Titlebook: Cultural Identity in British Musical Theatre, 1890–1939; Knowing One’s Place Ben Macpherson Book 2018 The Editor(s) (if applicable) and The

Lincoln

書目名稱Cultural Identity in British Musical Theatre, 1890–1939影響因子(影響力)




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書目名稱Cultural Identity in British Musical Theatre, 1890–1939網(wǎng)絡(luò)公開度學(xué)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(xué)科排名




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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(xué)科排名

土坯

咒語

充滿人

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.

exercise

輕浮女

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.

輕浮女

即席演說

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.

抱狗不敢前

逗它小傻瓜

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.