Thesis (doctoral)--KU Nijmegen, 1987. / Summary in French. "Stellingen" ([2] p.) inserted. Errata slip inserted. Includes bibliographical references (p. 268-291).

Thesis (Ph. D.)--University of Pennsylvania, 1931. / Published also without thesis note. Bibliography: p. 244-263.

Thesis (doctoral)--Université de Paris X-Nanterre, 2004. / Includes bibliographical references (v. 3, p. ccxcix-cccxxv) and indexes.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 274-283).

Issued also as the author's thesis, University of Chicago, 1903 (Dissertationes Americanae. English language and literature ; no. 1). / A free translation or adaptation of the Amphitruo of Plautus, increased nearly one-third by the addition of new matter, attributed to M. Slaughter. Includes bibliographical references and index. Also available on the Internet.

Thesis (M.A.)--Bowling Green State University, 2007. / Document formatted into pages; contains v, 96 p. Includes bibliographical references.

This purpose of this document is to examine risk as a thematic element in the practice of comedy as performed by women. Risk is evident in various ways: individual female comedic performance, the labeling of someone as "female comedic performer" and in being an individual female who strives to undertake comedy as a means of personal performance. Through an analysis of comedians Tina Fey, Kathy Griffin, Sarah Silverman and myself, this thesis recognizes an appreciation of that risk, argues for the importance of context in thinking about comedy, and ultimately calls for the further inclusion of women in the historical canon of comedic performance.

The goal of this paper is to create a framework through which the television programs The Daily Show, The Colbert Report and South Park can be evaluated collectively. The framework of "serious play" permits the analysis of the relationship between the three programs, specifically regarding their comedic, political and religious functions. This textual analysis proposes that when examined together through serious play, The Daily Show, The Colbert Report and South Park are best visualized through a legal analogy which is supported by serious play.

In the last five years there has been great public interest in Hollywood’s “gender problem,” namely its unequal representation of women in key creative roles such as director, producer, and studio head. Yet, in the long history of women in film and television, comedians have had the greatest success and degree of agency over their work. From silent film comediennes like Mabel Normand to Lucille Ball, Carol Burnett, and more recently Tina Fey and Amy Schumer, women comedians have resoundingly had success behind-the-screen as well as in front of it. In order to comprehend the disjuncture between the data and the women comedians’ success, we must account for the women at the center of contemporary popular culture who seem to have successfully navigated highly gendered structures of media. This dissertation offers an extension of the existing scholarship on the industrial practices of women mediamakers. This dissertation offers a historical production study of gender. This dissertation opens up ways of exploring the range and complexity of gendered practices in Hollywood. It shows how these actions operate within discursive frames and institutional frameworks that generally serve to perpetuate the exclusion of women. I suggest that cultural industries like film and television, when examined simultaneously as creative spaces and business enterprises using a political economy approach blended with cultural studies, offer revelatory sites for the study of gendered labor practices in Hollywood.

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