From a bibliography of Literary Theory, Criticism and Philology

Luckhurst, Mary, and John Singleton, eds. The Creative Writing Handbook. Houndmills: Macmillan, 1996.

Luckhurst, Mary, and John Lennard. The Drama Handbook: A Guide to Reading Plays. Oxford: Oxford UP, 2002.

Luckhurst, Mary, and Nadine Holdsworth, eds. A Concise Companion to Contemporary British and Irish Drama. Oxford: Blackwell, 2008.

Lumsden, Alison. "Innovation and Reaction in the Fiction of Alasdair Gray." In The Scottish Novel since the Seventies. Ed. Gavin Wallace and Randall Stevenson. Edinburgh: Edinburgh UP, 1993. 115-126.

_____. "The Scottish Novel since 1970: A Bibliography." In The Scottish Novel since the Seventies. Ed. Gavin Wallace and Randall Stevenson. Edinburgh: Edinburgh UP, 1993. 232-243.

_____. "7. A.L. Kennedy: Giving and Receiving." In The Contemporary British Novel since 2000. Ed. James Acheson. Edinburgh: Edinburgh UP, 2017.

Lussier, Mark. (Arizona State U). Romantic Dynamics: The Poetics of Physicality. (Romanticism in Perspective: Texts, Cultures, Histories). Houndmills: Macmillan, 1999.

Lyons, Charles R. "Congreve's Miracle of Love." Criticism 6 (1964): 331-48.

_____. Samuel Beckett. London: Macmillan, 1983.

_____. "Beckett, Shakespeare, and the Making of Theory." In Around the Absurd. Ed. Enoch Brater and Ruby Cohn. Ann Arbor: U of Michigan P, 1990. 97-128.*

Mac Low, Jackson. "Chance, Silence and Language: Some Performance Pieces". Alcheringa 4 (1972): 49-59.

MacCullum, Patricia. Literature and Method: Towards a Critique of I. A. Richards, T. S. Eliot and F. R. Leavis. Dublin: Gill & Macmillan, 1983.

Macdonald, Russ, ed. Shakespeare Reread. 1994.

Mackenzie, Ann L. "Shakespeare y Calderón: dos interpretaciones dramáticas de Henry VIII y La cisma de Inglaterra." In Shakespeare en España. Ed. José Manuel González Fernández de Sevilla. Zaragoza: Universidad de Alicante/Libros Pórtico, 1993. 63-94.*

_____. Francisco de Rojas Zorrilla y Agustín Moreto: Análisis. Liverpool: Liverpool UP, 1994.

Mackin, Cooper R. "The Satiric Technique of John Oldham's Satyrs upon the Jesuits." Studies in Philology 62 (1965): 78-90.

MacLeod, Katy. "The Teaching 'Subject': Reviewing Art History within Postmodernism." In Postmodern Subjects / Postmodern Texts. Ed. Jane Dowson and Steven Earnshaw. Amsterdam: Rodopi, 1995. 117-26.*

MacMurraugh-Kavanagh, Madeleine. (Reading U). Peter Shaffer: Theatre and Drama. Houndmills: Macmillan, 1998.

Madeja, Stanley S., ed. The Arts, Cognition, and Basic Skills. San Luis (MO): Cemrel, 1978.

Madell, Geoffrey. (U of Edinburgh). Philosophy, Music and Emotion. Edinburgh: Edinburgh UP, 2002. (Hanslick, 19^th c. critic; emotion, expression).

Maeder, Beverly (U of Lausanne). Wallace Stevens' Experimental Language. Houndmills: Macmillan, 2000.

Magarshack, D., introd. And trans. Stanislavsky on the Art of the Stage. IFaber, 1950.

Maher, Mary Z. "The Un-Hamlet." Paper delivered at the Western Conference on Literature, Film and the Humanities, U of Arizona, 3 Jan. 1992. (On Zeffirelli's Hamlet. Unpublished).

Mailman, Bruce, and Albert Poland, eds. The Off-Off-Broadway Book. Bobbs-Merrill, 1972.

Malin, Irving, and Robert K. Morris, eds. The Achievement of William Styron. Athens: U of Georgia P, 1981.

Malin, Irving, and Steven G. Kellman, eds. Into the Tunnel: Readings of Gass's Novel. Delaware UP, 1998.

_____, eds. Torpid Smoke: The Stories of Vladimir Nabokov. (Studies in Slavic Literature and Poetics, 35). Amsterdam: Rodopi, 2000.*

Maltby, Paul. "The Romantic Metaphysics of Don DeLillo." Contemporary Literature 37.2 (Summer 1996): 258-77.*

Malzacher, Florian, and Judith Helmer, eds. Not Even a Game Anymore: The Theatre of Forced Entertainment. Berlin: Alexander Verlag, 2004.

Mandell, Barrett J. "Full of Life Now." In Autobiography: Essays Theoretical and Critical. Ed. James Olney. Princeton: Princeton UP, 1980. 49-72.

Manns, James. "Two faces of the absurd." Humor. International Journal of Humor Research 1-3 (1988): 259-268.

Mao, Douglas. "The New Critics and the Text-Object." ELH 63.1 (Spring 1996).*

_____. Solid Objects: Modernism and the Test of Production. Princeton: Princeton UP, 1998.

Marawski, Stefan. "Quotation in Art." In Inquiries into the Fundamentals of Aesthetics. Cambridge (MA): MIT Press, 1974. 341-61.

Marker, Frederick J., and Lise-Lone Marker. "II.ii. Actors and their Repertory." In The Revels History of Drama in English, volume VI: 1750-1880. By Michael R. Booth et al. London: Methuen, 1975. 95-144.* (Garrick, Kemble, etc.).

_____. Ibsen's Lively Art: A Performance Study of the Major Plays. 1989.

Marker, Frederick, Lise-Lone Marker, Michael R. Booth, Richard Southern, and Robertson Davies. The Revels History of Drama in English, volume VI: 1750-1880. London: Methuen, 1975.*

Marker, Lise-Lone, and Frederick J. Marker. "II.ii. Actors and their Repertory." In The Revels History of Drama in English, volume VI: 1750-1880. By Michael R. Booth et al. London: Methuen, 1975. 95-144.* (Garrick, Kemble, etc.).

_____. Ibsen's Lively Art: A Performance Study of the Major Plays. 1989.

Marling, William. (Case Western Reserve U). "Detective Novels: An Overview."

http://www.detnovel.com/

2011

Marra, Michael, ed. Japanese Hermeneutics: Current Debates on Aesthetics and Interpretations. Honolulu: U of Hawaii P, 2002.

Marranca, Bonnie. American Dreams: The Imagination of Sam Shepard. New York: PAJ, 1981.

Marranca, Bonnie, and Gautam Dasgupta, eds. Theatre of the Ridiculous. 1979. Rev. ed. (Paj Books). Baltimore: Johns Hopkins UP, 1997. (Ronald Tavel, Charles Ludlam, Kenneth Bernard).

Marsack, Robyn. The Cave of Making: The Poetry of Louis MacNeice. Oxford: Clarendon Press, 1985.

Marsh, E. O. Jean Anouilh, Poet of Pierrot and Pantaloon. 1953.

Martin, Carol. "Bodies of Evidence." Drama Review 50.3 (2006): 8-15. (Documentary drama).

Martin, Catherine Gimelli. The Ruins of Allegory: Paradise Lost and the Metamorphosis of Epic Convention. Durham (NC): Duke UP, 1998.

Martin, Daniel D., and Gary Alan Fine. "A Partisan View: Sarcasm, Satire, and Irony as Voices in Erving Goffman's Asylums." In Erving Goffman. Ed. Gary Alan Fine and Gregory W. H. Smith. 4 vols. (SAGE Masters in Modern Social Thought). London: SAGE, 2000.

Martin, Mary Patricia. "Reading Reform in Richardson's 'Clarissa' and the Tactics of Sentiment." SEL 37 (Summer 1997): 595–614.

Martin, Mary Patricia, and James Phelan. "The Lessons of 'Weymouth': Homodiegesis, Unreliability, Ethics, and The Remains of the Day." In Narratologies. Ed. David Herman. Columbus: Ohio State UP, 1999. 88-110.*

Martin, Nicholas. "Nietzsche untamed." Rev. of Nietzsche, by Michael Tanner, and An Introduction to Nietzsche as Political Thinker, by Keith Ansell-Pearson. TLS 19 April 1996: 27.*

_____. Nietzsche and Schiller: Untimely Aesthetics. Oxford: Clarendon Press, 1996.

Martin, Rhona. Writing Historical Fiction. London: A. & C. Black, 1988.

Martin, Robert A., ed. Theater Essays. By Arthur Miller. 1978.

Masheck, Joseph. Building-art: Modern Architecture under Cultural Construction. Cambridge: Cambridge UP, 1994.

Masiton, Charles G. Christopher Marlowe's Tragic Vision. Athens (OH): U of Ohio P.

Mason, David M. "The Civitas of Sound: Auden's Paul Bunyan and New Year Letter." Journal of Modern Literature 19.1: 115-28.*

Matterson, Stephen (Senior Lecturer in English Studies, Trinity College Dublin). "Sprung from the Music Box of Memory: 'Spring in Fialta'." In A Small Alpine form: Studies in Nabokov's Short Fiction. Ed. Charles Nicol and Gennady Barabtarlo. New York: Garland, 1993. 99-109.

_____. American Literature: The Essential Glossary. (The Essential Glossary Series). London: Arnold, 2002.

Matterson, Stephen, and Daryl Jones. Studying Poetry. London: Arnold, 2000.

Mayer, Geoff, and Brian McFarlane. New Australian Cinema: Sources and Parallels in American and British Film. Cambridge UP, 1992.

McBrien, William. (Hofstra U of New York). "Muriel Spark: The Novelist as Dandy." In Twentieth-Century Women Novelists. Ed. Thomas F. Staley. London: Macmillan, 1982. 153-78.*

_____. Cole Porter: The Definitive Biography. 1998.

McCarron, Kevin. The Coincidence of Opposites: William Golding's Later Fiction. Sheffield: Sheffield Academic Press, 1995.*

_____. William Golding. (Writers and Their Work). Plymouth: Northcote House/British Council, 1994.*

McCarthy, Gerry. "New Mythologies: Mamet, Shepard and the American Stage." Connotations 6.3 (1996/97): 354-68.*

McCarthy, Margaret. "Adaptation and Autobiographical Auteurism: A Look at Filmmaker/Writer Doris Dörrie." In Books in Motion: Adaptation, Intertextuality, Authorship. Ed. Mireia Aragay. Amsterdam and New York: Rodopi, 2005. 125-42.*

McCann, S., ed. The Wit of Oscar Wilde. 1969.

McCarthy, Mary. See New York School.

McCollom, William G. "The Role of Wit in Much Ado About Nothing." Shakespeare Quarterly 19.2 (1968): 165-74.

_____. "The Role of Wit in Much Ado About Nothing." In Twentieth Century Interpretations of Much Ado About Nothing. Ed. Walter R. Davis. Englewood Cliffs (NJ): Prentice-Hall, 1969.

McCready, Marsha. "Henry V on Stage and on Film." Literature/Film Quarterly 5.4 (1977): 316-21.

McDiarmid, Lucy. (Villanova U, Philadelphia). Auden's Apologies for Poetry. Princeton (NJ): Princeton UP, 1990.*

_____. "W. B. Yeats." In Modernism and the New Criticism. Ed. A. Walton Litz, Louis Menand, and Lawrence Rainey. Vol. 7 of The Cambridge History of Literary Criticism. Cambridge: Cambridge UP, 2000. 151-66.*

McDonald, Charles O. "Restoration Comedy as Drama of Satire: An Investigation into Seventeenth-Century Aesthetics." Studies in Philology 61 (1964): 522-44.

McDonald, Neil. "The Relationship between Shakespeare's Stagecraft and Modern Film Technique." Australian Journal of Screen Theory 7 (1980): 18-33.

McDonald, Tamar Jeffers (U of Kent, [e-mail]). Romantic Comedy: Boy Meets Girl Meets Genre. London: Wallflower, 2007.

_____. Rev. of The Secret Life of Romantic Comedy. By Celestino Deleyto. Atlantis 31.2 (Dec. 2009): 163-68.*

_____. Rev. of Hollywood Romantic Comedy of the Fifties: A Critical Study of a Film Genre. By Manuela Ruiz. Miscelánea 50 (2014): 167-71.* Online:

http://www.miscelaneajournal.net/index.php/misc/article/view/232

2015

McDougall, Gordon. "Theatrical Truth: The Dialogue between Audience and Performance." Studies in Theatre and Performance 22.2 (2002): 107-17.

McFarlane, Brian. (1934; Associate Professor of English, Monash U, Australia). "The Scarlet Letter (1926)." In McFarlane, Novel to Film: An Introduction to the Theory of Adaptation. Oxford: Clarendon, 1996. 39-70, 203-38.* (Dir. Victor Sjöström, name changed in credits to Seastrom).

_____. "Random Harvest (1942)." In McFarlane, Novel to Film: An Introduction to the Theory of Adaptation. Oxford: Clarendon, 1996. 71-104, 239-41.* (Dir. Mervyn Le Roy).

_____. "Great Expectations (1946)." In McFarlane, Novel to Film: An Introduction to the Theory of Adaptation. Oxford: Clarendon, 1996. 105-38, 242-45.* (Dir. David Lean).

_____. "Daisy Miller (1974)." In McFarlane, Novel to Film: An Introduction to the Theory of Adaptation. Oxford: Clarendon, 1996. 139-70, 246-57.* (Dir. Peter Bogdanovich).

_____. "Cape Fear (1991)." In McFarlane, Novel to Film: An Introduction to the Theory of Adaptation. Oxford: Clarendon, 1996. 171-93, 258-61.* (Dir. Martin Scorsese).

_____. Novel to Film: An Introduction to the Theory of Adaptation. Oxford: Clarendon, 1996.*

McFarlane, Brian, and Geoff Mayer. New Australian Cinema: Sources and Parallels in American and British Film. Cambridge UP, 1992.

McGhee, Paul. "A Model of the Origins and Early Development of Incongruity-Based Humour." In It's a Funny Thing, Humour. Ed. Chapman and Foot. Oxford: Pergamon, 1979. 27-36.

McGonigal, Jane. "This Is Not a Game: Immersive Aesthetics and Collective Play." In Proceedings: Digital Arts and Culture 2003. Ed. A. Miles. Melbourne: RMIT University.

http://hypertext.rmit.edu.au/dac/papers/McGonigal.pdf

McGowan, Kenneth. Behind the Screen: The History and Techniques of the Motion Picture. New York, 1965.

_____. "The Film Director's Contribution to the Screen." English Journal 40 (1951): 127-34.

McKee, J. B. Literary Irony and the Literary Audience: Studies in the Victimization of the Reader in Augustan Fiction. Amsterdam: Rodopi, 1974.

McKee, R. El guión: Sustancia, estructura, estilo y principios de la escritura de guiones. Barcelona: Alba, 2013.

McKeown, Andrew and Charles Holdefer, eds. Philip Larkin and the Poetics of Resistance. Paris: L'Harmattan, 2006.

McLean, Andrew M. "God for Harry! England and Saint George." Literature Film Quarterly 1.4 (1973): 377-80.

McLean, Andrew M., and J. Lawrence Guntner, eds. Redefining Shakespeare: Literary Theory and Theater Practice in the German Democratic Republic. (The International Studies in Shakespeare and His Contemporaries). Newark: U of Delaware P; London: Assoc. UPs, 1998.

McMullen, Bonnie Shannon. "Lifting the Lid on Poe's 'Oblong Box'." Studies in American Fiction 23.2 (Autumn 1995): 203-214.*

McMullen, Lorraine. Introd. to As for Me and My House. By Sinclair Ross. Toronto: McClelland and Stewart, 1982.

_____. "Shameless, Marvelous, Shattering Absurdity: The Humour of Paradox in Alice Munro." In Probable Fictions: Alice Munro's Narrative Acts. Ed. Louis A. MacKendrick. Downsview: ECW Press, 1983. 114-62.

Megson, Chris (Senior Lecturer in Drama and Theatre, at Royal Holloway College, U of London), and Dan Rebellato. "15. 'Theatre and Anti-theatre': David Hare and Public Speaking." In The Cambridge Companion to David Hare. Ed. Richard Boon. Cambridge: Cambridge UP, 2007. 236-49.*

Meixner, Laura l. French Realist Painting and the Critique of American Society, 1865-1900. Cambridge: Cambridge UP, 1996.

Melling, John Kennedy. (England). Murder Done to Death: Parody and Pastiche in Detective Fiction. Lanham, MD: Scarecrow, 1996.*

Mendilow, A. A. Time and the Novel. Introd. J. Isaacs. London: Peter Nevill, 1952.*

_____. Time and the Novel. 2nd ed. New York: Humanities Press, 1962. 1965. 1972.

_____. "The Revolt of Sterne," in Laurence Sterne: A Collection of Critical Essays. Ed. John Traugott. Englewood Cliffs (NJ): Prentice-Hall, 1968. 90-107. (From Time and the Novel, 1952).

_____. "Mendilow on Metafiction." From Time and the Novel. In García Landa, Vanity Fea 2 July 2013.*

http://vanityfea.blogspot.com.es/2013/07/mendilow-on-metafiction.html

2013

_____. "Conclusion." From Time and the Novel. In García Landa, Vanity Fea 4 July 2013.*

http://vanityfea.blogspot.com.es/2013/07/mendilow-time-and-novel.html

2013

_____. The World and Art of Shakespeare. 1967.

Mendus, Clive. "'Competitive Co-operation': Playing with Theatre de Complicite." New Theatre Quarterly 22.3 (2006): 257-67.

Merlin, Bella. (Actor and writer, trainer in Stanislavsky's method). The Complete Stanislavsky Toolkit. 2007.

_____. "8. Acting Hare: The Permanent Way." In The Cambridge Companion to David Hare. Ed. Richard Boon. Cambridge: Cambridge UP, 2007. 123-38.*

_____. "The Permanent Way and the Impermanent Muse." Contemporary Theatre Review 17.1 (2007): 41-9. (David Hare).

Merrill, Robert. "Nabokov and Fictional Artifice." Modern Fiction Studies 25 (1979): 439-62.

Meskin, Aaron. "10. Popular Fiction." In The Routledge Companion to Philosophy of Literature. Ed. Noël Carroll and John Gibson. London: Routledge, 2015.

Meyer, Rosalind S. "Mr Knightley's Education: Parallels in Emma." English Studies 79.3 (May 1998): 212-223.

Meyer-Dinkgräfe. "Writing About Artists: Self-Referral in Drama and Society." Critical Survey 12.2 (1998): 52-60.

Meyer-Dinkgräfe, Daniel, series ed. (Consciousness, Literature, & the Arts, 43). Amsterdam and New York: Rodopi, 2014.*

Meyrick, Julian. "The Limits of Theory: Academic versus Professional Understanding of Theatre Problems." New Theatre Quarterly 19.3 (2003): 230-42.

_____. "Cut and Paste: The Nature of Dramaturgical Development in the Theatre." Theatre Research International 31.1 (2006): 270-82.

Millard, Barbara C. "Shakespeare on Film: Towards an Audience Perceived and Perceiving." Literature/Film Quarterly 5.4 (1977): 352-57.

Miller, Clarence H. "The Styles of The Hind and the Panther." Journal of English and Germanic Philology 61 (1962): 511-27.

_____, ed. and trans. De Tristitia Christi. By Sir Thomas More. In More, Complete Works 14 (1976).

Miller, C. H. and E. McCutcheon, eds. Moreana 31.118-19 (June 1994).

Miller, Cristanne. Marianne Moore: Questions of Authority. Cambridge (MA): Harvard UP, 1995.

Miller, Christopher R. Surprise: The Poetics of the Unexpected from Milton to Austen. Ithaca: Cornell UP, 2015.

Miller, Jim. "Contesting the Spectacle: Harold Jaffe's Guerrilla Writing." In Narrative Turns and Minor Genres in Postmodernism. Ed. Theo D'haen and Hans Bertens. (Postmodern Studies 11). Amsterdam: Rodopi, 1995. 227-48.*

Miller, Joseph D. (Stanford U) "Just How Frumious Is a Bandersnatch?: The Exotic and the Ambiguous in Imaginative Literature." In Styles of Creation: Aesthetic Technique and the Creation of Fictional Worlds. Ed. George Slusser and Eric S. Rabkin. Athens (GA): U of Georgia P, 1992. 128-42.*

Miller, Michael W. "Creativity Furor: High-Tech Alteration of Sights and Sounds Divides the Arts World." Wall Street Journal 177 (1 Sept. 1987).

Miller, R. Baxter. Art and Imagination of Langston Hughes. 1989.

Mills, Peter. "Between Jest and Earnest: Representations of Superhumanism in Olaf Stapledon's Odd John and Sirius." Social Biology and Human Affairs 59 (1994): 63-81.

Milton, John. "Between the Cat and the Devil: Adaptation Studies and Translation Studies." Journal of Adaptation in Film and Performance 2.1 (2009): 47-64.

Minahan, John A. Word Like a Bell: John Keats, Music and the Romantic Poet. Kent: Kent State UP, 1992.

Mitchel, Donald. El lenguaje de la música moderna. Ediciones de Bolsillo.

Mitchell, Paul. (U Católica de Valencia San Vicente Mártir; [e-mail]). Sylvia Plath: The Poetry of Negativity. (Biblioteca Javier Coy d'Estudis Nord-Americans). Valencia: Publicacions Universitat de València, 2011.*

_____. Rev. of Chuck Palahniuk: Fight Club, Invisible Monsters, Choke, ed. Francisco Collado. Miscelánea 50 (2014): 151-4.* Online:

http://www.miscelaneajournal.net/index.php/misc/article/view/251

2015

_____. Rev. of Global Genres, Local Films: The Transnational Dimension of Spanish Cinema. Ed. Elena Oliete-Aldea et al. Atlantis 39.1 (June 2017): 267-72.*

Moller, Stephen. "Italian Idealism." In Twentieth-Century Historical, Philosophical and Psychological Perspectives. Ed. Christa Knellwolf and Christopher Norris. Vol. 9 of The Cambridge History of Literary Criticism. Cambridge: Cambridge UP, 2001. 335-48.*

Monson, D. A. "Andreas Capellanus and the Problem of Irony." Speculum 63 (1988): 539-72.

Monte, Steven. "John Ashbery." In Postmodernism: The Key Figures. Ed. Hans Bertens and Joseph Natoli. Oxford: Blackwell, 2002.*

Mood, John J. "'Silence Within': A Study of the Residua of Samuel Beckett." Studies in Short Fiction 7 (1970): 385-401. In The Critical Response to Samuel Beckett. Ed. Cathleen Culotta Andonian. Westport (CT): Greenwood Press, 1998. 310-26.*

Moore, Frank Harper. The Nobler Pleasure: Dryden's Comedy in Theory and Practice. Chapel Hill: U of North Carolina P, 1963.

Morau, Christian. "Consuming Narratives: Don DeLillo and the Lethal Reading." Journal of Narrative Technique 27.2 (Spring 1997): 190-207.*

Moreno, Julio L. "Subjective Cinema: And The Problem of Film in the First Person." Quarterly of Film, Radio and Television 7 (1952-3): 341-58.

Morreall, John. Taking Laughter Seriously. Albany: SUNY Press, 1983.

Morrison, Michael A. John Barrymore: Shakespearean Actor. Cambridge: Cambridge UP.

Morgan, Monique R. (McGill U). "Narrative Means to Lyric Ends in Wordsworth's Prelude." Narrative 16.3 (Oct. 2008): 298-330.*

Morris, Ivor. Jane Austen and the Interplay of Character. London: Athlone, 1999.

Morris, Wesley. "Of Wisdom and Competence." In Revenge of the Aesthetic: The Place of Literature in Theory Today. Ed. Michael P. Clark. Berkeley (CA): U of California P, 2000. 136-56.*

Morrison, Mary G. Tragedies of G. B. Giraldi Cinthio: The Transformation of Narrative Source into Stage Play. 1997.

Morrison, Michael A., ed. Trajectories of the Fantastic: Selected Essays from the Fourteenth International Conference on the Fantastic in the Arts. (Contributions to the Study of Science Fiction and Fantasy, 70). Westport (CT): Greenwood Press, 1997.*

Morse, Margaret. "¿Ciberia o comunidad virtual? Arte y ciberespacio." La realidad virtual. Revista de Occidente 153 (1994): 73-90.*

_____. Virtualities: Television, Media Art, and Cyberculture. Indiana UP, 1998.

Mosley, Nicholas. See English authors.

Mroz, Edith Maria Fay. "Vladimir Nabokov and Romantic Irony." Ph.D. 1989.

Mudford, Peter. (Birkbeck College, U of London). Birds of a Different Plumage: British-Indian Relations from Akbar to Curzon.

_____. The Art of Celebration: A Study of Late Nineteenth and Early Twentieth Century Literature.

_____. Graham Greene. (Writers and Their Work). Plymouth: Northcote House / British Council, 1996.*

_____. Memory and Desire: Representations of Passion in the Novella. London: Duckworth, 1996.

Muecke, D. C. The Compass of Irony. London: Methuen, 1969. 1980.

_____. "The Communication of Verbal Irony." Journal of Literary Semantics 2 (1973): 35-42.

_____. "Analyses de l'ironie." Poétique 36 (1978): 478-94.

_____. "Irony Markers." Poetics 7 (1978): 363-75.

_____. Irony and the Ironic. London: Methuen, 1982.

_____. "Images of Irony." Poetics Today 4.3 (1983): 399-413.

Munro, Thomas. The Arts and Their Interrelations. New York, 1949.

Murdoch, Iris. See English authors.

Murphy, Michael. (Nottingham Trent U). "'Protheus' and Prose: Paternity or Workmanship?" James Joyce Quarterly 35.1 (Fall 1997): 71-82.