Titlebook: Charlie Chaplin’s Little Tramp in America, 1947–77; Lisa Stein Haven Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Charli

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書目名稱Charlie Chaplin’s Little Tramp in America, 1947–77影響因子(影響力)




書目名稱Charlie Chaplin’s Little Tramp in America, 1947–77影響因子(影響力)學科排名




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書目名稱Charlie Chaplin’s Little Tramp in America, 1947–77網絡公開度學科排名




書目名稱Charlie Chaplin’s Little Tramp in America, 1947–77被引頻次




書目名稱Charlie Chaplin’s Little Tramp in America, 1947–77被引頻次學科排名




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書目名稱Charlie Chaplin’s Little Tramp in America, 1947–77年度引用學科排名




書目名稱Charlie Chaplin’s Little Tramp in America, 1947–77讀者反饋




書目名稱Charlie Chaplin’s Little Tramp in America, 1947–77讀者反饋學科排名

同時發(fā)生

Huijie Huang,Lihua Huang,Yongkai Zhaocollectors, Beat poets and writers and readers of Chaplin biographies, this cultural study determines conclusively that Chaplin’s Little Tramp never died, but in fact experienced a resurgence, which began slowly even before 1950 and was wholly in effect by 1965 and then confirmed by 1972, the year i

monogamy

Estimable

雪白

parasite

Lisa Stein HavenProvides the first extended analysis and narrative of Chaplin‘s move from maligned to celebrated figure in America.Based upon impressive research ranging from primary documents in various archives, or

parasite

MUTE

Huijie Huang,Lihua Huang,Yongkai Zhaolf more and more on political philosophies, such as communism, outside its comfort zone and realm of understanding. It was amidst this tense environment that Charlie Chaplin and his often na?ve-seeming political pronouncements—a behavior he enjoyed and came to seek out more and more after his 1931–1

antidepressant

A. Zabbo,R. A. Straffon,J. E. Montiehe individual responsible for turning the tide, or at least, providing Chaplin’s restoration phenomenon a much-needed boost, mostly through his essay in the September 3, 1949 issue of . magazine entitled “Comedy’s Greatest Era.” Peter D. Martin and poet Lawrence Ferlinghetti were partners in the Cit

證實

https://doi.org/10.1007/978-94-010-0554-8haplin the man’s political problems and subsequently attached themselves to the Little Tramp as a sort of symbol of the Beat philosophy and lifestyle. Some, Allen Ginsberg, Lawrence Ferlinghetti, and Bob Kaufman in particular, identified with many of the general attributes of the character, having e