1.
Second Skin: a World of Postmodern Comic Nightmare;
《第二层皮》:一个后现代喜剧的梦魇世界
2.
On the Post Modernity Characteristics of the Sitcom My Own Swordsman
论情景喜剧《武林外传》的后现代特色
3.
The ups and downs Nora experiences after leaving home constitute the main themes and characteristics of modern Chinese love comedies.
娜拉”出走后的沉浮遭际,构成了中国现代爱情喜剧的主要题材特色。
4.
On the Characteristics and Aestheticism of the Modern Customs Comedy;
论现代风俗喜剧的构剧特色和美学风范
5.
The Comedy Spirit Feature and Artistic Manifestation in the Eighties;
八十年代喜剧精神的特质和艺术表现
6.
The Historical Significance of Modern Ideological Transformation of Chinese Comedy;
论中国喜剧观念现代转型的历史意义
7.
The Tragedy and Comic of Modern Society --A New commentary on The Hairy;
现代社会的悲喜剧——《毛猿》新论
8.
The Lost Rational Laugh A Brief discussion on Modern Comedy Spirit;
失却了理性的笑——现代喜剧精神浅论
9.
a brief dramatic piece (usually comic) presented after a play.
正剧后加演的喜剧片短（通常是喜剧）。
10.
Chinese Situation Comedy under Postmodern Background--Concurrently Analysis of the Breakthrough and Innovation to the Traditional Aesthetism of My Own Sword man;
后现代语境下的中国情景喜剧——兼论《武林外传》对审美定势的突破和创新
11.
Comment on Chinese Post-Modern Drama in 1990’s;
20世纪90年代中国后现代戏剧之批判
12.
The Imprinting of Postmodernism Philosophy on the Mapping of Post-modernism Drama to Postmodernism Philosophy
浅谈后现代主义哲学与后现代主义戏剧
13.
The Cherry Orchard is a new type of Chekhovian modern comedy.
《樱桃园》是一部“契诃夫式”的新型现代喜剧。
14.
On Comedic Meaning of A Streetcar Named Desire by Tennessee Williams;
论田纳西·威廉斯《欲望号街车》的现代喜剧色彩
15.
A Discussion of the Achievements and Shortcomings of Satirical Poetry in the Kuomintang-ruled Districts;
人民性 喜剧性 现代性——国统区讽刺诗歌得失谈
16.
The Embarrassments of Nora after Her Departure-Modern Love Comedies as Viewed from the Perspective of Both Sexes;
出走“娜拉”的尴尬——现代爱情喜剧的性别透视
17.
On Subjectivism in the Ideological History od Modern Chinese Comedy;
论中国现代喜剧思想史上的主观论取向
18.
The Deconstruction of the Deep Structure of Opera Form-On a Tendency Shown in Modern and Postmodern Opera;
深层戏剧形式的解构——论现代、后现代主义戏剧所显示的一个趋向