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

HERTZ

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Inexorable

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

矛盾心理

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

Painstaking

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)

entice

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

證實(shí)

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