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Winner, Susan Koppleman Award for Best Anthology, Multi-Authored, or Edited Book in Feminist Studies, Popular and American Culture Associations (PACA), 2017Amy Schumer, Samantha Bee, Mindy Kaling, Melissa McCarthy, Tig Notaro, Leslie Jones, and a host of hilarious peers are killing it nightly on American stages and screens large and small, smashing the tired stereotype that women aren't funny. But today's funny women aren't a new phenomenon—they have generations of hysterically funny foremothers. Fay Tincher's daredevil stunts, Mae West's linebacker walk, Lucille Ball's manic slapstick, Carol Burnett's athletic pratfalls, Ellen DeGeneres's tomboy pranks, Whoopi Goldberg's sly twinkle, and Tina Fey's acerbic wit all paved the way for contemporary unruly women, whose comedy upends the norms and ideals of women's bodies and behaviors.Hysterical! Women in American Comedy delivers a lively survey of women comics from the stars of the silent cinema up through the multimedia presences of Tina Fey and Lena Dunham. This anthology of original essays includes contributions by the field's leading authorities, introducing a new framework for women's comedy that analyzes the implications of hysterical laughter and hysterically funny performances. Expanding on previous studies of comedians such as Mae West, Moms Mabley, and Margaret Cho, and offering the first scholarly work on comedy pioneers Mabel Normand, Fay Tincher, and Carol Burnett, the contributors explore such topics as racial/ethnic/sexual identity, celebrity, stardom, censorship, auteurism, cuteness, and postfeminism across multiple media. Situated within the main currents of gender and queer studies, as well as American studies and feminist media scholarship, Hysterical! masterfully demonstrates that hysteria—women acting out and acting up—is a provocative, empowering model for women's comedy.

A full-grain leather backpack that is both stylish and practical, with its large capacity and well thought out details for comfort. Best choice for travelers, professionals, and students alike. Exterior made from full-grain cowhide (Vachetta leather) that will last you for decades. Interior lined with cotton. Leather Care: Moisturize With time and handling, leather can lose moisture and oils, leading to dryness, flaking, and wrinkling. To keep the leather supple, it should be moisturized regularly. We recommend using a quality leather balsam containing a blend of natural waxes and oils such as beeswax, jojoba oil, and avocado oil. Dip an application sponge or a soft cloth into the balsam and rub it gently over the bag. If the leather doesn’t absorb it all, wipe off the excess with a clean cloth. This should be done once every month or two. Time Resistance bags come pre-treated with a healthy coating of balsam, so you can start using them right away. Avoid Water Water can be detrimental to leather by robbing it of natural oils and causing discoloration and wrinkles. If you’ve been diligent with moisturizing and have chosen a balsam that contains beeswax, it will act as a barrier against moderate amounts of water. However, avoid exposing your bag to heavy rain. If your bag does get soaking wet, do not force-dry it with heat. Wipe it with a dry cloth and let it dry slowly at room temperature, ensuring it maintains its shape during the drying process. Extra Tips: Cover Up: Store your bag in the original dust bag, away from direct sunlight and humidity. Stuff it to maintain shape, but avoid using newspapers as they can smear. Air it every few weeks to prevent mold. No Alcohol: Avoid products containing alcohol or acetone as they can damage the leather. Stretch Marks: Do not overstuff your bag as leather stretches out but does not revert back. Humidity can accelerate this process. Smells: If your bag absorbs odors, place an open container of baking soda inside and leave it overnight to absorb the smells. Watch in awe as your bag grows more beautiful with age, becoming a true reflection of your journey.

A full-grain leather backpack that is both stylish and practical, with its large capacity and well thought out details for comfort. Best choice for travelers, professionals, and students alike. Exterior made from full-grain cowhide (Vachetta leather) that will last you for decades. Interior lined with cotton. Leather Care: Moisturize With time and handling, leather can lose moisture and oils, leading to dryness, flaking, and wrinkling. To keep the leather supple, it should be moisturized regularly. We recommend using a quality leather balsam containing a blend of natural waxes and oils such as beeswax, jojoba oil, and avocado oil. Dip an application sponge or a soft cloth into the balsam and rub it gently over the bag. If the leather doesn’t absorb it all, wipe off the excess with a clean cloth. This should be done once every month or two. Time Resistance bags come pre-treated with a healthy coating of balsam, so you can start using them right away. Avoid Water Water can be detrimental to leather by robbing it of natural oils and causing discoloration and wrinkles. If you’ve been diligent with moisturizing and have chosen a balsam that contains beeswax, it will act as a barrier against moderate amounts of water. However, avoid exposing your bag to heavy rain. If your bag does get soaking wet, do not force-dry it with heat. Wipe it with a dry cloth and let it dry slowly at room temperature, ensuring it maintains its shape during the drying process. Extra Tips: Cover Up: Store your bag in the original dust bag, away from direct sunlight and humidity. Stuff it to maintain shape, but avoid using newspapers as they can smear. Air it every few weeks to prevent mold. No Alcohol: Avoid products containing alcohol or acetone as they can damage the leather. Stretch Marks: Do not overstuff your bag as leather stretches out but does not revert back. Humidity can accelerate this process. Smells: If your bag absorbs odors, place an open container of baking soda inside and leave it overnight to absorb the smells. Watch in awe as your bag grows more beautiful with age, becoming a true reflection of your journey.

No matter how many times female comedians buck the conventional wisdom, people continue to ask: "Are women funny?" The question has been nagging at women off and on (mostly on) for the past sixty years. It's incendiary, much discussed, and, as proven in Yael Kohen's fascinating oral history, totally wrongheaded.In We Killed, Kohen pieces together the revolution that happened to (and by) women in American comedy, gathering the country's most prominent comediennes and the writers, producers, nightclub owners, and colleagues who revolved around them. She starts in the 1950s, when comic success meant ridiculing and desexualizing yourself; when Joan Rivers and Phyllis Diller emerged as America's favorite frustrated ladies; when the joke was always on them. Kohen brings us into the sixties and seventies, when the appearance of smart, edgy comedians (Elaine May, Lily Tomlin) and the women's movement brought a new wave of radicals: the women of SNL, tough-ass stand-ups, and a more independent breed on TV (Mary Tyler Moore and her sisters). There were battles to fight and preconceptions to shake before we could arrive in a world in which women like Chelsea Handler, Sarah Silverman, and Tina Fey can be smart, attractive, sexually confident―and, most of all, flat-out funny.As the more than 150 people interviewed for this riveting oral history make clear, women have always been funny. It's just that every success has been called an exception and every failure an example of the rule. And as each generation of women has developed its own style of comedy, the coups of the previous era are washed away and a new set of challenges arises. But the result is the same: They kill. A chorus of creative voices and hilarious storytelling, We Killed is essential cultural and social history, and―as it should be!―great entertainment.

(Vocal Collection). A collection of the funniest songs written for the stage and screen. Songs include: Alone from Young Frankenstein * Alto's Lament * Always a Bridesmaid from I Love You, You're Perfect, Now Change * Bewitched from Pal Joey * Dance: Ten; Looks: Three from A Chorus Line * Don't Call Me Trailer Trash from Cowgirls * Getting Married Today from Company * The Girl in 14G * Gooch's Song from Mame * The History of Wrong Guys from Kinky Boots * I Am Playing Me from title of show * I Don't Know What I'd Do Without You from A Gentleman's Guide to Love and Murder * I Never Do Anything Twice from The Seven Percent Solution * I Want Them . . . (Bald) * Listen to Your Heart from Young Frankenstein * My New Philosophy from You're a Good Man, Charlie Brown * My Party Dress from Henry and Mudge * Nothing from A Chorus Line * One Hundred Easy Ways to Lose a Man from Wonderful Town * The Secret Service from Mr. President * Show Off from The Drowsy Chaperone * Shy from Once Upon a Mattress * Someone's Been Sending Me Flowers from The Shoestring Review * Special from Avenue Q * Stepsisters' Lament from Cinderella * Taylor, the Latte Boy * That Dirty Old Man from A Funny Thing Happened on the Way to the Forum * That'll Show Him from A Funny Thing Happened on the Way to the Forum * To Keep My Love Alive from A Connecticut Yankee * A Trip to the Library from She Loves Me * Waiting from The Addams Family * Whatever Happened to My Part? from Monty Python's Spamalot * When You Got It, Flaunt It from The Producers .

Hysterical Laughter: Four Ancient Comedies About Women is the first text to uniquely employ comedy as a vehicle to explore women, gender, and sexuality in Greek and Roman antiquity. Featuring new, engaging, and accessible translations by David Christenson of four of the finest classical comedies--Lysistrata (Aristophanes), Samia (Menander), Casina (Plautus), and Hecyra (Terence)--it provides instructors with an attractive and innovative way to explore the social and cultural dimensions of ancient theater and the construction of gender roles in ancient society. The volume is enhanced by an extensive general introduction and includes an introduction, notes, and essays for each comedy, all of which assume no prior background in classical studies. Ideal for courses in classical literature in translation and women in the ancient world, Hysterical Laughter can also be used in a variety of other courses in ancient history, women's studies, cultural studies, and theater.

Hysterical Laughter: Four Ancient Comedies About Women is the first text to uniquely employ comedy as a vehicle to explore women, gender, and sexuality in Greek and Roman antiquity. Featuring new, engaging, and accessible translations by David Christenson of four of the finest classical comedies--Lysistrata (Aristophanes), Samia (Menander), Casina (Plautus), and Hecyra (Terence)--it provides instructors with an attractive and innovative way to explore the social and cultural dimensions of ancient theater and the construction of gender roles in ancient society. The volume is enhanced by an extensive general introduction and includes an introduction, notes, and essays for each comedy, all of which assume no prior background in classical studies. Ideal for courses in classical literature in translation and women in the ancient world, Hysterical Laughter can also be used in a variety of other courses in ancient history, women's studies, cultural studies, and theater.

Carole Anne Taylor explores the network of cultural relations that links tragic and comic theory to views of what can or cannot be known or felt and what can or cannot be done. Reconceiving tragic and comic resistance through readings of works by Toni Morrison, Alice Walker, Gloria Naylor, Toni Cade Bambara, and South African-born Bessie Head, she demonstrates how these writers elaborate the interconnections between a comedy that affirms wholesome normalcy in the face of terror and a tragedy that finds something terribly wrong in the social order itself. Paradoxically, she contends, these works place the highest value not on texts, reading, and writing, but on actual relationship and social action.Looking backward, Taylor next does a "recursive reading" of some problematic works by William Faulkner, Gertrude Stein, and Zora Neale Hurston that have often been considered precursors of the "postmodern." Reading these earlier authors under the influence of contemporary texts and current theory explains modern artfulness or its lack, even when representations of the terrible and the funny offer conflicted relations to power and conflicted sites for readerly response.Taylor argues that the ellipsis of certain tragic and comic modes, particularly in theories of how and when the modern becomes the postmodern, corresponds to the repression of intercultural dialogue on a broader scale. Throughout, she makes a strong case that the tragedy and comedy of resistance should lie at the heart of theories of a critical (post)modernity—and can illuminate the connections between how to read and how to live in the world.

Through candid personal interviews with Lucille Ball, Carol Burnett, and other visionary performers, Queens of Comedy explores how comediennes have redefined the roles of women in not only the entertainment business, but society as a whole. Detailing both their public and private lives - as well as their many and varied performances - Queen of Comedy examines the impact these women have had on the predominantly male-oriented world of comedy. Performers like Carol Burnett, Joan Rivers, and their more recent counterparts, comediennes Brett Butler and Roseanne, have helped to sift women's roles in comedy from object to subject. This book maps out this shift, providing an often brutally honest picture of women's lives in both the spotlight of comedy and this modern world.

Part romantic comedy, part whodunit, a whole lot of fun. Billionaires don’t date real women like Jada ... they marry them. Jada Howarth doesn’t believe in fantasies, unlike her sister who dreams of being swept into happily-ever-after in the sculpted arms of a handsome billionaire. Jada knows the truth, that rich men want supermodels, actresses and heiresses. They don’t want women from small towns with smaller bank accounts, women who lead normal, ordinary lives like Jada. Then the day arrives when Jada awakes to find a swarm of reporters outside her house. They want the scoop on her secret marriage to Ian Buckley, one of the wealthiest, most sought-after bachelors in the country. Jada is dumbfounded. She has no idea what they’re talking about, but no one’s listening to her. Ian Buckley, billionaire and man-in-charge, couldn’t be more surprised when he’s told that a marriage license was leaked to the press proving he married someone named Jada Howarth. He’s never heard of her, and he definitely doesn’t remember marrying her. Either he’s lost his wits, or someone’s out to make a fool of him. When Ian sees the disheveled, lovely Jada on TV, peeking out her door in horror at the press crushing her lawn, he’s confident she’s not behind the scam. He’ll have to meet her to be certain. Men should probably meet their wives, anyway, shouldn’t they? It’ll be fun getting to the bottom of this fiasco. Whodunnit? Perhaps spending time with his bride at Ian’s lakeside estate will solve the mystery.

Three Early ComediesLove's Labor's LostFarce and fun follow when a young king and his three friends vow to give up women for a year—just as a pretty princess and her three ladies-in-waiting arrive—in a delightful play that ends with one of Shakespeare’s loveliest songs.The Two Gentlemen of VeronaIn this lyrical comedy, two friends are infatuated with the same woman, while a jilted girl disguised as a boy and a clownish servant with a raffish mutt set the scene for laughter and a timeless story of love. The Merry Wives of WindsorShakespeare’s famous rogue, Falstaff, woos two married women with identical love letters—and becomes the focus of a hilarious comedy when the women conspire to teach him a lesson.

A backstage look at the making of Nora Ephron's revered trilogy--When Harry Met Sally, You've Got Mail, and Sleepless in Seattle--which brought romantic comedies back to the fore, and an intimate portrait of the beloved writer/director who inspired a generation of Hollywood women, from Mindy Kaling to Lena Dunham.In I'll Have What She's Having entertainment journalist Erin Carlson tells the story of the real Nora Ephron and how she reinvented the romcom through her trio of instant classics. With a cast of famous faces including Rob Reiner, Tom Hanks, Meg Ryan, and Billy Crystal, Carlson takes readers on a rollicking, revelatory trip to Ephron's New York City, where reality took a backseat to romance and Ephron--who always knew what she wanted and how she wanted it--ruled the set with an attention to detail that made her actors feel safe but sometimes exasperated crew members. Along the way, Carlson examines how Ephron explored in the cinema answers to the questions that plagued her own romantic life and how she regained faith in love after one broken engagement and two failed marriages. Carlson also explores countless other questions Ephron's fans have wondered about: What sparked Reiner to snap out of his bachelor blues during the making of When Harry Met Sally? Why was Ryan, a gifted comedian trapped in the body of a fairytale princess, not the first choice for the role? After she and Hanks each separatel balked at playing Mail's Kathleen Kelly and Sleepless' Sam Baldwin, what changed their minds? And perhaps most importantly: What was Dave Chappelle doing ... in a turtleneck? An intimate portrait of a one of America's most iconic filmmakers and a look behind the scenes of her crowning achievements, I'll Have What She's Having is a vivid account of the days and nights when Ephron, along with assorted cynical collaborators, learned to show her heart on the screen.

a full length drama written for a cast of 5 men and 4 women. This portrait of the age of anxiety in modern life searches the shadows of the soul that lie beneath the surface of human hearts and minds. In blank verse, poet and playwright T.S. Eliot portrays a society devoid of connection as "an undentified guest" appears at a cocktail party in the home of a man and wife who have fallen out of love with each other and their life of indulgent complacency.

Four beautiful badass women lose their heads in this irreverent, girl-powered comedy set during the French Revolution's Reign of Terror. Playwright Olympe de Gouges, assassin Charlotte Corday, former queen (and fan of ribbons) Marie Antoinette, and Haitian rebel Marianne Angelle hang out, murder Marat, and try to beat back the extremist insanity in 1793 Paris. This grand and dream-tweaked comedy is about violence and legacy, art and activism, feminism and terrorism, compatriots and chosen sisters, and how we actually go about changing the world. It's a true story. Or total fiction. Or a play about a play. Or a raucous resurrection ... that ends in a song and a scaffold -- Back cover.

After crashing his car in 1939, Naval Airman Perry Nelson awakens to find the radically different world of 2086, one marked by a United Europe, the destruction of Manhattan island by two helicopters in 2003, and other changes in the economy, legal system, and the relationships between men and women, in a remarkable, long-lost first novel by the late master of speculative fiction. 75,000 first printing. Science Fiction Bk Club.

Looks at the "new" Depression-era woman and how she led to the development of a movie genre characterized by witty, self-assured, and stubborn women portrayed by such actresses as Claudette Colbert, Katharine Hepburn, and Jean Arthur

The plays translated in this volume represent everything one would not expect either from the third-century B.C. playwright Plautus or from Roman comedy in general.A common theme in all three comedies is the triumph of women over men. In Truculentus, prostitutes snare all of the men in the play; in Bacchides, the victims include fathers and sons. In Casina, Plautus creates a fantasy that turns traditional social and sexual roles upside down. The plays' mordant, cynical treatment of the normal plots and casts of Roman comedy, their dark humor rooted in homosexuality, oedipal encounters, cruelty, larceny, and prostitution, and their pervasive lack of romance or sentimentality have alternately puzzled and offended the few audiences that have seen them since the Renaissance. Now these unusual plays have been rescued from obscurity in the best possible way―through performance. James Tatum's translations, revised from actual productions, demonstrate that these are among the most entertaining and theatrically effective of Plautus's comedies. The speakable, performable scripts, along with Tatum's introduction, notes, and critical essays summarizing his own experiences in producing them, make this a gold mine for troupes wishing to produce these classics on the contemporary stage as well as for students of classical drama.

Laughing Feminism focuses on comedy in the works of Frances Burney, Maria Edgeworth, and Jane Austen, authors who scrutinized the subjected prejudices against women in order to expose their absurdity and encourage readers to laugh at the folly of sexist views. Audrey Bilger shows that these women writers employed a full arsenal of comic weapons such as satire, burlesque, and parody to combat patriarchal nonsense and make comedy out of the discrepancies between the myth and reality of womanhood. Bilger draws on current feminist criticism, comic theory, and the methodologies of literary history to provide a context for re-assessing the novels of these writers. At a time when overt feminist statements could ruin a woman's reputation, comedy enabled these authors to smuggle feminism into their writing.

In What Would Susie Say?, Susie Essman sheds the crasser layers to reveal how she went from an anxiety-ridden, struggling stand-up comic to being one of the funniest women on television. Emerging as one of the most successful performers in her field, Essman goes behind the scenes of a life in comedy with her funny cohorts, including Joy Behar, Rodney Dangerfield, and, of course, Larry David, while also providing side-splittingly funny wisdom on a range of topics that she's highly unqualified to expound upon, including men, sports, hypochondria, and stepparenthood. Irreverent and refreshingly candid, What Would Susie Say? is Essman's hilarious retort to the dubious facts of life we all face.

IN WHAT WOULD SUSIE SAY?, Susie Essman sheds the crasser layers to reveal how she went from an anxiety-ridden, struggling stand-up comic to being one of the funniest women on television, playing Susie Greene on HBO's Curb Your Enthusiasm. Emerging as one of the most successful performers in her field, Essman goes behind the scenes of a life in comedy with her funny cohorts, including Joy Behar, Rodney Dangerfield, and, of course, Jeff Garlin and Larry David, while also providing sidesplittingly funny wisdom on a range of topics that she's highly unqualified to expound upon, including men, sports, hypochondria, and stepparenthood. WHAT WOULD SUSIE SAY ABOUT... MARRIAGE? "It took me a long time to find the man I was willing to commit myself to. Even the word commit is troublesome. One is committed to a mental institution." MEN WITH DOGS? "As a dog lover, I've researched many different breeds and I've begun to realize that you can tell a lot about a person by what breed of dog they choose to associate with. A bit self-conscious about your cellulite? A guy with a shar-pei is for you. They're hard to find, but cheaper than lipo." THE BEAUTY OF MENOPAUSE? "I guess I just have to accept the fact that I'm going to end up a bald, fat, sweaty, irritable woman with a dry vagina and a full beard who never sleeps and has memory loss so I won't even be able to remember how hot I used to look!" STEPPARENTHOOD? "My mother used to tell me 'you can't buy your kids' love.' Bullshit. You can, and it's exponential. They're like Russian mail-order brides -- the more you spend, the more they love you." WHAT WOULD SUSIE SAY? is Essman's irreverent, refreshingly candid, and hilarious retort to the dubious facts of life that we all face.