Titlebook: Children and Theatre in Victorian Britain; Anne Varty Book 2008 Palgrave Macmillan, a division of Macmillan Publishers Limited 2008 Britai

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书目名称Children and Theatre in Victorian Britain网络公开度学科排名




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书目名称Children and Theatre in Victorian Britain被引频次学科排名




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书目名称Children and Theatre in Victorian Britain年度引用学科排名




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书目名称Children and Theatre in Victorian Britain读者反馈学科排名

TERRA

Theatre Children and the School Boards,sed by the local rates and at which it was forbidden to teach any ‘religious catechism or religious formula which is the distinction of any particular denomination.’. Although Board Schools were subsidised there was still a fee for attendance: the maximum fee was 9d per week, while the average fee i

尾随

Vigilance and Virtue,ge as well as Mr. Burnand, is a striking piece of evidence’. she identified both why members of the theatrical professions felt betrayed by an insider’s denouncement and why onlookers felt justified in their efforts to shame the profession. When Fawcett’s use of Burnand’s evidence was challenged by

licence

Some results on the structure problem,ce. His sympathies are aroused and the desire to protect her grows alongside the wish to possessher. Eventually he buys her from the circus master, and their ambiguous relationship develops towards the physical embrace which concludes Book Two. Book Three opens with a song:

社团

Quantum optics of a single atom,sed by the local rates and at which it was forbidden to teach any ‘religious catechism or religious formula which is the distinction of any particular denomination.’. Although Board Schools were subsidised there was still a fee for attendance: the maximum fee was 9d per week, while the average fee i

Juvenile

Juvenile

Introduction The Child on the Victorian Stage,fessional stages, children assumed roles as diverse as Puck or an oyster-ghost, while as audience members they were deemed to hold strong views on the plot lines of pantomime and to have sufficient stamina to enjoy the full five hours which a mixed bill could entail. Their work in the professional t

火车车轮

Pastorals and Primitives: Child Actors in Arcadia, children and childhood inherited from the Romantics. Goethe’s story of the child performer Mignon, at the heart of ., is central to this element of Romantic ideology, as Carolyn Steedman’s compelling study of nineteenth-century childhood and the iconography of Mignon suggests.. When Goethe’s travel

MILK

Pantomime: An Audience of Children,ccompanied by parents whose hearts beat with pride and joy, as they watch the dancing lights of pleasure in their darlings’ eyes, and the exclamations of rapturous delight, with which they gaze at the brilliant scene.

Irremediable

Classifying the Juvenile Actor,ord Shaftesbury is the politician most closely associated with pioneering legislation to ameliorate working conditions for children during this period, and Elizabeth Barrett Browning’s ‘The Cry of the Children’ (1844) won immediate popularity as a literary condemnation of the plight of these exploit