標題: Titlebook: Cultural Identity in British Musical Theatre, 1890–1939; Knowing One’s Place Ben Macpherson Book 2018 The Editor(s) (if applicable) and The [打印本頁] 作者: Lincoln 時間: 2025-3-21 17:40
書目名稱Cultural Identity in British Musical Theatre, 1890–1939影響因子(影響力)
書目名稱Cultural Identity in British Musical Theatre, 1890–1939影響因子(影響力)學科排名
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書目名稱Cultural Identity in British Musical Theatre, 1890–1939網(wǎng)絡(luò)公開度學科排名
書目名稱Cultural Identity in British Musical Theatre, 1890–1939被引頻次
書目名稱Cultural Identity in British Musical Theatre, 1890–1939被引頻次學科排名
書目名稱Cultural Identity in British Musical Theatre, 1890–1939年度引用
書目名稱Cultural Identity in British Musical Theatre, 1890–1939年度引用學科排名
書目名稱Cultural Identity in British Musical Theatre, 1890–1939讀者反饋
書目名稱Cultural Identity in British Musical Theatre, 1890–1939讀者反饋學科排名
作者: 土坯 時間: 2025-3-21 22:54 作者: 咒語 時間: 2025-3-22 03:23 作者: 充滿人 時間: 2025-3-22 06:39
Hospitaller Sisters in the Twelfth Century, America. Acknowledging musical comedy as an international commodity, the chapter concludes by arguing that the international tours and transfers facilitated by Charles Frohman and Maurice E. Bandmann between 1890 and 1920 amount to ‘cultural colonialism’ by the British, across the Empire and elsewhere.作者: exercise 時間: 2025-3-22 11:33 作者: 輕浮女 時間: 2025-3-22 16:48
The British Musical in Seven Stories,en Britishness and the English is introduced. It concludes by asking how British musical theatre, from 1890 to 1939, performed Britishness as a cultural identity marker, before offering an outline of the book as a whole.作者: 輕浮女 時間: 2025-3-22 17:15 作者: 即席演說 時間: 2025-3-22 22:08
Femininity: Cinderellas and Caretakers However, they each marry into the aristocracy with (often unwelcome) help from a second, elder female figure, who is?determined to perpetuate ‘respectable’ patriarchal structures of society, reflecting an era in which tensions surrounding women’s liberation were rising to the surface.作者: 抱狗不敢前 時間: 2025-3-23 04:11 作者: 逗它小傻瓜 時間: 2025-3-23 09:33
Peace: Nostalgia and Nationhoodter concludes with a discussion of No?l Coward’s . (1931) as a work that intended to critique the British imperial narrative, but was paradoxically lauded as celebratory of that narrative, as the world again headed toward conflict.作者: 徹底檢查 時間: 2025-3-23 11:56 作者: 瘙癢 時間: 2025-3-23 16:40
Conflict: Continuity and Change, popular successes such as . (1916) continued to offer escapism and romance, while the musical stage saw a refocusing away from tensions of the urban or the rural towards a newly re-masculinised sense of the local and the global, as Britishness was inevitably and irrevocably changed forever.作者: 轉(zhuǎn)向 時間: 2025-3-23 20:49
The English Musical in Many Storieshe introductory chapter, the suggestion is made that the ‘British musical theatre’ explored in this book is actually ‘English musical theatre’, after which the chapter reflects on the problems associated with this term and concludes with provocations for further research.作者: propose 時間: 2025-3-24 01:51
Book 2018 Broadening in scope, Part Two offers a revisionary reading of Empire and Otherness on the musical stage, and concludes with a consideration of the Great War and the interwar period, as musical theatre performed a nostalgia for a particular kind of ‘Britishness’, reflecting the anxieties of a nation in decline.作者: 投票 時間: 2025-3-24 06:14
Book 2018he vitality and centrality of the musical stage, as a global phenomenon in late-Victorian popular culture and beyond. Through a re-examination of over fifty archival play-scripts, the book comprises seven interconnected stories told in two parts. Part One focuses on domestic and personal identities 作者: JEER 時間: 2025-3-24 09:18 作者: 群島 時間: 2025-3-24 12:18
The Lay Sisters of Saint John of Jerusalem,, popular successes such as . (1916) continued to offer escapism and romance, while the musical stage saw a refocusing away from tensions of the urban or the rural towards a newly re-masculinised sense of the local and the global, as Britishness was inevitably and irrevocably changed forever.作者: 縮短 時間: 2025-3-24 15:14
The Order of Saint John of Jerusalem,he introductory chapter, the suggestion is made that the ‘British musical theatre’ explored in this book is actually ‘English musical theatre’, after which the chapter reflects on the problems associated with this term and concludes with provocations for further research.作者: 委屈 時間: 2025-3-24 22:05
2946-4137 pact of late-Victorian and Edwardian musical comedy on populThis book examines the performance of ‘Britishness’ on the musical stage. Covering a tumultuous period in British history, it offers a fresh look at the vitality and centrality of the musical stage, as a global phenomenon in late-Victorian 作者: 剛開始 時間: 2025-3-25 01:22
The British Musical in Seven Stories,sh musical theatre history, the chapter continues by introducing the conditions within late Victorian urban modernity from which early musical comedy first appeared, with George Edwardes’ . in 1892. Identifying the middle class as a key audience for this new urban form, key concepts of class and ‘kn作者: 我不明白 時間: 2025-3-25 05:20 作者: 異端邪說下 時間: 2025-3-25 09:41
Femininity: Cinderellas and Caretakers and private (domestic) spaces in Victorian and Edwardian society. Drawing on two contrasting configurations of femininity, the chapter demonstrates the increasing complexity of women’s place in the urban metropolis. First, with reference to the use of the popular Cinderella narrative as a basis for作者: 基因組 時間: 2025-3-25 14:04 作者: 獨特性 時間: 2025-3-25 16:01
Empire: Ornamentalism and Orientalismd a more significant impact on the representation of different cultures than previously realised. Many analyses understand musical?comedy depictions of the Far East on the basis of racial difference, but this chapter offers a revisionary reading based on a world-view determined by social class, offe作者: Ancillary 時間: 2025-3-25 22:51
Conflict: Continuity and Changel and patriotic, and yet offer a sense of reassuring continuity—the period surrounding World War I saw the rise of the revue as a form which seemed to embody a fractured society, and the democratising of characters on the musical stage across all classes. Alongside recruiting revues such as . (1914)作者: Salivary-Gland 時間: 2025-3-26 00:45
Peace: Nostalgia and Nationhoodo, and Vivian Ellis, which eschewed the urban modernity of the prewar years and offered a romantic idyll of Ruritanian Britishness for a devastated nation, while knowing that such an ideal was irretrievable. The interwar years were marked by the return of intensely hierarchical class structures, and作者: 你敢命令 時間: 2025-3-26 06:25
The English Musical in Many Storiesmusical comedy—arising from the metropolitan imperatives of late Victorian modernity—configured Britishness as a sprawling, contradictory, paradoxical cultural identity, full of imperial anxieties, domestic uncertainty, and personal challenges. Returning to the definition of Britishness offered in t作者: Bridle 時間: 2025-3-26 12:28 作者: MODE 時間: 2025-3-26 15:26 作者: 任命 時間: 2025-3-26 19:35
https://doi.org/10.1057/978-1-137-59807-3Cultural identity; British musical theatre; Victorian popular culture; Britishness; Nationhood; Class; Gen作者: HERTZ 時間: 2025-3-27 00:50 作者: mastoid-bone 時間: 2025-3-27 01:31 作者: 比喻好 時間: 2025-3-27 06:14 作者: 糾纏,纏繞 時間: 2025-3-27 12:04 作者: Inexorable 時間: 2025-3-27 17:28
Introduction: Setting the Scenein musical comedy. As a contradictory ideal of civility and military readiness, the anxieties felt by husbands and fathers, are considered in works such as . (1898) and . (1918), which staged concerns over domestic pressure and declining patriarchal influence. The impact of this declining influence 作者: 矛盾心理 時間: 2025-3-27 20:38
Hospitaller Sisters in the Twelfth Century,d a more significant impact on the representation of different cultures than previously realised. Many analyses understand musical?comedy depictions of the Far East on the basis of racial difference, but this chapter offers a revisionary reading based on a world-view determined by social class, offe作者: Painstaking 時間: 2025-3-27 22:05
The Lay Sisters of Saint John of Jerusalem,l and patriotic, and yet offer a sense of reassuring continuity—the period surrounding World War I saw the rise of the revue as a form which seemed to embody a fractured society, and the democratising of characters on the musical stage across all classes. Alongside recruiting revues such as . (1914)作者: entice 時間: 2025-3-28 05:24
The Lay Sisters of Saint John of Jerusalem,o, and Vivian Ellis, which eschewed the urban modernity of the prewar years and offered a romantic idyll of Ruritanian Britishness for a devastated nation, while knowing that such an ideal was irretrievable. The interwar years were marked by the return of intensely hierarchical class structures, and作者: 證實 時間: 2025-3-28 08:42
The Order of Saint John of Jerusalem,musical comedy—arising from the metropolitan imperatives of late Victorian modernity—configured Britishness as a sprawling, contradictory, paradoxical cultural identity, full of imperial anxieties, domestic uncertainty, and personal challenges. Returning to the definition of Britishness offered in t
