From a bibliography of Literary Theory, Criticism and Philology

Jorgenson, Paul A. "Castellani's Romeo and Juliet: Intention and Response." Film Quarterly 10.1 (1955): 1-10.

_____. "Castellani's Romeo and Juliet: Intention and Response." Rpt. in Focus on Shakespearean Films. Ed. Charles W. Eckert. Englewood Cliffs (NJ): Prentice Hall, 1972.

Josipovici, Gabriel. See English authors.

Jowitt, Deborah, ed. Meredith Monk. [Performance artist]. Baltimore: Johns Hopkins UP, 1997.

Jute, André. Writing a Thriller. London: Black.

Kaplan, Donald M., et al. La cavidad teatral. (Cuadernos Anagrama, 53). Barcelona: Anagrama.

Kane, Daniel. "The Vertue of Spectacle in Shakespeare's Titus Andronicus." Connotations 10.1 (2000/01): 1-17.

_____. All Poets Welcome: The Lower East Side Poetry Scene in the 1960s. Reviewed in BELL ns 2 (2004).

Karlinsky, Simon. See English historical scholarship 1950-.

Katz, Steven B. The Epistemic Music of Rhetoric: Toward the Temporal Dimension of Affect in Reader Response and Writing. Carbondale: Southern Illinois UP, 1996.

Kaufman, Scott Eric. "Superior Adaptations of Inferior Novels (Harry Potter and the Half-blood Prince)." The Valve 18 July 2009.* (Dir. David Yates).

http://www.thevalve.org/go/valve/article/superior_adaptations_of_inferior_novels_harry_potter_and_the_half_blood_pri/

2015

Kay, Carol McGinnis. "Deception through Words: A Reading of The Spanish Tragedy." Studies in Philology 74 (1977): 20-38.

_____. (Carol Kay). "A Sentimental Journey: Purposeful Play." In The English Novel: vol. 2. Smollett to Austen. Ed. Richard Kroll. Harlow: Addison Wesley Longman, 1998. 173-88.*

Kaye, Nick. (U of Warwick). Postmodernism and Performance. (New Directions in Theatre series). Basingstoke: Macmillan, 1994.

Kaylor, N. H., and M. Rohrberger. Creative and Critical Approaches to the Short Story. Lewiston (NY): Edwin Mellen Press, 1997.

Keating, H. R. F. Writing Crime Fiction. London: Black.

Kedzierski, Marek. "Beckett and the (un)changing Image of the Mind." In The Savage Eye / L'Œil fauve: A Collection of Critical Essays on Samuel Beckett's Film and Television Plays. Ed. Catharina Wulf. (Samuel Beckett Today / Aujourd'hui 4). Amsterdam: Rodopi, 1995.

Keegan, Bridget. “Nostalgic Chatterton: Fictions of Poetic Identity and the Forging of a Self-Taught Tradition.” In Thomas Chatterton and Romantic Culture. Ed. Nick Groom. Houndmills: Macmillan; New York: St. Martin’s, 1999. 210-27.*

Keene, Donald. Appreciations of Japanese Culture. Tokyo: Kodansha International, 1971.

_____. "Japanese Aesthetics." In Japanese Aesthetics and Culture: A Reader. Ed. Nancy G. Hume. Albany: SUNY Press, 1995. 27-42.*

_____. "Feminine Sensibility in the Heian Era." In Japanese Aesthetics and Culture: A Reader. Ed. Nancy G. Hume. Albany: SUNY Press, 1995. 109-24.*

Kell, Thomas. "Theatre Centre and New Writing." In Theatre for Children and Young People. Ed. Stuart Bennett. Twickenham: Aurora Metro, 2005. 131-9.

Keller, Lynn. Re-making It: New Contemporary American Poetry and the Modernist Tradition. (Cambridge Studies in American Literature and Culture, 26). Cambridge: Cambridge UP.

Kelley, Theresa M. Wordsworth's Revisionary Aesthetics. 1988.

Kelley, Theresa M. "Women, Gender, and Literary Criticism." In Romanticism. Ed. Marshall Brown. Vol. 5 of The Cambridge History of Literary Criticism. Cambridge: Cambridge UP, 2000.*

Kelling, Harold D. "Gulliver's Travels: A Comedy of Humours." University of Toronto Quarterly 21 (July 1952): 362-75.

_____. "Reason in Madness: A Tale of a Tub." PMLA 69 (March 1954): 198-222.

Kemal, Salim, and Ivan Gaskell. Landscape, Natural Beauty and the Arts. Cambridge: Cambridge UP, 1996.

Kendrick, Laura. Chaucerian Play: Comedy and Control in the Canterbury Tales. Berkeley: U of California P, 1988.

Kennedy, Alan. The Protean Self: Dramatic Action in Contemporary Fiction. London, 1974.

Kennedy, X. J., and Dana Gioia (Colorado College). Literature: An Introduction to Fiction, Poetry and Drama. 7th ed. New York: Addison Wesley Longman, 1998.

_____. An Introduction to Fiction. 7th ed. New York: Addison Wesley Longman, 1999.

_____. An Introduction to Fiction. 7th ed. Addison Wesley Longman, 1999.

http://occawlonline.pearsoned.com/bookbind/pubbooks/kennedy_awl/chapter0/deluxe.html

2005-05-20

_____. An Introduction to Poetry. 9th ed. New York: Addison Wesley Longman, 1998.*

Kenyon, Dave. Inside Amateur Photography. London: Basford, 1992?

Kerman, Joseph. Opera as Drama. New York: Vintage, 1952.

_____. Opera as Drama. Rev. ed. Berkeley: U of California P, 1988.

Keyishian, Harry. (Fairleigh Dickinson U). "Shakespeare and Movie Genre: The Case of Hamlet." In The Cambridge Companion to Shakespeare on Film. Ed. Russell Jackson. Cambridge: Cambridge UP, 2000. 2004. 72-82.*

Keys, Roger. The Reluctant Modernist: Andrei Belyi and the Development of Russian Fiction, 1902-1914. Oxford: Clarendon Press, 1996.

Kidder, R. E. E.E. Cummings: An Introduction to the Poetry. New York: Columbia UP, 1979.

Kieran, Mathew. "14. Creativity." In The Routledge Companion to Philosophy of Literature. Ed. Noël Carroll and John Gibson. London: Routledge, 2015.

Kiremidjian, G. D. "The Aesthetics of Parody." Journal of Aesthetics and Art Criticism 18 (1969).

Kirwan, James. Literature, Rhetoric, Metaphysics: Literary Theory and Literary Aesthetics. London: Routledge, 1990.

Klause, John. "Shakespeare's Sonnets: Age in Love and the Goring of Thoughts." Studies in Philology 80 (1983): 300-24.

_____. The Unfortunate Fall: Theodicy and the Moral Imagination of Andrew Marvell. Hamden (CT), 1983.

_____. "Politics, Heresy, and Martyrdom in Shakespeare's Sonnet 124." In Shakespeare's Sonnets: Critical Essays. Ed. James Schiffer. New York: Garland, 1999, pbk. Garland/Routledge 2000. 219-40.*

Klein, Herbert. "Identity Reclaimed: The Art of Being Tristram." In Laurence Sterne in Modernism and Postmodernism. Ed. David Pierce and Peter de Voogd. Amsterdam: Rodopi, 1996. 123-32.*

Klemtner, Susan Strehle. "'For a Very Small Audience': The Fiction of William Gaddis." Critique 19.3 (1978): 61-73.

_____. "To 'Special Space': Transformation in Invitation to a Beheading." Modern Fiction Studies 25.3 (1979): 427-39.

Kneale, James. "Lost in Space? Exploring Impossible Geographies." In Impossibility Fiction. Ed. Derek Littlewood and Peter Stockwell. Amsterdam: Rodopi, 1996. 147-62.*

Knight, Arthur. "Three Problems in Film Adaptation." Saturday Review 18 Dec. 1954.

Kolb, David. (Bates College). The Critique of Pure Modernity: Hegel, Heidegger, and After. 1986.

_____. Postmodern Sophistications: Philosophy, Architecture, and Tradition. 1990.

_____. Hypertext, Argument, Philosophy: Socrates in the Labyrinth. Hypertext document. Cambridge (MA): Eastgate Systems, 1994.

_____. "Socrates in the Labyrinth." (Experimental writing). In Hyper/Text/Theory. Ed. George P. Landow. Baltimore: Johns Hopkins UP, 1994. 323-44.*

_____. "Hypertext as Subversive?" Culture Machine 2 (2000) http://culturemachine.tees.ac.uk

Kopit, Stanford. "An Analysis of Seven Brian Friel Plays." Ph. D. diss. New York University, 1984.

Kopper, John M. "Nabokov's Art of Translation in 'Solus Rex'." Slavic and East European Journal 33 (1989): 255-74.

_____. "Correspondence." In The Garland Companion to Vladimir Nabokov. Ed. Vladimir Alexandrov. New York: Garland, 1995. 54-67.*

Kostelanetz, Richard. "Notes on American Short Story Today" Minnesota Review 5 (1966).

_____. "Notes on the American Short Story" In May, 1976.

_____. "The Short Story in Search of Status." 20th century (1965).

_____. "New Fiction in America." In Surfiction. Ed. Raymond Federman. Chicago: Swallow, 1975. 85-100.*

_____. "The Perils and Paucities of 'Democratic Radicalism'." (Howe). Salmagundi 2 (1967): 44-60.

_____. Entrevista a John Cage. (Cuadernos Anagrama, 60). Barcelona: Anagrama.

_____. "An ABC of Contemporary Reading." Poetics Today 3.3 (1982).

_____. AnOther E. E. Cummings. New York: Liveright, 1998.

_____. "Audio Comedy in America: 1950 to the Present." American Drama 7.2 (Spring 1998): 24-32

_____, ed. Beyond Left and Right: Radical Thought for Our Times. New York: Morrow, 1968.

_____, ed. Contemporary Literature. New York, 1964.

_____, ed. On Contemporary Literature. New York: Avon, 1969.

_____, ed. Breakthrough Fictioneers: An Anthology. West Glover (VT): Something Else Press, 1973.*

Kosuth, Joseph. "Sobre el arte conceptual." Revista de Occidente 165 (1995): 55-68.

Kramer, Richard E. "'The Sculptural Drama': Tennessee Williams's Plastic Theatre." The Tennessee Williams Annual Review 5 (2002)

http://www.tennesseewilliamsstudies.org/archives/2002/3kramer.htm

09/07/2004

Krasner, David (Yale U), ed. Method Acting Reconsidered: Theory, Practice, Future. Houndmills: Macmillan, 2000.

_____, ed. A Companion to Twentieth-Century American Drama. (Blackwell Companions to Literature and Culture). Oxford: Blackwell, 2004. (Williams, Miller, O'Neill, Gertrude Stein, etc.).

Krempel, D., and J. H. Clay. The Theatrical Image. New York, 1967.

Krauth, Nigel, and Tess Brady, eds. Creative Writing: Theory beyond practice. Brisbane: Post Pressed, 2006.

Kreider, Paul V. Repetition in Shakespeare's Plays. New York: Octagon Books, 1975.

Kristal, Efraín. (1959). Invisible Work: Borges and Translation. Nashville: Vanderbilt UP, 2002.*

_____. Prologue to La montaña mágica. By Thomas Mann. Trans. Isabel García Adánez. (Biblioteca Universal, Maestros Modernos Europeos II). Barcelona: Círculo de Lectores, 2005.*

Kruger, Barbara. See English authors.

Kubiak, Anthony. Agitated States: Performance in the American Theatre of Cruelty. Ann Arbor: Michigan UP, 2002.

Kuiken, Don (Psychology professor, U of Alberta), and D. S. Miall "The Form of Reading: Empirical Studies of Literariness." Poetics 25.6 (June 1998): 327-342.

_____. "Shifting Perspectives: Readers' Feelings and Literary Response." In New Perspectives on Narrative Perspective. Ed. Willie van Peer and Seymour Chatman. Albany: SUNY Press, 2001. 289-302.*

_____. "A Feeling for Fiction: Becoming What We Behold." Poetics 30 (2002): 221-41.

Kulka, Thomas. "How Metaphor Makes Its Wonders." Poetics Today 13.4 (1992): 795-806.*

_____. "False Metaphors and Nonsense: Retort to Nelson Goodman." Poetics Today 13.4 (1992): 809-812.*

Kumar, K. Jeevan. "The Chess Metaphor in Samuel Beckett's Endgame." Modern Drama 40.4 (Winter 1997): 540-553.*

Kustov, Michael. theatre@risk. London: Methuen, 2001.

Kuzmanovich, Zoran. "'The Fine Fabric of Deceit': Nabokov and His Readers." Ph.D. diss. 1988.

_____. "'A Christmas Story': A Polemic with Ghosts." In A Small Alpine Form: Studies in Nabokov's Short Fiction. Ed. Charles Nicol and Gennady Barabtarlo. New York: Garland, 1993. 81-97.*

_____. Nabokov's Poetics of Surprise. c. 2000.

_____. "'Reading with the Spine' or Reading Nabokov with Huck Finn." Cycnos Volume 24 n°1- Vladimir Nabokov, Annotating vs Interpreting Nabokov Actes du colloque , Nice 21-22-23 juin 2006

http://revel.unice.fr/cycnos/document.html?id=1071

2008

La Drière, Craig. "The Problem of Plato's Ion." Journal of Aesthetics and Art Criticism 10 (1951): 26-34.

Landy, Robert, et al. "Acting and Mirror Neurons." Panel discussion at the Philoctetes Center. With Adam Ludwig, Blair Brown, Vittorio Gallese, Joe Grifasi, Robert Landy, Adam Ludwig, and Tom Vasiliades. YouTube (philoctetesctr) 29 Nov. 2007.*

http://youtu.be/loB-Lg0X1qo

2013

Lane, J. B. "A Funny Thing about Nabokov's 'Signs and Symbols'." Russian Language Journal 40 (1986): 147-60.

Lang, C. D. Irony/Humor: Critical Paradigms. Baltimore: Johns Hopkins UP, 1988.

Lanier, Douglas. (Associate Professor of English, U of New Hampshire). "Drowning the Book: Prospero's Books and the Textual Shakespeare." In Shakespeare, Theory, and Performance. Ed. James C. Bulman. London, 1996. 187-209.

_____. "Drowning the Book: Prospero's Books and the Textual Shakespeare." In Shakespeare on Film. Ed. Robert Shaughnessy. Houndmills: Macmillan, 1998. 173-95.*

_____. 'Better Markes': Ben Jonson and the Institution of Authorship. Forthcoming 1998.

_____. "Nostalgia and Theatricality: The Fate of the Shakespearean Stage in the Midsummer Night's Dreams of Hoffman, Noble, and Edzard." In Shakespeare the Movie II: Popularizing the Plays on Film, TV, Video, and DVD. Ed. Richard Burt and Lynda E. Boose. New York and London: Routledge, 2003. 154-72.*

Larson, June Bennett. "Tennessee Williams: Optimistic Symbolist." In Tennessee Williams: A Tribute. Ed. Jac Tharpe. Jackson: UP of Mississippi, 1977. 413-28.

Lauber, John. "'Ligeia' and Its Critics: A Plea for Literalism." Studies in Short Fiction 4 (1966): 28-32. In Twentieth Century Interpretations of Poe's Tales. Ed. William L. Howarth. Englewood Cliffs (NJ): Prentice-Hall, 1971. 73-77.*

Laurel, Brenda. Computers as Theatre. Reading (MA): Addison-Wesley Longman, 1991. 1993.

Law, Richard G. "The Reach of Fiction: Narrative Technique in Styron's Sophie's Choice." Southern Literary Journal 23.1 (Fall 1990).

Lawder, S. D. "Film: Art of the Twentieth Century." Yale Alumni Magazine (May 1968).

Lawrence, James. "A Theory of the Short Story." In Short Story Theories. Ed. Charles E. May. Athens (OH), 1976.

Lawson, John Howard. Film: The Creative Process. 2nd ed. New York, 1967.

Lawson-Peebles, Robert. Landscape and Written Expression in Revolutionary America: The World Turned Upside Down. (Cambridge Studies in American Literature and Culture, 28). Cambridge: Cambridge UP, 1988.

Lawson-Peebles, Robert, and Mick Gidley, eds. Views of American Landscapes.1990

Layman, B. J. From "Tourneur's Artificial Noon: The Design of The Revenger's Tragedy." Modern Language Quarterly (March 1973): 29-35. Rpt. in The Critical Perspective: Volume 3: Elizabethan-Caroline. Ed. Harold Bloom. (The Chelsea House Library of Literary Criticism). New York: Chelsea House, 1986. 1326-28.*

Leach, Eleanor W. "Ekphrasis and the Theme of Artistic Failure in Ovid's Metamorphoses." Ramus 3 (1974): 102-4.

Lee, L[awrence]. L. "Vladimir Nabokov's Great Spiral of Being." Western Humanities Review 18 (1964): 225-36.

_____. "Duplexity in Vladimir Nabokov's Short Stories." Studies in Short Fiction 2 (1965): 307-315.

_____. Vladimir Nabokov. (Twayne's Authors Series, 266). Boston: G. K. Hall, 1976.

Lee, Michael, et al., eds. Trafika: An International Literary Review. New York and Prague: Trafika, Inc./Modrá Musa Publishers/World Literature Society, Prague. Janovského, 14, 170 00 Prague 7, Czech Republic. Vol. 3 (1993).

Leeman, Fred. Hidden Images. New York: Harry N. Abrams, 1976. (Painting).

Leeman, Fred, Joost Elffers, and Michael Schuyt. Anamorphoses: Games of Perception and Illusion in Art. New York: Abrams, 1976.

Leeming, Glenda, and Simon Trussler. The Plays of Arnold Wesker. London: Gollanz, 1971.

Legat, Michael. An Author's Guide to Publishing. London: Robert Hale.

Lehmann, Hans-Thies. Postdramatic theatre. Abingdon: Routledge, 2006.

Lenz, Millicent, and Peter Hunt. Alternative Worlds in Fantasy Fiction. London and New York: Continuum, 2001.

Lethen, Helmut. "Modernism Cult in Half: the Exclusion of the Avant-garde and the Debate on Postmodernism." In Approaching Postmodernism. Ed. D. W. Fokkema and Hans Bertens. Amsterdam: John Benjamins, 1986.

Levenson, Jill L. (U of Toronto). "Translation, 1960-1968: Franco Zeffirelli." In Romeo and Juliet. (Shakespeare in Performance). Manchester and Wolfeboro, New Hampshire, 1987. 82-123.

_____. "8. Comedy." In The Cambridge Companion to English Renaissance Drama. Ed. A. R. Braunmuller and Michael Hattaway. 2nd ed. Cambridge: Cambridge UP, 2003. 254-91.*

_____, ed. Romeo and Juliet. (Shakespeare in Performance). Manchester: Manchester UP, 1987.

_____. "Shakespeare's Romeo and Juliet: The Places of Invention." In Shakespeare Survey 49: Romeo and Juliet and Its Afterlife. Ed. Stanley Wells. Cambridge: Cambridge UP, 1996.*

_____, ed. Romeo and Juliet. (The Oxford Shakespeare). Oxford: Clarendon Press, 2000. (1597, 1599 texts).

Levi, Albert William. Literature, Philosophy, and the Imagination. Bloomington: Indiana UP, 1962.

Levinson, Jerrold. "The Place of Real Emotion in Response to Fictions." Journal of Aesthetics and Art Criticism 48 (Winter 1990): 79-80.

_____. Aesthetics and Ethics: Essays at the Intersection. Cambridge: Cambridge UP, 1999.

Levy, Alan. Interview with Vladimir Nabokov. New York Times magazine 31 Oct. 1971. Typescript in the Vladimir Nabokov Archive, Library of Congress.

_____. Vladimir Nabokov: The Velvet Butterfly. Sag Harbor (NY): Permanent Press, 1971. 1984.

Levy, Shimon. "'Spirit Made Light': Eyes and Other I's in Beckett's TV Plays." In The Savage Eye / L'Œil fauve: A Collection of Critical Essays on Samuel Beckett's Film and Television Plays. Ed. Catharina Wulf. (Samuel Beckett Today / Aujourd'hui 4). Amsterdam: Rodopi, 1995.

Lewis, Paul. Comic Effects: Interdisciplinary Approaches to Humor in Literature. Albany: SUNY, 1989.

LeWitt, Sol. "Paragraphs on Conceptual Art." In On Art: Artists' Writings on the Changed Notion of Art After 1965. Ed. Gerd de Vries. Köln, 1974.

_____. "2 Versions of a Drawing for Beckett's Come and Go." Review of Contemporary Fiction 7.2 (1987): 138-141.*

Lewitt, Sol, and Lucinda Childs. Dance. Multimedia spectacle. Music by Philip Glass. Brooklyn Academy on Music, 1979.

Leyburn, Ellen Douglass. "Comedy and Tragedy Transposed." In Perspectives on Drama. Ed. J. L. Calderwood and H. E. Toliver. New York: Oxford UP, 1968. 177-85.*

Liao, Shen-yi, and Tamar Szabo Gendler. "35. The Problem of Imaginative Resistance." In The Routledge Companion to Philosophy of Literature. Ed. Noël Carroll and John Gibson. London: Routledge, 2015.

Li-Ling, Tseng. "Samuel Beckett's For to End Yet Again: A Conflict between 'Syntax of Energy' and 'Syntax of Weakness'." Twentieth Century Literature (Spring 1992): 101-23. In The Critical Response to Samuel Beckett. Ed. Cathleen Culotta Andonian. Westport (CT): Greenwood Press, 1998. 373-91.*

Liere, Elson van. "Ingres' 'Raphael and the Fornarina': Reverence and Testimony." Arts 56 (1981): 108-15.

Lilly, Mark. "Nabokov Homo Ludens." In Vladimir Nabokov: His Life, His Work, His World: A Tribute. Ed. Peter Quennell. London: Weidenfeld and Nicolson, 1979.

Lincoln, Andrew. (U of London). Spiritual History: A Reading of William Blake's Vala or The Four Zoas. Oxford: Clarendon Press, 1996.

Lings, Martin. Shakespeare: Vida y obra. 1984. Barcelona: RBA, 2003.* (Previously pub. Wellinborough: Aquarian Press, 1988).

Linker, Laura Alexander. ([e-mail]). "Imagining Adam's Dream: Keats's Chamber of Maiden Thought in The Eve of St. Agnes." Miscelánea 34 (2006): 11-29.*

Linker, Laura. Dangerous Women: Libertines, Epicures, and the Rise of Sensibility, 1670-1730. (British Literature in Context in the Long Eighteenth Century). London: Ashgate, 2011.

Lippe, Richard, and Robin Wood, eds. American Nightmare: Essays on the Horror Film. Toronto: Festival of Festivals, 1979.

Litton, Glen. "Diseased Beauty in Tony Richardson's Hamlet." Literature/Film Quarterly 4.2 (1976): 108-22.

Liu, Li-Hsion Amanda. (Chia Nan U of Pharmacy and Science, Taiwan; [e-mail]). "Take the Law into Your Own Hands: Modernist and Detective Fiction in William Faulkner's Intruder in the Dust and Light in August." Miscelánea 54 (2016): 69-91.*

Lobb, Edward. "The Turn of the Screw, King Lear and Tragedy." Connotations 10.1 (2000/01): 31-46.

Locher, J. L. The World of M. C. Escher. New York: Abrams, n. d.

_____, ed. M. C. Escher: His Life and Complete Graphic Work. New York: Harry N. Abrams.

Lockridge, Ernest. "F. Scott Fitzgerald's Trompe L'Oeil and The Great Gatsby's Buried Plot." The Journal of Narrative Technique 17.2 (1987): 163-183.*

_____. "Faithful in Her Fashion: Catherine Barkley, The Invisible Hemingway Heroine." The Journal of Narrative Technique 18.2 (1988):170-178.*

_____. "'Primitive Emotions': A Tragedy of Revenge Called The Sun Also Rises."Journal of Narrative Technique 20.1 (1990): 42-55.*

_____, ed. Twentieth Century Interpretations of The Great Gatsby. Ed. Ernest H. Lockridge. Englewood Cliffs: Prentice Hall, 1984.

Loney, Glenn, ed. Staging Shakespeare: Seminars on Production Problems. London and New York, 1990.

Long, Michael. The Unnatural Scene: A Study in Shakespearean Tragedy. London: Methuen, 1976.

_____. Marvell and Nabokov: Childhood and Arcadia. Oxford: Clarendon, 1984.

_____. Macbeth. Hemel Hempstead: Harvester Wheatsheaf, 1989.

Loots, Christopher. "Nada and Sunyata in 'A Clean-Well-Lighted Place'." In Cultural Hybrids of (Post)Modernism: Japanese and Western Literature, Art and Philosophy. Ed. Beatriz Penas-Ibáñez and Akiko Manabe. Bern: Peter Lang, 2017. 155-76.*

Lopes, Dominic McIver (U of British Columbia) and Eileen John, eds. Philosophy of Literature: Contemporary and Classical Essays: An Anthology. Oxford: Blackwell, 2004.

Lord, Marcia, ed. Museum International: A UNESCO Publication. Journal. Oxford: Blackwell.

Lowe, N. J. The Classical Plot and the Invention of Western Narrative. Cambridge UP, 2004.

Lucariello, Joan. (New School for Social Research) "Canonicality and Consciousness in Child Narrative." In Narrative Thought and Narrative Language. Ed. B. K. Britton and A. D. Pellegrini. Hillsdale (NJ): Erlbaum, 1990. 131-50.*

Lucas, Martin, and David Cobb, eds. The Iron Book of British Haiku. North Shields: Iron Press, 1998.

Luckhurst, Mary (U of York; formerly Corpus Christi College, Cambridge U), Dramaturgy: A Revolution in Theatre. Cambridge: Cambridge UP, 2006.

_____. "'Gagging': Forum on Censorship." Contemporary Theatre Review 17.4 (2007): 516-56.

_____. "Verbatim Theatre, Media Relations and Ethics." In A Concise Companion to Contemporary British and Irish Drama. Ed. Nadine Holdsworth and Mary Luckhurst. Oxford: Blackwell, 2008. 200-22.