Look Who's Laughing

Gender and Comedy

By: Gail Finney

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Paperback | 16 June 1994 | Edition Number 1

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376 Pages

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22.9 x 15.2 x 2.13

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First Published in 1994. Look Who''s Laughing belies the notion that in a joke the only place for a woman is in the butt, Rather than analysing women''s humor in isolation, Gail Finney and twenty scholars map the terrain that the genders share and the areas that each hold exclusively. Their essays investigate witty heroines, sexual parodies, domestic humor and romantic power. They focus on comic drama and fiction, stand-up comedy, cartoons, and film describing the roles gender has played in the creation, reception and interpretation of comedy from the sixteenth century to present. They consider works by Shakespeare, Oscar Wilde, Zora Neale Hurston and Virginia Woolf, whilst discussing characters such as V.I. Warshawski, Molly Bloom and Elizabeth Bennet. The book''s emphasis on comedy''s diverse sources uncovers critical prejudices and defines new contexts enabling men and women to understand more about each other''s attitudes towards humor, its means and ends.

Industry Reviews

"'So-how often does a book of 'lit crit' make you giggle, snicker, snort, titter, and chuckle, while admiring its sagacity and perspicacity? Look Who's Laughing has jokes, wisdom, wit, stand-up comedy, anarchy, Roseanne, and Mae West. Who could ask for anything more?'." -Emily Toth of Southern Louisiana State University

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Introduction to the Series
Contributors
Introduction: Unity in Difference?	p. 1
"That's How It Is": Comic Travesties of Sex and Gender in Early Sixteenth-Century Venice	p. 17
Imagining Consummation: Women's Erotic Language in Comedies of Dekker and Shakespeare	p. 35
Dwindling into Wifehood: the Romantic Power of the Witty Heroine in Shakespeare, Dryden, Congreve, and Austen	p. 53
Confinement Sharpens the Invention: Aphra Behn's The Rover and Susanna Centlivre's The Busie Body	p. 81
Masquerade, Modesty, and Comedy in Hannah Cowley's The Belle's Strategem	p. 99
The Sphinx Goes Wild(e): Ada Leverson, Oscar Wilde, and the Gender Equipollence of Parody	p. 119
When Women Laugh Wildly and (Gentle)Men Roar: Victorian Embodiments of Laughter	p. 139
The Feminine Laughter of No Return: James Joyce and Dorothy Richardson	p. 161
Courtship, Comedy, and African-American Expressive Culture in Zora Neale Hurston's Fiction	p. 173
Feminism/Gender/Comedy: Meredith, Woolf, and the Reconfiguration of Comic Distance	p. 189
"Between the Gaps": Sex, Class and Anarchy in the British Comic Novel of World War II	p. 205
Alice Childress's Like One of the Family: Domestic and Undomesticated Domestic Humor	p. 221
Funny, Isn't It?: Testing the Boundaries of Gender and Genre in Women's Detective Fiction	p. 231
Hollywood, 1934: "Inventing" Romantic Comedy	p. 257
Mae West Was Not a Man: Sexual Parody and Genre in the Plays and Films of Mae West	p. 275
Women on the Verge of a Nervous Breakdown: Sexism or Emancipation from Machismo?	p. 299
Between the Laughter: Bridging Feminist Studies through Women's Stand-Up Comedy	p. 315
Comic Strip-Tease: A Revealing Look at Women Cartoon Artists	p. 335
Index	p. 349
Table of Contents provided by Blackwell. All Rights Reserved.

Look Who's Laughing

Gender and Comedy

At a Glance

Paperback

Industry Reviews

Shipping

How to return your order

Defective items

You Can Find This Book In

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