CONTENTSCONTENTS
Introduction
1Empowerment and Containment: Women in Western Male Comedy
Tradition
1.1“Female Intrusion” and “Powerful” Women in Aristophanes
Lysistrata
1.2Sexual Violation and Passive Women in Greek and Roman
New Comedy
1.3Comedy of Romance and Unruly Women in Shakespeares
The Taming of the Shrew and Much Ado About Nothing
1.4Irreconcilable Battle and New Women in Shaws Pygmalion
and Wildes A Woman of No Importance
2Contest and Balance: Dialectical Structure of Wassersteins 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: Wassersteins Comic Heroines as
Survivors
3.1The Polemic on Comic Women
3.2Sympathetic Women in Uncommon Women and Isnt 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 Wassersteins
Plays
4.1The Tragic Self on Feminist Stage
4.2Split and Reconciliation in Uncommon Women and Isnt 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
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