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Titlebook: debbie tucker green; Critical Perspective Siân Adiseshiah,Jacqueline Bolton Book 2020 The Editor(s) (if applicable) and The Author(s) 2020

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发表于 2025-3-25 07:09:51 | 显示全部楼层
Book 2020vering the period from 2000 (.Two Women.) to 2017 (.a profoundly affectionate, passionate devotion to someone (-noun))., it offers scholars and students the opportunity to engage in cutting-edge critical debate engendered by tucker green’s innovative dramatic works for stage, television, and radio.
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Trading Voice and Voicing Trades: Musicality in debbie tucker green’s ulates and interrogates tensions between male and female, black and white, Western and Other, local and global, ‘here’ and ‘there’. This chapter analyses how the play-text’s musicality presents distinctive strategies of embodiment through voice, discursive meaning-making and the production of subjectivity.
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Erratum to: Synchronous Generator, of tucker green’s work with a particular focus on tucker green’s . (2008). The chapter’s aim is to show that tucker green’s plays trouble boundaries between the private and the public, and make important connections between the subjective and the social, and the emotional and the political in the postcolonial moment.
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Contributions to Finance and Accounting spectator, facing and interpreting the unbearable grief of her characters becomes a work of mourning. The plays considered here—. (2015), . (2005), . (2008) and . (2011)—give particular voice to topics that Derrida encounters within the aegis of grief and mourning. These are ‘rehearsal’, ‘trace’, ‘silence’ and ‘ghosts’.
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‘What About the Burn Their Bra Bitches?’: debbie tucker green as the Willfully Emotional Subject of tucker green’s work with a particular focus on tucker green’s . (2008). The chapter’s aim is to show that tucker green’s plays trouble boundaries between the private and the public, and make important connections between the subjective and the social, and the emotional and the political in the postcolonial moment.
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