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題名 從恐懼到笑：巴羅的《步步驚笑》
From fear to laughter: Patrick Barlow’s The 39 Steps作者 蔡坦欣
Tsai, Tan-Hsin貢獻者 姜翠芬
Jiang, Tsui-Fen
蔡坦欣
Tsai, Tan-Hsin關鍵詞 派卻克．巴羅
步步驚笑
米哈伊爾．巴赫金
狂歡
嘉年華
恐懼
笑
犯罪小說
Patrick Barlow
The 39 Steps
Mikhail Bakhtin
Carnival
Fear
Laughter
Crime fiction日期 2019 上傳時間 5-二月-2020 16:57:42 (UTC+8) 摘要 犯罪小說是一個以恐懼情緒 為核心的大眾文學子文類。在 當代 犯罪小說氾濫 且公式化地 使用懸 疑、驚悚，甚至看似毫不相關的戀愛元素時，一個犯罪小說的文學傳統 逐漸成形。 當這個文類的公式化情節、角色逐漸使觀者感到無趣，希求進行批判和重構的作者開始了諧 擬的風潮。 這些作者於 模仿、諷刺犯罪文學之時， 將令人 害怕 的氣氛轉為嘻笑， 也 凸顯出恐懼和笑之間的微妙關係。恐懼和笑之間的關係已經眾多科學家及哲學家探討。這些探索者包括米哈伊爾．巴赫金 (Mikhail Bakhtin)以及約翰．莫瑞爾 (John Morreall)。 然而，在這些探索中，多半的研究都專注於探討恐懼情緒是如何 被化解並轉變成笑 ，而忽略了恐懼亦可作為笑料 。本論文透過分析 派卻克 巴 羅 的喜劇《步步驚笑》，主張它以陳腔濫調情節、刻板印象角色以及後設劇場手法 ，諧擬犯罪文學的傳統，將 步肯的小說《第三十九階》及希區考克的電影《國防大機密》中的 恐懼轉化為笑聲，並樹立 喜劇美學「嘉年華劇」。
The popular modern literary subgenre, crime fiction, is a genre of fear as its core. When contemporary crime fictions have overly and formulaically used suspense, shock, and even love elements, a convention of crime fiction comes into being. As viewers become dissatisfied with formulaic plots and character designs of crime fiction, the writers, hoping to criticize and reform this genre, begin a trend of parody. These writers, imitating and mocking crime literature, transform the frightening atmosphere to a joyful one, and highlight the subtle connection between fear and laughter. The connection between fear and laughter has been investigated by many scientists and philosophers, including Mikhail Bakhtin and John Morreall. However, among these investigations, most of them concentrate on how fear is relieved into laughter and neglect the fact that an issue of laughing with fear exists. With the analysis of Patrick Barlow’s comedy The 39 Steps, this thesis argues that through the display of trite plot patterns, the exaggerated portrayal of stereotypical characters as well as the use of metatheatrics, this play parodies the conventions of crime fiction, channels the fear in Buchan’s novel The Thirty-Nine Steps and Alfred Hitchcock’s movie The 39 Steps toward laughter, and establishes a poetics of carnival thriller.參考文獻 Works CitedAbel, Lionel. Metatheatre: A New View of Dramatic Form. Hill and Wang, 1963.---. Tragedy and Metatheatre: Essays on Dramatic Form. Holmes & Meier, 2003.Abrams, M. H. A Glossary of Literary Terms. Wadsworth Cengage Learning, 10th ed., 2012.Allen, Richard. “Hitchcock and Narrative Suspense Theory and Practice.” The Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson, edited by Richard Allen and Malcom Turvey, Amsterdam UP, 2003, pp. 163-82. JSTOR, www.jstor.org/stable /j.ctt46n2cn.13. Accessed 26 Dec. 2018.“Anxiety, n.” OED Online, Oxford UP, December 2019, www.oed.com/view/Entry/8968. Accessed 2 Jan. 2020.Aristotle. Aristotle’s Poetics. Translated by S. H. Butcher, Hill & Wang, 1961.Aucoin, Don. “For Fun and Spy Games, Take ‘The 39 Steps.’” Review of The 39 Steps, directed by Patrick Barlow. Boston Globe, 21 Nov. 2017, www.bostonglobe.com/arts/theater/dance/2017/11/21/for-fun-and-spy-games-take-the-steps/9EWb7g5jxnytAVMFlFmlvL/story.html. Accessed 4 Nov. 2018.Bakhtin, Mikhail M. Problems of Dostoevsky’s Poetics. Translated by Caryl Emerson, U of Minnesota P, 2011.---. Rabelais and His World. Translated by Helene Iswolsky, Indiana UP, 1984.Barlow, Patrick, et al. The 39 Steps. Samuel French, 2009.Brantley, Ben. “Finding the Farce in Hitchcock, Again, ‘The 39 Steps’” Review of The 39 Steps, directed by Patrick Barlow. New York Times, 1 Apr. 2015, www.nytimes.com/2015/04/05/theater/finding-the-farce-in-hitchcock-again-the-39-step.html?partner=bloomberg. Accessed 2 July 2018.Billington, Michael. “The 39 Steps, West Yorkshire Playhouse, Leeds.” Review of The 39 Steps, directed by Patrick Barlow. The Guardian, 25 June 2005,55www.theguardian.com/stage/2005/jun/25/theatre. Accessed 2 July 2018.Boyd, David and R. Barton Palmer. Introduction. Hitchcock at the Source, edited by R. Barton Palmer and David Boyd, State U of New York P, 2011, pp. 1-9. Project MUSE, muse.jhu.edu/book/2588. Accessed 5 Apr. 2018.Brill, Lesley. “Hitchcock and Romance.” A Companion to Alfred Hitchcock, edited by Thomas Leitch and Leland Poague, Wiley-Blackwell, 2011, pp. 89-108.Britton, Wesley. Beyond Bond: Spies In Fiction And Film. Praeger Pub Text, 2005.Buchan, John. The Thirty-Nine Steps. Alma Classics, 2017.Camp, Jocelyn. “John Buchan and Alfred Hitchcock.” Literature/Film Quarterly, vol. 6, no. 3, Salisbury U, 1978, pp. 230-40. JSTOR, ww.jstor.org/stable/43796103. Accessed 4 Nov. 2018.Cawelti, John G. “The concept of formula in the study of popular literature.” Reading Popular Narrative: A Source Book, edited by Bob Ashley, Leicester UP, 1997, pp. 71-75.Darwin, Charles. “A Biographical Sketch of an Infant.” Mind: A Quarterly Review of Psychology and Philosophy, no. 7, Princeton U Library, 1877, pp. 285-94, books.google.com.tw/books?id=iitLAAAAYAAJ&pg=PA285&redir_esc=y&hl=zh-TW#v=onepage&q&f=false. Accessed 10 May 2019.Die Another Day. Directed by Tamahori, Lee, Eon Productions, 2002.“Farce, n.2.” OED Online, Oxford UP, 2019, www.oed.com/view/Entry/68152. Accessed 7 May 2019.“Femme fatale, n.” OED Online, Oxford UP, 2019, www.oed.com/view/Entry/291008. Accessed 6 May 2019.“Fear, n.1.” OED Online, Oxford UP, 2019, www.oed.com/view/Entry/68773. Accessed 6 Mar. 2019.Freud, Sigmund. Jokes and Their Relation to the Unconcious. W. W. Norton, 1960.56Frezza, Daniel. “The 39 Steps Times Four Equals Hilarious.” Insights: A Study Guide to the Utah Shakespearean Festival, Utah Shakespearean Festival, 2009, pp. 8-9, www.bard.org/study-guides/the-39-steps-study-guide. Accessed 4 November 2018.Glancy, Mark. A British Film Guide: The 39 Steps. I. B. Tauris, 2003.Hemmeter, Thomas. “Hitchcock’s Narrative Modernism: Ironies of Fictional Time.” A Companion to Alfred Hitchcock, edited by Thomas Leitch and Leland Poague, Wiley-Blackwell, 2011, pp. 67-85.Hesse, Beatrix. “From Screen to Stage: The Case of The 39 Steps.” Contemporary Drama in English, edited by Martin Middeke, Monika Pietrzak-Franger, Eckart Voigts-Virchow, vol. 16, 2009, pp. 153-68, contemporarydrama.de/cde-proceedings/. Accessed 4 Nov. 2018.Ihler, Marlo. “Who’s Steps are These Steps?: A Look at the Writer and Adapters of The 39 Steps.” Insights: A Study Guide to the Utah Shakespearean Festival, Utah Shakespearean Festival, pp. 6-7, static1.squarespace.com/static/543d9f0fe4b0f38ea78e8f45/t/553e8b6ee4b08584b86d60f1/1430162286767/39stepsinsights.pdf. Accessed 28 Mar. 2018.Kant, Immanuel. Critique of Judgement. Translated by James Creed Meredith, revised and edited by Nicolas Walker, Oxford UP, 2008.Liu Yang. “Comedy Review: Talking about the Playfulness in Performance.” Review of The 39 Steps, directed by Patrick Barlow. Shanghai Theatre, December 2013, pp. 38-40, doi: 10. 14179/ j. cnki . shxj. 2013. 12. 013. Accessed 21 May 2018.Luddington, Eve. “The 39 Steps–Review–Stephen Joseph Theatre, Scarborough.” Review of The 39 Steps, directed by Patrick Barlow. On: Yorkshire Magazine, June 2018, www.on-magazine.co.uk/arts/yorkshire-theatre/the-39-steps-57review-stephen-joseph-scarborough/. Accessed 2 Jan. 2019.Macdonald, Kate. The Fiction of John Buchan with Special Reference to the Richard Hannay Novels. 1991. PhD dissertation. U of London. EThOS, ethos.bl.uk/ProcessOrderDetailsDirect.do?eprintId=312732&thesisTitle=The+fiction+of+John+Buchan+with+special+reference+to+the+Richard+Hannay+novels.&documentId=5. Accessed 15 Nov. 2018.---. Preface. John Buchan: A Companion to the Mystery Fiction. McFarland & Company, 2009, pp. 1-14.McDougal, Stuart Y. “Mirth, Sexuality and Suspense: Alfred Hitchcock’s Adaptation of The Thirty-Nine Steps.” Literature/Film Quarterly, Vol. 3, No. 3, Salisbury U, 1975, pp. 232-39. JSTOR, ww.jstor.org/stable/43795623. Accessed 4 Nov. 2018.Miller, Toby, and Noel King. “Accidental Heroes and Gifted Amateurs: Hitchcock and Ideology.” A Companion to Alfred Hitchcock, edited by Thomas Leitch and Leland Poague, Wiley-Blackwell, 2011, pp. 427-51.Mogg, Ken. “Hitchcock’s Literary Sources.” A Companion to Alfred Hitchcock, edited by Thomas Leitch and Leland Poague, Wiley-Blackwell, 2011, pp. 28-47.Morreall, John. Laughing All the Way: Your Sense of Humor, Don’t Leave Home Without It. Motivational P, 2016.---. Comic Relief: A Comprehensive Philosophy of Humor. Wiley-Blackwell, 2009.Nelson, T. G. A. Comedy: The Theory of Comedy in Literature, Drama and Cinema. Oxford UP, 1990.“Nervousness, n.” OED Online, Oxford UP, December 2019, www.oed.com/view/Entry/126223. Accessed 2 Jan. 2020.Palmer, R. Barton. “Secret Agent: Coming in from the Cold, Maugham Style.”58Hitchcock at the Source, edited by R. Barton Palmer and David Boyd, State U of New York P, 2011, pp. 89-101. Project MUSE, muse.jhu.edu/book/2588. Accessed 5 Apr. 2018.“Prototype, n. and adj.” OED Online, Oxford UP, 2019, www.oed.com/view/Entry/153327. Accessed 30 September 2019.Puchner, Martin. Introduction. Tragedy and Metatheatre: Essays on Dramatic Form, by Lionel Abel, Holmes & Meier, 2003, pp. 1-24.“Review: The 39 Steps, West Yorkshire Playhouse, Leeds, until July 16.” Review of The 39 Steps, by Patrick Barlow. York Press, 24 June 2005, www.yorkpress.co.uk/news/7862478.Review__The_39_Steps__West_Yorkshire_Playhouse__Leeds__until_July_16/?ref=arc. Accessed 2 July 2018.“Romantic, adj. and n.” OED Online, Oxford UP, 2019, www.oed.com/view/Entry/167122. Accessed 11 May 2019.Rzepka, Charles J. Introduction. A Companion to Crime Fiction, edited by Rzepka, and Lee Horsley, Wiley-Blackwell, 2010, pp. 1-9.Schatz, Thomas. “Hitchcock and the Studio System.” The Cambridge Companion to Alfred Hitchcock, edited by Jonathan Freedman, Cambridge UP, 2015, pp. 25-39.“Send-up, n.” OED Online, Oxford UP, 2019, www.oed.com/view/Entry/175864. Accessed 7 May 2019.Simon, Reeva Spector. Spies and Holy Wars. U of Texas P, 2010.“Slapstick, n.” OED Online, Oxford UP, 2019, www.oed.com/view/Entry/181383. Accessed 7 May 2019.Spenser, Herbert. “The Physiology of Laughter.” Macmillan`s Magazine, The Royal College of Surgeons of England, March 1860, pp. 395-402, openlibrary.org/books/OL26294987M/The_physiology_of_laughter. Accessed594 November 2018.“Spoof, n. (and adj.).” OED Online, Oxford UP, 2019, www.oed.com/view/Entry/187390. Accessed 7 May 2019.Staiger, Janet. “Creating the Brand: The Hitchcock Touch.” The Cambridge Companion to Alfred Hitchcock, edited by Jonathan Freedman, Cambridge UP, 2015, pp. 40-56.“Stereotype, n. and adj.” OED Online, Oxford UP, 2019, www.oed.com/view/Entry/189956. Accessed 30 September 2019.The 39 Steps. Directed by Hitchcock, Alfred, Gaumont British Picture Corporation Ltd., 1935.Vice, Sue. Introducing Bakhtin. Manchester UP, 2008.Waddell, Nathan Joseph. Paranoia, Power, and Male Identity in John Buchan’s Literary War. 2007. U of Birmingham, M. Phil. thesis. DART, etheses.bham.ac.uk/68/1/Waddell07MPhil.pdf. Accessed 15 Nov. 2018.Worthington, Heather. “From The Newgate Calendar to Sherlock Holmes.” A Companion to Crime Fiction, edited by Rzepka, and Lee Horsley, Wiley-Blackwell, 2010, pp. 13-27.Yacowar, Maurice. “The 39 Steps 1935.” Hitchcock’s British Films. Wayne State UP, 2010, pp. 146-154. Project MUSE, muse.jhu.edu/book/16748. Accessed 5 Apr. 2018. 描述 碩士
國立政治大學
英國語文學系
105551014資料來源 http://thesis.lib.nccu.edu.tw/record/#G0105551014 資料類型 thesis dc.contributor.advisor 姜翠芬 zh_TW dc.contributor.advisor Jiang, Tsui-Fen en_US dc.contributor.author (作者) 蔡坦欣 zh_TW dc.contributor.author (作者) Tsai, Tan-Hsin en_US dc.creator (作者) 蔡坦欣 zh_TW dc.creator (作者) Tsai, Tan-Hsin en_US dc.date (日期) 2019 en_US dc.date.accessioned 5-二月-2020 16:57:42 (UTC+8) - dc.date.available 5-二月-2020 16:57:42 (UTC+8) - dc.date.issued (上傳時間) 5-二月-2020 16:57:42 (UTC+8) - dc.identifier (其他 識別碼) G0105551014 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/128553 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 英國語文學系 zh_TW dc.description (描述) 105551014 zh_TW dc.description.abstract (摘要) 犯罪小說是一個以恐懼情緒 為核心的大眾文學子文類。在 當代 犯罪小說氾濫 且公式化地 使用懸 疑、驚悚，甚至看似毫不相關的戀愛元素時，一個犯罪小說的文學傳統 逐漸成形。 當這個文類的公式化情節、角色逐漸使觀者感到無趣，希求進行批判和重構的作者開始了諧 擬的風潮。 這些作者於 模仿、諷刺犯罪文學之時， 將令人 害怕 的氣氛轉為嘻笑， 也 凸顯出恐懼和笑之間的微妙關係。恐懼和笑之間的關係已經眾多科學家及哲學家探討。這些探索者包括米哈伊爾．巴赫金 (Mikhail Bakhtin)以及約翰．莫瑞爾 (John Morreall)。 然而，在這些探索中，多半的研究都專注於探討恐懼情緒是如何 被化解並轉變成笑 ，而忽略了恐懼亦可作為笑料 。本論文透過分析 派卻克 巴 羅 的喜劇《步步驚笑》，主張它以陳腔濫調情節、刻板印象角色以及後設劇場手法 ，諧擬犯罪文學的傳統，將 步肯的小說《第三十九階》及希區考克的電影《國防大機密》中的 恐懼轉化為笑聲，並樹立 喜劇美學「嘉年華劇」。 zh_TW dc.description.abstract (摘要) The popular modern literary subgenre, crime fiction, is a genre of fear as its core. When contemporary crime fictions have overly and formulaically used suspense, shock, and even love elements, a convention of crime fiction comes into being. As viewers become dissatisfied with formulaic plots and character designs of crime fiction, the writers, hoping to criticize and reform this genre, begin a trend of parody. These writers, imitating and mocking crime literature, transform the frightening atmosphere to a joyful one, and highlight the subtle connection between fear and laughter. The connection between fear and laughter has been investigated by many scientists and philosophers, including Mikhail Bakhtin and John Morreall. However, among these investigations, most of them concentrate on how fear is relieved into laughter and neglect the fact that an issue of laughing with fear exists. With the analysis of Patrick Barlow’s comedy The 39 Steps, this thesis argues that through the display of trite plot patterns, the exaggerated portrayal of stereotypical characters as well as the use of metatheatrics, this play parodies the conventions of crime fiction, channels the fear in Buchan’s novel The Thirty-Nine Steps and Alfred Hitchcock’s movie The 39 Steps toward laughter, and establishes a poetics of carnival thriller. en_US dc.description.tableofcontents Acknowledgment iiiChinese Abstract vEnglish Abstract viChapter One. Introduction 1Chapter Two. Parody in The 39 Steps 15Chapter Three. From Fear to Laughter 36Chapter Four. Conclusion 51Works Cited 54 zh_TW dc.format.extent 6282547 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0105551014 en_US dc.subject (關鍵詞) 派卻克．巴羅 zh_TW dc.subject (關鍵詞) 步步驚笑 zh_TW dc.subject (關鍵詞) 米哈伊爾．巴赫金 zh_TW dc.subject (關鍵詞) 狂歡 zh_TW dc.subject (關鍵詞) 嘉年華 zh_TW dc.subject (關鍵詞) 恐懼 zh_TW dc.subject (關鍵詞) 笑 zh_TW dc.subject (關鍵詞) 犯罪小說 zh_TW dc.subject (關鍵詞) Patrick Barlow en_US dc.subject (關鍵詞) The 39 Steps en_US dc.subject (關鍵詞) Mikhail Bakhtin en_US dc.subject (關鍵詞) Carnival en_US dc.subject (關鍵詞) Fear en_US dc.subject (關鍵詞) Laughter en_US dc.subject (關鍵詞) Crime fiction en_US dc.title (題名) 從恐懼到笑：巴羅的《步步驚笑》 zh_TW dc.title (題名) From fear to laughter: Patrick Barlow’s The 39 Steps en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) Works CitedAbel, Lionel. Metatheatre: A New View of Dramatic Form. Hill and Wang, 1963.---. Tragedy and Metatheatre: Essays on Dramatic Form. Holmes & Meier, 2003.Abrams, M. H. A Glossary of Literary Terms. Wadsworth Cengage Learning, 10th ed., 2012.Allen, Richard. “Hitchcock and Narrative Suspense Theory and Practice.” The Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson, edited by Richard Allen and Malcom Turvey, Amsterdam UP, 2003, pp. 163-82. JSTOR, www.jstor.org/stable /j.ctt46n2cn.13. Accessed 26 Dec. 2018.“Anxiety, n.” OED Online, Oxford UP, December 2019, www.oed.com/view/Entry/8968. Accessed 2 Jan. 2020.Aristotle. Aristotle’s Poetics. Translated by S. H. Butcher, Hill & Wang, 1961.Aucoin, Don. “For Fun and Spy Games, Take ‘The 39 Steps.’” Review of The 39 Steps, directed by Patrick Barlow. Boston Globe, 21 Nov. 2017, www.bostonglobe.com/arts/theater/dance/2017/11/21/for-fun-and-spy-games-take-the-steps/9EWb7g5jxnytAVMFlFmlvL/story.html. Accessed 4 Nov. 2018.Bakhtin, Mikhail M. Problems of Dostoevsky’s Poetics. Translated by Caryl Emerson, U of Minnesota P, 2011.---. Rabelais and His World. Translated by Helene Iswolsky, Indiana UP, 1984.Barlow, Patrick, et al. The 39 Steps. Samuel French, 2009.Brantley, Ben. “Finding the Farce in Hitchcock, Again, ‘The 39 Steps’” Review of The 39 Steps, directed by Patrick Barlow. New York Times, 1 Apr. 2015, www.nytimes.com/2015/04/05/theater/finding-the-farce-in-hitchcock-again-the-39-step.html?partner=bloomberg. Accessed 2 July 2018.Billington, Michael. “The 39 Steps, West Yorkshire Playhouse, Leeds.” Review of The 39 Steps, directed by Patrick Barlow. The Guardian, 25 June 2005,55www.theguardian.com/stage/2005/jun/25/theatre. Accessed 2 July 2018.Boyd, David and R. Barton Palmer. Introduction. Hitchcock at the Source, edited by R. Barton Palmer and David Boyd, State U of New York P, 2011, pp. 1-9. Project MUSE, muse.jhu.edu/book/2588. Accessed 5 Apr. 2018.Brill, Lesley. “Hitchcock and Romance.” A Companion to Alfred Hitchcock, edited by Thomas Leitch and Leland Poague, Wiley-Blackwell, 2011, pp. 89-108.Britton, Wesley. Beyond Bond: Spies In Fiction And Film. Praeger Pub Text, 2005.Buchan, John. The Thirty-Nine Steps. Alma Classics, 2017.Camp, Jocelyn. “John Buchan and Alfred Hitchcock.” Literature/Film Quarterly, vol. 6, no. 3, Salisbury U, 1978, pp. 230-40. JSTOR, ww.jstor.org/stable/43796103. Accessed 4 Nov. 2018.Cawelti, John G. “The concept of formula in the study of popular literature.” Reading Popular Narrative: A Source Book, edited by Bob Ashley, Leicester UP, 1997, pp. 71-75.Darwin, Charles. “A Biographical Sketch of an Infant.” Mind: A Quarterly Review of Psychology and Philosophy, no. 7, Princeton U Library, 1877, pp. 285-94, books.google.com.tw/books?id=iitLAAAAYAAJ&pg=PA285&redir_esc=y&hl=zh-TW#v=onepage&q&f=false. Accessed 10 May 2019.Die Another Day. Directed by Tamahori, Lee, Eon Productions, 2002.“Farce, n.2.” OED Online, Oxford UP, 2019, www.oed.com/view/Entry/68152. Accessed 7 May 2019.“Femme fatale, n.” OED Online, Oxford UP, 2019, www.oed.com/view/Entry/291008. Accessed 6 May 2019.“Fear, n.1.” OED Online, Oxford UP, 2019, www.oed.com/view/Entry/68773. Accessed 6 Mar. 2019.Freud, Sigmund. Jokes and Their Relation to the Unconcious. W. W. Norton, 1960.56Frezza, Daniel. “The 39 Steps Times Four Equals Hilarious.” Insights: A Study Guide to the Utah Shakespearean Festival, Utah Shakespearean Festival, 2009, pp. 8-9, www.bard.org/study-guides/the-39-steps-study-guide. Accessed 4 November 2018.Glancy, Mark. A British Film Guide: The 39 Steps. I. B. Tauris, 2003.Hemmeter, Thomas. “Hitchcock’s Narrative Modernism: Ironies of Fictional Time.” A Companion to Alfred Hitchcock, edited by Thomas Leitch and Leland Poague, Wiley-Blackwell, 2011, pp. 67-85.Hesse, Beatrix. “From Screen to Stage: The Case of The 39 Steps.” Contemporary Drama in English, edited by Martin Middeke, Monika Pietrzak-Franger, Eckart Voigts-Virchow, vol. 16, 2009, pp. 153-68, contemporarydrama.de/cde-proceedings/. Accessed 4 Nov. 2018.Ihler, Marlo. “Who’s Steps are These Steps?: A Look at the Writer and Adapters of The 39 Steps.” Insights: A Study Guide to the Utah Shakespearean Festival, Utah Shakespearean Festival, pp. 6-7, static1.squarespace.com/static/543d9f0fe4b0f38ea78e8f45/t/553e8b6ee4b08584b86d60f1/1430162286767/39stepsinsights.pdf. Accessed 28 Mar. 2018.Kant, Immanuel. Critique of Judgement. Translated by James Creed Meredith, revised and edited by Nicolas Walker, Oxford UP, 2008.Liu Yang. “Comedy Review: Talking about the Playfulness in Performance.” Review of The 39 Steps, directed by Patrick Barlow. Shanghai Theatre, December 2013, pp. 38-40, doi: 10. 14179/ j. cnki . shxj. 2013. 12. 013. Accessed 21 May 2018.Luddington, Eve. “The 39 Steps–Review–Stephen Joseph Theatre, Scarborough.” Review of The 39 Steps, directed by Patrick Barlow. On: Yorkshire Magazine, June 2018, www.on-magazine.co.uk/arts/yorkshire-theatre/the-39-steps-57review-stephen-joseph-scarborough/. Accessed 2 Jan. 2019.Macdonald, Kate. The Fiction of John Buchan with Special Reference to the Richard Hannay Novels. 1991. PhD dissertation. U of London. EThOS, ethos.bl.uk/ProcessOrderDetailsDirect.do?eprintId=312732&thesisTitle=The+fiction+of+John+Buchan+with+special+reference+to+the+Richard+Hannay+novels.&documentId=5. Accessed 15 Nov. 2018.---. Preface. John Buchan: A Companion to the Mystery Fiction. McFarland & Company, 2009, pp. 1-14.McDougal, Stuart Y. “Mirth, Sexuality and Suspense: Alfred Hitchcock’s Adaptation of The Thirty-Nine Steps.” Literature/Film Quarterly, Vol. 3, No. 3, Salisbury U, 1975, pp. 232-39. JSTOR, ww.jstor.org/stable/43795623. 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