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標(biāo)題: Titlebook: Broadway and Corporate Capitalism; The Rise of the Prof Michael Schwartz Book 2009 Michael Schwartz 2009 drama.Romanticism.theatre [打印本頁(yè)]

作者: obsess    時(shí)間: 2025-3-21 18:37
書(shū)目名稱(chēng)Broadway and Corporate Capitalism影響因子(影響力)




書(shū)目名稱(chēng)Broadway and Corporate Capitalism影響因子(影響力)學(xué)科排名




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書(shū)目名稱(chēng)Broadway and Corporate Capitalism網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




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書(shū)目名稱(chēng)Broadway and Corporate Capitalism讀者反饋




書(shū)目名稱(chēng)Broadway and Corporate Capitalism讀者反饋學(xué)科排名





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作者: flaggy    時(shí)間: 2025-3-22 20:25
https://doi.org/10.1007/978-3-322-99205-5 evolve an entirely new type of actor,” whereas the current male stars seemed only “as dim shadows cast before” (“Matinee Lady” 2). What do the “dim shadows” of the 1890s have to say to us about the period? And how do we know?
作者: 天空    時(shí)間: 2025-3-22 22:43
https://doi.org/10.1007/978-3-663-13186-1ch for order” was the playing field. The college football field emerged as a key “realm of upper-class revitalization” (Lears, “American Advertising” 61). Although most team athletics fulfilled this function to greater or lesser degrees, football nevertheless provided the key “field” of manhood. As Harvey Green writes,
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作者: 肌肉    時(shí)間: 2025-3-23 13:08
The Growth of Broadway, the Emergence of the PMC,pposing superlatives is familiar by now: the wealthiest and the poorest, the classiest and the most vulgar, the highest and the lowest, all commingling within a few miles or even within a few blocks—even in 1900, it was practically a cliché.
作者: 翅膀拍動(dòng)    時(shí)間: 2025-3-23 15:36
Broadway and Corporate Capitalism978-0-230-62332-3Series ISSN 2947-5767 Series E-ISSN 2947-5775
作者: GILD    時(shí)間: 2025-3-23 18:30
https://doi.org/10.1007/978-3-662-08503-5ar Alfred Lunt his first starring role and gave a PMC hero another important job to do—stabilize his postwar community, and by implication, the larger American community. The author was Booth Tarkington, and the play—a comedy, in this case, not a farce—was called ..
作者: Fecal-Impaction    時(shí)間: 2025-3-23 22:20
Conclusion: Business as Usual,ar Alfred Lunt his first starring role and gave a PMC hero another important job to do—stabilize his postwar community, and by implication, the larger American community. The author was Booth Tarkington, and the play—a comedy, in this case, not a farce—was called ..
作者: Aesthete    時(shí)間: 2025-3-24 03:45
2947-5767 urce of ‘mature‘ American drama, and the simultaneous development of Professional-Managerial Class consciousness and habitus.978-1-349-38004-6978-0-230-62332-3Series ISSN 2947-5767 Series E-ISSN 2947-5775
作者: lavish    時(shí)間: 2025-3-24 07:38
Book 2009Through an examination of plays, actors, reviews, and audience response of the period, this study traces the development of Broadway as a source of ‘mature‘ American drama, and the simultaneous development of Professional-Managerial Class consciousness and habitus.
作者: Lyme-disease    時(shí)間: 2025-3-24 12:04
https://doi.org/10.1057/9780230623323drama; Romanticism; theatre
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作者: 不愛(ài)防注射    時(shí)間: 2025-3-25 02:16
Das Management von Markt- und Kreditrisiken, the seismic shifts of the world beyond the Great White Way. A few scholars, however, have shown some appreciation of the pre-1920 years of Broadway. Brenda Murphy, for example, acknowledges the period as one of transition—crucial years for establishing realistic principles in American drama (Murphy
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https://doi.org/10.1007/978-3-663-13186-1er threatening issues, what Lears refers to as “Anglo-Saxon revitalization” became a goal of paramount importance. A natural destination for the “search for order” was the playing field. The college football field emerged as a key “realm of upper-class revitalization” (Lears, “American Advertising”
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作者: ROOF    時(shí)間: 2025-3-25 22:47
Monopol, Monopson und bilaterales Monopol,imate Cohan’s contribution to Broadway during the early years of the twentieth century. Through a savvy combination of showmanship and hard work, he became the most successful individual on the New York stage. What Cohan accomplished wittingly is impressive and a matter of historical record; what he
作者: 單獨(dú)    時(shí)間: 2025-3-26 03:03
https://doi.org/10.1007/978-3-662-08503-5ar Alfred Lunt his first starring role and gave a PMC hero another important job to do—stabilize his postwar community, and by implication, the larger American community. The author was Booth Tarkington, and the play—a comedy, in this case, not a farce—was called ..
作者: Brain-Imaging    時(shí)間: 2025-3-26 05:34
Introduction: A Matter for Experts, the seismic shifts of the world beyond the Great White Way. A few scholars, however, have shown some appreciation of the pre-1920 years of Broadway. Brenda Murphy, for example, acknowledges the period as one of transition—crucial years for establishing realistic principles in American drama (Murphy
作者: 泥土謙卑    時(shí)間: 2025-3-26 11:18
The Growth of Broadway, the Emergence of the PMC,, and often successfully, to compete with and surpass the world’s great cities. Three years before the century turned, the five boroughs of New York had been consolidated, giving the city an area of 327 square miles, and a population of three and a half million (Burns & Sanders 206). The litany of o
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作者: 后來(lái)    時(shí)間: 2025-3-26 18:12
Muckraking the Playing Field: Emerging PMC Class Consciousness,er threatening issues, what Lears refers to as “Anglo-Saxon revitalization” became a goal of paramount importance. A natural destination for the “search for order” was the playing field. The college football field emerged as a key “realm of upper-class revitalization” (Lears, “American Advertising”
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A Size Thirteen Collar: Musicals and PMC Class Consciousness,. 78–80). Roughly speaking, Cohan and Victor Herbert set the tone of the early years of the century, Viennese operetta (and many imitations thereof) ruled Broadway from 1907 to 1914,. and around 1915, the American musical would reach something close to maturity, at least temporarily, with the shows
作者: macabre    時(shí)間: 2025-3-27 15:49
https://doi.org/10.1007/978-3-663-13186-1. 78–80). Roughly speaking, Cohan and Victor Herbert set the tone of the early years of the century, Viennese operetta (and many imitations thereof) ruled Broadway from 1907 to 1914,. and around 1915, the American musical would reach something close to maturity, at least temporarily, with the shows
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