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CONTENTSCONTENTS
Introduction
1Empowerment and Containment: Women in Western Male Comedy
Tradition
1.1¡°Female Intrusion¡± and ¡°Powerful¡± Women in Aristophanes¬ð
Lysistrata
1.2Sexual Violation and Passive Women in Greek and Roman
New Comedy
1.3Comedy of Romance and Unruly Women in Shakespeare¬ðs
The Taming of the Shrew and Much Ado About Nothing
1.4Irreconcilable Battle and New Women in Shaw¬ðs Pygmalion
and Wilde¬ðs A Woman of No Importance
2Contest and Balance: Dialectical Structure of Wasserstein¬ðs Comedies
2.1Teleological vs. Dialectical: Structure of Comedy
2.2Fantasy and Contest: Plot Structure of Uncommon Women
2.3A Balance of the Comic and the Serious: Emotional Structure
in Uncommon Women
2.4Possibility and Hope: Romance and Ending in Uncommon
Women
3Redefing Female Comic Identity: Wasserstein¬ðs Comic Heroines as
Survivors
3.1The Polemic on Comic Women
3.2Sympathetic Women in Uncommon Women and Isn¬ðt It
Romantic
3.3Reflective Comic Heroine in The Heidi Chronicles
3.4Women Survivors in The Sisters Rosensweig
4Feminism in Comic Spirit: Comic Construction of Self in Wasserstein¬ðs
Plays
4.1The Tragic Self on Feminist Stage
4.2Split and Reconciliation in Uncommon Women and Isn¬ðt It
Romantic
4.3Feminism in Comic Spirit in The Heidi Chronicles
4.4Coming to Terms with the Self in The Sisters Rosensweig and
Third
5Conclusion