and is not narrated; it is presented using indicative language and different linguistic typologies in the various parts of the plot (Golden, 1984, p. 288). Regardless of these claims, Prescott (1929) suggests: Aristotle represented the ἄγνιοα as the basis of the tragic plot... Likewise Donatus's commentary explains the comedy plot as dependent on mental error... [but] The the only surprising divergence is the absence of περιπέτεια in the technical terminology of the commentary; a reversal of action... Of course it may be objected that if such a theory is correctly reconstructed from scattered comments, it may well be just a transference to comedy... The history of literary criticism in antiquity often illustrates the way in which a theory, applicable to one literary type or period, is carelessly extended to cover another type or period. So, for example, a plausible theory that described the Old Comedy... recklessly extended to the New Comedy... (p. 40) The issues highlighted by Prescott in fact underline that each group of artistic pieces in any historical period can be analysed, carefully, examining their contemporary epistemic or aesthetic discourses. This fact is discussed by Heath in Aristotelian Comedy as he argues that the contents of comedy should be distanced from the ethical norms of routine social conventions. Therefore, it is necessary to distinguish between universal ethics in the Aristotelian sense of a comic plot, and universal ethics if such... middle of paper... theory of comedy', The Journal of Aesthetics and Art Criticism, vol . 21, no. 3, pp. 327-332, Wiley.Prescott, Henry W. (1929). 'The Comedy of Errors', Classical Philology, vol. 24, No. 1, pp. 32-41, The University of Chicago Press.Scruggs, Charles. (2004). ""The Power of Darkness": Film Noir and Its Critics", American Literary History, vol. 16, no. 4, pp. 675-687. Oxford University Press.Solomon, Stanley J. (1974). “Film Studies and Gender Courses,” College Composition and Communication, vol. 25, No. 4, pp. 277-283. National Council of Teachers of English. Warshow, Paul. (1977). “More is Less: Comedy and Sound,” Film Quarterly, Vol. 31, No. 1, pp. 38-45, University of California Press.Williams, Robert I. (1988). “Perceptual Play and the Teaching of Comedy Aesthetics: A Paradigm,” Journal of Aesthetic Education, Vol. 22, no. 2, pp. 15-33, University of Illinois Press.