Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-p9bg8 Total loading time: 0 Render date: 2024-12-26T14:10:37.608Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  05 September 2014

Eric Weitz
Eric Weitz
Affiliation:
Trinity College, Dublin
Get access
Type
Chapter
Information
The Cambridge Introduction to Comedy , pp. 227 - 236
Publisher: Cambridge University Press
Print publication year: 2009

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Altman, Rick, Film/Genre (London: BFI, 1999)Google Scholar
Andrews, Richard, ‘Scripted theatre and the commedia dell'arte’ in Mulryne, J. R. and Shewing, M. (eds.), Theatre of the English and Italian Renaissance (London: Macmillan, 1991), pp. 21–54Google Scholar
Andrews, Richard, Scripts and Scenarios: The Performance of Comedy in Renaissance Italy (Cambridge University Press, 1993)CrossRefGoogle Scholar
Apte, Mahadev L., Humor and Laughter: An Anthropological Approach (Ithaca: Cornell University Press, 1985)Google Scholar
Apter, Michael J., The Experience of Motivation: The Theory of Psychological Reversals (London: Academic, 1982)Google Scholar
Aristotle, , Poetics, trans. by Malcolm Heath (London: Penguin, 1996)Google Scholar
Artaud, Antonin, The Theater and its Double, trans. by Richards, Mary Caroline (New York: Grove Weidenfeld, 1958)Google Scholar
Bakhtin, Mikhail, Rabelais and his World, trans. by Hélène Iswolsky (Bloomington: Indiana University Press, 1984)Google Scholar
Bakhtin, Mikhail and Medvedev, P. N., ‘Genres as ideological forms’, trans. by Wehrle, A. J. in Morris, P. (ed.), in The Bakhtin Reader (London: Edward Arnold, 1994), pp. 174–82Google Scholar
Barthes, Roland, Image-Music-Text, trans by Stephen, Heath (London: Fontana, 1977)Google Scholar
Beacham, Richard C., The Roman Theatre and its Audience (London: Routledge, 1995)Google Scholar
Belsey, Catherine, Critical Practice (London: Routledge, 1980)Google Scholar
Bennett, Andrew and Royle, Nicholas, Introduction to Literature, Criticism and Theory, new edn (Harlow: Prentice Hall, 1999)Google Scholar
Bentley, Eric, The Life of the Drama (New York: Applause, 1991)Google Scholar
Berger, Peter L., Redeeming Laughter: The Comic Dimension of Human Experience (Berlin: de Gruyter, 1997)CrossRefGoogle Scholar
Bergson, Henri, ‘Laughter’ in Sypher, W. (ed.), Comedy (Baltimore: Johns Hopkins University Press, 1980), pp. 59–190Google Scholar
Berlyne, Daniel, Conflict, Arousal, and Curiosity (New York: McGraw-Hill, 1960)CrossRefGoogle Scholar
Bermel, Albert, Comic Agony: Mixed Impressions in the Modern Theatre (Evanston: Northwestern University Press, 1993)Google Scholar
Bigsby, C. W. E., Modern American Drama, 1945–2000 (Cambridge: Cambridge University Press, 2000)CrossRefGoogle Scholar
Booker, Christopher, The Seven Basic Plots: Why We Tell Stories (London: Continuum, 2004)Google Scholar
Booth, Wayne, A Rhetoric of Irony (University of Chicago Press, 1974)Google Scholar
Bradby, David, Beckett: Waiting for Godot (Cambridge: Cambridge University Press, 2001)Google Scholar
Brecht, Bertolt, Brecht on Theatre: The Development of an Aesthetic, ed. and trans. by Willett, John (London: Methuen, 1993)Google Scholar
Breton, André, ‘Lightning rod’ in Anthology of Black Humor, trans. by Mark, Polizzotti (San Francisco: City Lights, 1997), pp. xiii–xixGoogle Scholar
Bristol, Michael D., Carnival and Theater: Plebeian Culture and the Structure of Authority in Renaissance England (New York: Routledge, 1985)Google Scholar
Brooker, Peter, ‘Key words in Brecht's theory and practice’ in Thomson, P. and Sacks, G. (eds.), The Cambridge Companion to Brecht (Cambridge University Press, 1994), pp. 185–200Google Scholar
Buse, Peter, Drama + Theory: Critical Approaches to Modern British Drama (Manchester University Press, 2001)Google Scholar
Calderwood, James L., & Harold, E. Toliver, ‘Introduction to comedy’ in Calderwood, J. L. and Toliver, H. E. (eds.) Perspectives on Drama (New York: Oxford, 1968), pp. 163–76.Google Scholar
Charney, Maurice, Comedy High and Low: An Introduction to the Experience of Comedy (New York: Oxford University Press, 1978)Google Scholar
Cixous, Hélène, ‘The Laugh of the Medusa’, trans. by Keith Cohen and Paula Cohen, in Marks, E. and Courtivron, I. (eds.) New French Feminisms, (New York: Schocken, 1981), 245–64Google Scholar
Colebrook, Claire, Irony: The New Critical Idiom (London: Routledge, 2004)Google Scholar
Connery, Brian A. and Kirk, Combe, ‘Theorizing satire: a retrospective and introduction’ in Connery, B. A. and Combe, K. (eds.), Theorizing Satire: Essays in Literary Criticism (Basingstoke: Macmillan, 1995), pp. 1–15Google Scholar
Cook, Albert, The Dark Voyage and the Golden Mean: A Philosophy of Comedy (New York: W. W. Norton, 1966)Google Scholar
Cooper, Lane, An Aristotelian Theory of Comedy (Oxford: Blackwell, 1924)Google Scholar
Cordner, Michael, Peter, Holland and John, Kerrigan, ‘Introduction’ in Cordner, M., Holland, P. and Kerrigan, J. (eds.), English Comedy (Cambridge University Press, 1994), pp. 1–11Google Scholar
Cornford, Francis Macdonald, The Origin of Attic Comedy (Garden City: Anchor, 1967)Google Scholar
Cornwell, Neil, The Absurd in Literature (Manchester University Press, 2006)CrossRefGoogle Scholar
Corrigan, Robert W., ‘Introduction: comedy and the comic spirit’ in Corrigan, R. W. (ed.), Comedy: Meaning and Form (Scranton: Chandler, 1965), pp. 1–11Google Scholar
Critchley, Simon, On Humour (London: Routledge, 2002)Google Scholar
Dane, Joseph A., Parody: Critical Concepts Versus Literary Practices, Aristophanes to Sterne (Norman: University of Oklahoma Press, 1988)Google Scholar
Dentith, Simon, Parody (London: Routledge, 2000)CrossRefGoogle Scholar
Diamond, Elin, Pinter's Comic Play (Lewisburg: Bucknell University Press, 1985)Google Scholar
Donaldson, Ian, ‘Justice in the stocks’ (1970) in Palmer, D. J. (ed.), Comedy: Developments in Criticism (Basingstoke: Macmillan, 1984), pp. 103–14Google Scholar
Douglas, Mary, Implicit Meanings (London: Routledge and Kegan Paul, 1975)Google Scholar
Dubrow, Heather, Genre: The Critical Idiom (London: Methuen, 1982)Google Scholar
Duckworth, George E., The Nature of Roman Comedy, new edn (London: Bristol Classical, 1994)Google Scholar
Dürrenmatt, Friedrich, ‘Comedy and the modern world’ (1958) in Palmer, D. J. (ed.), Comedy: Developments in Criticism (Basingstoke: Macmillan, 1984), 131–4Google Scholar
Dürrenmatt, Friedrich, ‘Postscript’ in The Visit, trans. by Patrick Bowles (New York: Grove, 1962), pp. 105–8Google Scholar
Dutton, Richard, Modern Tragicomedy and the British Tradition: Beckett, Pinter, Stoppard, Albee and Storey (Brighton: Harvester, 1986)Google Scholar
Eco, Umberto, ‘Frames of comic freedom’ in Sebeok, T. (ed.), Carnival! (Berlin: Mouton, 1984), pp. 1–9CrossRefGoogle Scholar
Elliott, Robert C., The Power of Satire: Magic, Ritual, Art (Princeton University Press, 1972)Google Scholar
Ellis, M. J., Why People Play (Englewood Cliffs: Prentice Hall, 1973)Google Scholar
Enright, D. J., The Alluring Problem: An Essay on Irony (Oxford University Press, 1988)Google Scholar
Esslin, Martin, The Theatre of the Absurd, new edn (New York: Vintage, 2004)Google Scholar
Esslin, Martin, ‘Introduction’ in Esslin, M (ed.), Absurd Drama (London: Penguin, 1965), pp. 7–23Google Scholar
Fava, Antonio, The Comic Mask in the Commedia dell'arte (Evanston: Northwestern University Press, 2007)Google Scholar
Fortier, Mark, Theory/Theatre: An Introduction, new edn (London: Routledge, 2002)Google Scholar
Foucault, Michel, Madness and Civilization: A History of Insanity in the Age of Reason, trans. by Richard Howard (New York: Vintage, 1988)
Fowler, Alistair, Kinds of Literature: An Introduction to the Theory of Genres and Modes (Oxford: Clarendon, 1982)
Freud, Sigmund, ‘Humour’ (1927) in A. Dickson (ed.), Art and Literature (Harmondsworth: Penguin, 1990), pp. 425–33Google Scholar
Freud, Sigmund, Jokes and their Relation to the Unconscious, trans. by Strachey, James, ed. by Angela, Richards (London: Penguin, 1991)Google Scholar
Frijda, Nico, The Emotions (Cambridge University Press, 1986)Google Scholar
Frow, John, Genre: The New Critical Idiom (London: Routledge, 2006)Google Scholar
Fry, Christopher, An Experience of Critics and the Approach to Dramatic Criticism (London: Perpetua, 1952)Google Scholar
Frye, Northrop, Anatomy of Criticism (London: Penguin, 1990)Google Scholar
Frye, Northrop, ‘The Argument of comedy’ (1949) in Palmer, D. J. (ed.), Comedy: Developments in Criticism (Basingstoke: Macmillan, 1984), pp. 74–84Google Scholar
Gaskell, Ronald, Drama and Reality : The European Theatre since Ibsen (London: Routledge & Kegan Paul, 1972)Google Scholar
Gay, Penny, ‘As You Like It’ in Shakespeare's Comedies, ed. by Emma, Smith (Oxford: Blackwell, 2004), pp. 273–304Google Scholar
Genette, Gérard, Paratexts: Thresholds of Interpretation, trans. by Lewin, Jane E. (Cambridge University Press, 1987)Google Scholar
George, David J., ‘Introduction’ in George, D. J. and Gossip, C. J. (eds.), Studies in the Commedia dell'Arte (Cardiff: University of Wales Press, 1993), pp. 1–11Google Scholar
Gilbert, Helen, ‘Introduction’ to Pantomime in Gilbert, H. (ed.) Postcolonial Plays: An anthology (London: Routledge, 2001), pp. 128–31Google Scholar
Gilbert, Helen, ‘Introduction’ to The Rez Sisters in Gilbert, H. (ed.) Postcolonial Plays: An anthology (London: Routledge, 2001), pp. 390–3Google Scholar
Gilbert, Helen and Joanne, Tompkins, Post-Colonial Drama: Theory, Practice, Politics (London: Routledge, 1996)CrossRefGoogle Scholar
Glasgow, R. D. V., Madness, Masks, and Laughter: An Essay on Comedy (Madison: Fairleigh Dickinson University Press, 1995)Google Scholar
Goffman, Erving, Frame Analysis: An Essay on the Organization of Experience, new edn (Boston: Northeastern University Press, 1986)Google Scholar
Gordon, Mel, Lazzi: The Comic Routines of the Commedia dell'arte (New York: Performing Arts Journal, 1983)Google Scholar
Grantham, Barry, Playing Commedia (Portsmouth: Heinemann, 2000)Google Scholar
Gray, Frances, Women and Laughter (Basingstoke: Macmillan, 1994)CrossRefGoogle Scholar
Grene, Nicholas, Shakespeare, Jonson, Molière: The Comic Contract (London: Macmillan, 1980)Google Scholar
Grice, Paul, ‘Logic and conversation (1967, 1987)’ in Grice, P., Studies in the Way of Words (Cambridge, Mass.: Harvard University Press, 1989), pp. 1–143Google Scholar
Gruber, William E., Comic Theaters: Studies in Performance and Audience Response (Athens, Ga.: University of Georgia Press, 1986)Google Scholar
Gurewitch, Martin, Comedy: The Irrational Vision (Ithaca: Cornell University Press, 1975)Google Scholar
Handley, E. W., ‘The conventions of the comic stage’ in Segal, E. (ed.), Oxford Readings in Menander, Plautus, and Terence (Oxford University Press, 2002), pp. 27–41Google Scholar
Henke, Robert, Performance and Literature in the Commedia dell'Arte (Cambridge University Press, 2002)Google Scholar
Herr, Christopher J., ‘Satire in Modern and Contemporary Theater’ in Quintero, R. (ed.), A Companion to Satire (Oxford: Blackwell, 2007), pp. 460–75Google Scholar
Hinchliffe, Arnold P., The Absurd (London: Methuen, 1969)Google Scholar
Hobbes, Thomas, Leviathan, excerpted in Morreall, J. (ed.), The Philosophy of Laughter and Humor (Albany: SUNY, 1987), p. 19Google Scholar
Hodgart, Matthew, Satire (New York: McGraw-Hill, 1969)Google Scholar
Hodgdon, Barbara, ‘Sexual disguise and the theatre of gender’ in Leggatt, A. (ed.), The Cambridge Companion to Shakespearean Comedy (Cambridge: Cambridge University, 2002), pp. 179–97Google Scholar
Holland, Norman, Laughing: A Psychology of Humor (Ithaca: Cornell University Press, 1982)Google Scholar
Holub, Robert C., Reception Theory: A Critical Introduction (London: Methuen, 1984)Google Scholar
Howard, Jean E., ‘Cross-dressing, the theatre and gender struggle in early modern England’ in Goodman, L. (ed.), The Routledge Reader in Gender and Performance (London: Routledge, 1998), pp. 47–51Google Scholar
Huizinga, Johan, Homo Ludens: A Study of the Play-Element in Culture (Boston: Beacon, 1955)Google Scholar
Hunter, R. L., The New Comedy of Greece and Rome (Cambridge University Press, 1989)Google Scholar
Hutcheon, Linda, Irony's Edge: The Theory and Politics of Irony (London: Routledge, 1994)CrossRefGoogle Scholar
Ingarden, Roman, The Litetrary Work of Art, trans. by Grabowicz, George G. (Evanston: Northwestern University Press, 1973)Google Scholar
Innes, Christopher, Avant Garde Theatre 1892–1992 (London: Routledge, 1993)Google Scholar
Innes, Christopher, Modern British Drama 1890–1990 (Cambridge University Press, 1992)Google Scholar
Iser, Wolfgang, ‘Counter-sensical Comedy and audience response in Beckett's Waiting for Godot’ (1987) in Connor, S. (ed.), New Casebooks: Waiting for Godot and Endgame (Basingstoke: Macmillan, 1992), pp. 55–72Google Scholar
Iser, Wolfgang, The Implied Reader: Patterns of Communication in Prose Fiction from Bunyan to Beckett (Baltimore: Johns Hopkins University Press, 1974)Google Scholar
Janko, Richard, Aristotle on Comedy: Towards a Reconstruction of Poetics II (London: Duckworth, 2002 [1984])Google Scholar
Jung, C. G., Four Archetypes: Mother*Rebirth*Spirit*Trickster (London: ARK, 1986)Google Scholar
Kairoff, Claudia Thomas, ‘Gendering satire: Behn to Burney’ in Quintero, R. (ed.) A Companion to Satire (Oxford: Blackwell, 2007), pp. 276–92Google Scholar
Katritzky, M. A., The Art of Commedia: A Study in the Commedia dell'Arte 1560–1620 with Special Reference to the Visual Records (Amsterdam: Rodopi, 2006)Google Scholar
Kempe, Andy, ‘Reading plays for performance’ in Hornbrook, D. (ed.), On the Subject of Drama (London: Routledge, 1998), pp. 92–111Google Scholar
Kern, Edith, The Absolute Comic (New York: Columbia University Press, 1980)Google Scholar
Kerr, Walter, Tragedy and Comedy (New York: Da Capo, 1985)Google Scholar
Knight, Charles A., The Literature of Satire (Cambridge University Press, 2004)CrossRefGoogle Scholar
Knight, G. Wilson, The Wheel of Fire: Interpretations of Shakespearian Tragedy (London: Routledge, 1993)Google Scholar
Knowlson, James, ‘Tradition and Innovation in Ionesco's La Cantatrice chauve’ in Brater, E. and Cohn, R. (eds.), Around the Absurd: Essays on Modern and Postmodern Drama (Ann Arbor: University of Michigan Press, 1990), pp. 57–71Google Scholar
Knox, Bernard, ‘Euripidean Comedy’ in Segal, E. (ed.), Oxford Readings in Menander, Plautus, and Terence (Oxford University Press, 2001), pp. 3–24Google Scholar
Ko, Yu Jin, ‘Shakespeare's Rosalind: charactor of contingency’ in Hengen, S. (ed.), Performing Gender and Comedy: Theories, Texts and Contexts (Amsterdam: Gordon and Beach, 1998), pp. 21–34Google Scholar
Koestler, Arthur, The Act of Creation (London: Picador, 1978)Google Scholar
Konstan, David, Roman Comedy (Ithaca: Cornell University Press, 1983)Google Scholar
Kott, Jan, Shakespeare Our Contemporary, trans. by Boleslaw Taborski (New York: W. W. Norton, 1974)Google Scholar
Kristeva, Julia, ‘Approaching abjection’ in Cazeaux, C. (ed.), The Continental Aesthetics Reader (London: Routledge, 2000), pp. 542–62Google Scholar
Krutnik, Frank, ‘Conforming passions?: contemporary romantic comedy’ in Neal, S. (ed.), Genre and Contemporary Hollywood (London: BFI, 2002), pp. 130–47Google Scholar
Krutnik, Frank, ‘General introduction’ in Krutnik, F. (ed.), Hollywood Comedians: The Film Reader (London: Routledge, 2003), pp. 1–18Google Scholar
Kundera, Milan, Testaments Betrayed, trans. by Linda Asher (New York: Perennial, 2001)Google Scholar
Langer, Susanne, Feeling and Form (New York: Charles Scribner's Sons, 1953)Google Scholar
Leggatt, Alexander, English Stage Comedy 1490–1990 (London: Routledge, 1998)Google Scholar
Levin, Harry, Playboys & Killjoys (Oxford University Press, 1987)Google Scholar
Little, W. Kenneth, ‘Pitu's doubt: entrée clown self-fashioning in the circus tradition’, The Drama Review, 30, 4(1986), 51–64CrossRefGoogle Scholar
Loehlin, James N., Chekhov: The Cherry Orchard (Cambridge University Press, 2006)Google Scholar
Lowenfeld, Margaret, Play in Childhood, new edn (London: Mac Keith, 1991)Google Scholar
MacDowell, Douglas, Aristophanes and Athens (Oxford University Press, 1995)Google Scholar
McLeish, Kenneth, Roman Comedy (Bristol: Macmillan Education, 1994)Google Scholar
McLeish, Kenneth, The Theatre of Aristophanes (London: Thames & Hudson, 1980)Google Scholar
Mast, Gerald, The Comic Mind: Comedy and the Movies (London: New English Library, 1974)Google Scholar
Meredith, George, ‘An essay on comedy’ in Sypher, W. (ed.), Comedy (Baltimore: Johns Hopkins University Press, 1980), pp. 1–57Google Scholar
Merleau-Ponty, Maurice, ‘Cézanne's doubt’ (1945) in Johnson, G. A. (ed.) and Smith, M. B. (trans.), The Merleau-Ponty Aesthetics Reader: Philosophy and Painting (Evanston: Norhthwestern University Press, 1993), pp. 59–75Google Scholar
Merleau-Ponty, Maurice ‘Eye and mind’ in Johnson, G. A. (ed.) and Smith, M. B. (trans.), The Merleau-Ponty Aesthetics Reader: Philosophy and Painting (Evanston: Northwestern University Press, 1993), pp 121–49Google Scholar
Merleau-Ponty, Maurice ‘Indirect language and the voices of silence’ (1952) in Johnson, G. A. (ed.) and Smith, M. B. (trans.), The Merleau-Ponty Aesthetics Reader: Philosophy and Painting (Evanston: Northwestern University Press, 1993), pp. 76–120Google Scholar
Merleau-Ponty, MauriceThe Phenomenology of Perception, trans. by Smith, Colin (London: Routledge, 1996)Google Scholar
Miller, Jonathan, ‘Jokes and joking: a serious laughing matter’ in Durant, J. (ed.), Laughing Matters: A Serious Look at Humour (Burnt Mill: Longman Scientific & Technical, 1988), pp. 5–16Google Scholar
Miller, Jonathan, Subsequent Performances (New York: Viking, 1986)Google Scholar
Miller, Scott, Strike Up the Band: A New History of Musical Theatre (Portsmouth: Heinemann, 2007)Google Scholar
Morreall, John, The Philosophy of Laughter and Humour (Albany: State University of New York Press, 1987)Google Scholar
Muecke, D. C.Irony (London: Methuen, 1970)Google Scholar
Nash, Walter, The Language of Humour: Style and technique in Comic Discourse (London: Longman, 1985)Google Scholar
Nelson, Y. G. A., Comedy: An Introduction to Comedy in Literature, Drama, and Cinema (Oxford University Press, 1990)Google Scholar
O'Casey, Sean, ‘The power of laughter’ in The Green Crow (London: Comet, 1987)Google Scholar
O'Connor, Frank, The Art of the Theatre (Dublin: Maurice Fridberg, 1947)Google Scholar
Olson, Elder, The Theory of Comedy (Bloomington: Indiana University Press, 1968)Google Scholar
Orr, John, Tragicomedy and Contemporary Culture (Basingstoke: Macmillan, 1991)CrossRefGoogle Scholar
Palmer, D. J., ‘Introduction’ in Palmer, D. J. (ed.), Comedy: Developments in Criticism (Basingstoke: Macmillan, 1984), pp. 8–22Google Scholar
Palmer, Jerry, The Logic of the Absurd: On Film and Television Comedy (London: BFI, 1987)Google Scholar
Palmer, JerryTaking Humour Seriously (London: Routledge, 1994)CrossRefGoogle Scholar
Paul, William, ‘The impossibility of romance: Hollywood comedy, 1978–1999’ in Neal, S. (ed.), Genre and Contemporary Hollywood (London: BFI, 2002), pp. 117–29Google Scholar
Pickering, Jerry V., Theatre: A Contemporary Introduction, new edn (St. Paul: West, 1981)Google Scholar
Pirandello, Luigi, On Humor, trans. by Illiano, Antonio and Testa, Daniel P. (Chapel Hill: University of North Carolina Press, 1960)Google Scholar
Potts, L. Y., Comedy (London: Hutchinson & Co., 1957)Google Scholar
Powell, Chris, ‘A phenomenological analysis of humour in society’ in Powell, C. and Paton, G. E. C. (eds.), Humour in Society: Resistance and Control (Basingstoke: Macmillan, 1988), pp. 86–105CrossRefGoogle Scholar
Provine, Robert R., Laughter: A Scientific Investigation (New York: Penguin, 2001)Google Scholar
Purdie, Susan, Comedy: The Mastery of Discourse (University of Toronto Press, 1993)Google Scholar
Quintero, Ruben, ‘Introduction: understanding satire’ in Quintero, R. (ed.), A Companion to Satire (Oxford: Blackwell, 2007), pp. 1–11CrossRefGoogle Scholar
Richards, Kenneth and Laura, Richards, The Commedia dell'arte: A Documentary History (Oxford: Blackwell, 1990)Google Scholar
Salkeld, Duncan, Madness and Drama in the Age of Shakespeare (Manchester University Press, 1993)Google Scholar
Sartre, Jean-Paul, ‘Play’ in Denoon Cumming, R. (ed.), The Philosophy of Jean-Paul Sartre (New York: Vintage, 1965), pp. 310–16Google Scholar
Schechner, Richard, The Future of Ritual (London: Routledge, 1993)CrossRefGoogle Scholar
Schechner, Richard, Performance Studies: An Introduction (London: Routledge, 2002)Google Scholar
Schopenhauer, Arthur, The World as Will and Idea, trans. by Haldane, R. B. and Kemp, John, excerpted in Morreall, J. (ed.), The Philosophy of Laughter and Humor (Albany: SUNY, 1987), pp. 51–64Google Scholar
Schulte, Rainer and Biguenet, John ‘Introduction’ in Schulte, R. and Biguenet, J. (eds.), Theories of Translation : An Anthlogy of Essays from Dryden to Derrida (University of Chicago Press, 1992), pp. 1–10Google Scholar
Schutz, Alfred, Collected Papers I (The Hague: Martinus Nijhoff, 1971)Google Scholar
Segal, Erich, The Death of Comedy (Cambridge: Harvard University Press, 2001)Google Scholar
Segal, Erich (ed.), Oxford Readings in Menander, Plautus, and Terence (Oxford University Press, 2001)Google Scholar
Seidman, Steve, ‘Performance, enunciation and self-reference in Hollywood comedian comedy’ in Krutnik, F. (ed.), Hollywood Comedians: The Film Reader (London: Routledge, 2003), pp. 21–41Google Scholar
Shepherd, Simon, Theatre, Body and Pleasure (London: Routledge, 2006)Google Scholar
Silk, M. S., Aristophanes and the Definition of Comedy (Oxford University Press, 2000)Google Scholar
Slater, Maya, ‘Introduction’ in Slater, M. (trans.), Three Pre-Surrealist Plays (Oxford University Press, 1997), pp. ix-xliiGoogle Scholar
Slater, Niall W., Plautus in Performance: The Theatre of the Mind (Amsterdam: Harwood Academic, 2000)Google Scholar
Sommerstein, Alan H., Greek Drama and Dramatists (London: Routledge, 2002)Google Scholar
Spencer, Herbert, ‘The physiology of laughter’ in Morreall, J. (ed.), The Philosophy of Laughter and Humor (Albany: SUNY, 1987), pp. 99–110Google Scholar
States, Bert O., Great Reckonings in Little Rooms: On the Phenomenology of Theater (Berkeley: University of California Press, 1987)Google Scholar
States, Bert O., ‘The phenomenological attitude’ in Reinelt, J. G. and Roach, J. R. (eds.), Critical Theory and Performance (Ann Arbor: University of Michigan Press, 2007), pp. 26–36Google Scholar
Storey, John, Cultural Theory and Popular Culture: An Introduction, new edn (Harlow: Pearson Education, 2001)Google Scholar
Stott, Andrew, Comedy (London: Routledge, 2005)Google Scholar
Styan, J. L., The Dark Comedy: The Development of Modern Comic Tragedy, new edn (Cambridge University Press, 1968)CrossRefGoogle Scholar
Styan, J. L., The English Stage: A History of Drama and Performance (Cambridge University Press, 1996)Google Scholar
Styan, J. L., Modern Drama in Theory and Practice 1: Realism and Naturalism (Cambridge University Press, 1991)Google Scholar
Styan, J. L., Restoration Comedy in Performance (Cambridge University Press, 1986)Google Scholar
Taaffe, Lauren K.Aristophanes and Women (London: Routledge, 1993)Google Scholar
Tannen, Ricki Stefanie, The Female Trickster: The Mask that Reveals (London: Routledge, 2007)Google Scholar
Test, George A., Satire: Spirit and Art (Tampa: University of South Florida Press, 1991)Google Scholar
Theophrastus, , ‘The characters’ in Vellacott, P. (trans.), Theophrastus: The Characters / Menander: Plays and Fragments (Harmondsworth: Penguin, 1973), pp. 31–61Google Scholar
Thomson, Philip, The Grotesque (London: Methuen, 1972)Google Scholar
Todorov, Tzetvan, Genres in Discourse, trans. by Catherine Porter (Cambridge University Press, 1990)Google Scholar
Traub, Valerie, ‘The Homoerotics of Shakespearian comedy’ in Smith, E. (ed.) Shakespeare's Comedies (Oxford: Blackwell, 2004), pp. 164–91Google Scholar
Turner, Victor, The Anthropology of Performance (New York: PAJ, 1988)Google Scholar
Turner, Victor, From Ritual to Theatre (New York: PAJ, 1982)Google Scholar
Ubersfeld, Anne, ‘The pleasure of the spectator’, trans. by Pierre Bouillaguet and Charles Jose, Modern Drama, 25, 1 (1982), 128–33CrossRefGoogle Scholar
Walton, J. Michael and Peter, D. Arnott, Menander and the Making of Comedy (Westport: Greenwood, 1996)Google Scholar
Weinbrot, Howard D., Menippean Satire Reconsidered: From Antiquity to the Eighteenth Century (Baltimore: Johns Hopkins University Press, 2005)Google Scholar
Weitz, Eric, ‘Comic patterns in Kevin's Bed and Twenty Grand’, in Weitz, E. (ed.), The Power of Laughter: Comedy and Contemporary Irish Theatre (Dublin: Carysfort, 2004), pp. 103–17Google Scholar
‘Who's Laughing now? Comic currents for a new Irish audience’ in Brady, S. and Walsh, F. (eds.), Crossroads: Performance Studies and Irish Culture (Basingstoke: Palgrave, 2009)CrossRefGoogle Scholar
Welsford, Enid, The Fool: His Social and Literary History (London: Faber and Faber, 1968)Google Scholar
Whitton, David, ‘Dom Juan the director's play’ in Bradby, D. and Calder, A. (eds.), The Cambridge Companion to Molière, (Cambridge University Press, 2006), pp. 201–13Google Scholar
Whitton, David, Molière: Don Juan (Cambridge University Press, 1995)Google Scholar
Wickham, Glynne, A History of the Theatre, new edn (Cambridge University Press, 1992)Google Scholar
Wiles, David, Greek Theatre Performance: An Introduction (Cambridge University Press, 2000)CrossRefGoogle Scholar
Wiles, David, Shakespeare's Clown: Actor and text in the Elizabethan Playhouse (Cambridge University Press, 1987)CrossRefGoogle Scholar
Willeford, William, The Fool and His Scepter (Evanston: Northwestern University Press, 1969)Google Scholar
Wilshire, Bruce, Role Playing and Identity: The Limits of Theatre as Metaphor (Bloomington: Indiana University Press, 1982)Google Scholar
Winnicott, D. W., Playing and Reality (London: Routledge, 1991)Google Scholar
Worrall, Nick, Nikolai Gogol and Ivan Turgenev (London: Macmillan, 1982)CrossRefGoogle Scholar
Worth, Katharine, Sheridan and Goldsmith (Houndmills: Macmillan, 1992)CrossRefGoogle Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Eric Weitz, Trinity College, Dublin
  • Book: The Cambridge Introduction to Comedy
  • Online publication: 05 September 2014
  • Chapter DOI: https://doi.org/10.1017/CBO9780511816857.012
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Eric Weitz, Trinity College, Dublin
  • Book: The Cambridge Introduction to Comedy
  • Online publication: 05 September 2014
  • Chapter DOI: https://doi.org/10.1017/CBO9780511816857.012
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Eric Weitz, Trinity College, Dublin
  • Book: The Cambridge Introduction to Comedy
  • Online publication: 05 September 2014
  • Chapter DOI: https://doi.org/10.1017/CBO9780511816857.012
Available formats
×