EXALT 发表于 2025-3-23 13:15:16
Discipline and Spontaneity: Clyde Fitch’s , and Augustus Thomas’s ,rn discourse to which Turner, Roosevelt, Wister, and Remington were key contributors provides a context within which the frontier visions presented in plays like Clyde Fitch’s . (1899), Augustus Thomas’s . (1900), Frederic Remington and Louis Evan Shipman’s . (1903), and Owen Wister and Kirke La Shemetropolitan 发表于 2025-3-23 16:04:51
http://reply.papertrans.cn/31/3009/300825/300825_12.png走路左晃右晃 发表于 2025-3-23 20:20:47
,1973 – Geschichte einer numerischen Größe,d syntax set the parameters of theater representation, they can be seen as the distinguishing elements of what we might call “theater discourse.” Late-nineteenth-century frontier western drama should be understood, then, as the product of what Stephen Greenblatt referred to as a complex cultural “ne记成蚂蚁 发表于 2025-3-23 22:11:29
http://reply.papertrans.cn/31/3009/300825/300825_14.png用手捏 发表于 2025-3-24 06:04:44
http://reply.papertrans.cn/31/3009/300825/300825_15.png重叠 发表于 2025-3-24 08:06:52
2947-5767 mas not only indicate the popularity of these plays but also tell us that these plays offered views about the frontier that original audiences could and did embrace.978-1-349-29376-6978-0-230-11914-7Series ISSN 2947-5767 Series E-ISSN 2947-5775entrance 发表于 2025-3-24 12:41:48
Palgrave Studies in Theatre and Performance Historyhttp://image.papertrans.cn/e/image/300825.jpgescalate 发表于 2025-3-24 17:44:19
,Didaktische und methodische Überlegungen,ch source of narrative material. Frontier themes and motifs have been a primary focus especially for Euro-American artists and writers in search of a distinctly American experience. Even as events associated with the settlement of the western frontier have slipped further and further into the past,Antimicrobial 发表于 2025-3-24 20:32:22
http://reply.papertrans.cn/31/3009/300825/300825_19.png配偶 发表于 2025-3-25 02:10:08
,1973 – Geschichte einer numerischen Größe,ormed when it entered the theater. As a mode of representation, or (re) presentation, the theater production process inevitably impresses itself on the material with which it deals. In other words, the theater does not function as a transparent window through which either the actual frontier western