Titlebook: Staging Motherhood; British Women Playwr Jozefina Komporaly Book 2007 Palgrave Macmillan, a division of Macmillan Publishers Limited 2007 d

难受

书目名称Staging Motherhood影响因子(影响力)




书目名称Staging Motherhood影响因子(影响力)学科排名




书目名称Staging Motherhood网络公开度




书目名称Staging Motherhood网络公开度学科排名




书目名称Staging Motherhood被引频次




书目名称Staging Motherhood被引频次学科排名




书目名称Staging Motherhood年度引用




书目名称Staging Motherhood年度引用学科排名




书目名称Staging Motherhood读者反馈




书目名称Staging Motherhood读者反馈学科排名

机械

Rethinking Motherhood: Instances of Proto-Feminism,d to utilize the conventions of commercial theatre yet moved on to previously unexplored subjects, while a new generation of authors emerged who radically changed style and introduced working-class experience into mainstream drama. Through cases studies such as Enid Bagnold’s . (1956), Shelagh Delan

忧伤

occult

Challenging the Bond: Mothers versus Daughters,ir forebears. Especially Caryl Churchill is credited as a major influence, although Shelagh Delaney and Pam Gems have also been acknowledged as contributors to the opening up of new artistic pathways for women dramatists, and for younger writers, Sarah Daniels and Timberlake Wertenbaker equally join

Inveterate

granite

薄荷醇

Alternative Dramaturgies: Rewriting the Maternal Body,e on motherhood, in terms of both subject matter and theatre aesthetics. The playwrights discussed approach, on the one hand, aspects of the reality of parenthood (Sarah Woods: . 2003) and, on the other hand, investigate the desire for parenting in conditions of disability (Kaite O’Reilly: ., 2002),

maudtin

Conclusions,s of motherhood between the mid-fifties and the present. Making use of feminist theory in particular, and referencing transformations in cultural, social, historical, political and medical contexts, it has reflected on dramatic representation and aspects of stage performance via a broad range of cas

invert

宽宏大量

Challenging the Bond: Mothers versus Daughters,e the Royal Court, where several plays discussed here premièred. The playwrights starting their careers in this period ‘began to write different kinds of “feminist theatre”’ in which, often, ‘parts for men began to be replaced by all-women’s plays’ or in which the focus was predominantly on ‘women’s relationships to each other’.