漂浮
发表于 2025-3-25 07:22:27
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osteopath
发表于 2025-3-25 10:33:26
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恶心
发表于 2025-3-25 12:14:28
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Assault
发表于 2025-3-25 17:09:35
https://doi.org/10.1007/978-3-642-49868-8 public acceptance. In his attitudes towards theatre-making, Gilbert was reflecting and reasserting current bourgeois ideology. In their collaborative assent, cooperation and therefore tacit assertion of these principles, Sullivan and Carte were following the same line.
Wordlist
发表于 2025-3-25 21:02:44
, at the Savoy,tribution to the enhanced ‘cultural capital’ implicit in attending a ‘modern’ theatre event in the late-Victorian West End. Links between electrification and Victorian notions of hygiene and social class are established to present an innovative argument concerning the cultural significance of theatrical electric lighting.
Basal-Ganglia
发表于 2025-3-26 01:17:48
,‘The D’Oyly Carte Boarding School’: Female Respectability at the Savoy*,ic change. The kinds of moral strictures imposed by the Savoy management and those based on . female allure, practised by George Edwardes, manager of the rival Gaiety Theatre, are compared to explore the specificity of the culture of morality at the Savoy.
conquer
发表于 2025-3-26 04:36:03
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厨房里面
发表于 2025-3-26 10:18:18
Conclusion, public acceptance. In his attitudes towards theatre-making, Gilbert was reflecting and reasserting current bourgeois ideology. In their collaborative assent, cooperation and therefore tacit assertion of these principles, Sullivan and Carte were following the same line.
entitle
发表于 2025-3-26 15:35:50
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Living-Will
发表于 2025-3-26 20:40:14
https://doi.org/10.1007/978-3-642-48604-3espectable, middle-class Victorian society. Examples from the opera libretti, from the lives of Gilbert, Sullivan, their manager, Richard D’Oyly Carte, and from the stars of the Savoy Theatre are used throughout the chapter to illustrate and comment on the middle-class ideology which underpinned their work.