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

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书目名称Cultural Identity in British Musical Theatre, 1890–1939影响因子(影响力)




书目名称Cultural Identity in British Musical Theatre, 1890–1939影响因子(影响力)学科排名




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书目名称Cultural Identity in British Musical Theatre, 1890–1939网络公开度学科排名




书目名称Cultural Identity in British Musical Theatre, 1890–1939被引频次




书目名称Cultural Identity in British Musical Theatre, 1890–1939被引频次学科排名




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书目名称Cultural Identity in British Musical Theatre, 1890–1939年度引用学科排名




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书目名称Cultural Identity in British Musical Theatre, 1890–1939读者反馈学科排名

土坯

咒语

充满人

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

轻浮女

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.

轻浮女

即席演说

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 Noël 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.