標(biāo)題: Titlebook: debbie tucker green; Critical Perspective Sian Adiseshiah,Jacqueline Bolton Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 [打印本頁] 作者: 實(shí)體 時(shí)間: 2025-3-21 17:56
書目名稱debbie tucker green影響因子(影響力)
書目名稱debbie tucker green影響因子(影響力)學(xué)科排名
書目名稱debbie tucker green網(wǎng)絡(luò)公開度
書目名稱debbie tucker green網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱debbie tucker green被引頻次
書目名稱debbie tucker green被引頻次學(xué)科排名
書目名稱debbie tucker green年度引用
書目名稱debbie tucker green年度引用學(xué)科排名
書目名稱debbie tucker green讀者反饋
書目名稱debbie tucker green讀者反饋學(xué)科排名
作者: 是貪求 時(shí)間: 2025-3-21 21:10
http://image.papertrans.cn/e/image/284885.jpg作者: 特別容易碎 時(shí)間: 2025-3-22 03:03
https://doi.org/10.1007/978-3-030-34581-5Comtemporary British Theatre; Playwright; Director; Race; Identity; Black Women‘s Playwriting; Diasporic A作者: 半球 時(shí)間: 2025-3-22 04:41
978-3-030-34583-9The Editor(s) (if applicable) and The Author(s) 2020作者: aspersion 時(shí)間: 2025-3-22 11:36
Positive Systems with Retarded Delays,In September 2017 director Izzy Rabey directed the regional premiere of debbie tucker green’s . (2015) for Run Amok at The Other Room, Cardiff. In this interview she talks to Sian Adiseshiah and Jacqueline Bolton about casting, rehearsal, rhythm and musicality, victimhood, language, audiences and theatre in Wales.作者: gustation 時(shí)間: 2025-3-22 13:06
Reflections on ,: Izzy Rabey in Conversation with Sian Adiseshiah and Jacqueline BoltonIn September 2017 director Izzy Rabey directed the regional premiere of debbie tucker green’s . (2015) for Run Amok at The Other Room, Cardiff. In this interview she talks to Sian Adiseshiah and Jacqueline Bolton about casting, rehearsal, rhythm and musicality, victimhood, language, audiences and theatre in Wales.作者: gustation 時(shí)間: 2025-3-22 17:16
Introduction to the Boundary Layer). It reflects on scholarly debates within tucker green scholarship, teasing out key questions that are pertinent to how her work has been understood. The chapter articulates a primary concern of this volume, which is not only to emphasize the central importance of tucker green as a black woman play作者: Intersect 時(shí)間: 2025-3-22 21:46
Further Properties of the Laplace Transform, the history and persistence of institutional racism in the British criminal justice system. However, it is only in the play’s final moments that tucker green’s intentions to explore themes of racial violence within a broader historical and geographical context become clear. This chapter argues that作者: deforestation 時(shí)間: 2025-3-23 03:07 作者: meditation 時(shí)間: 2025-3-23 08:05
Basic Concepts, Protocols and Terminology, and . (2015). In a divergence from a scholarly consensus that interprets the drama as providing edifying ethical experiences, the authors instead suggest that tucker green’s plays withhold a straightforward ethical encounter and make such a withholding a key way through which the political power of作者: 折磨 時(shí)間: 2025-3-23 12:16
Introduction to Enterprise JavaBeans,ue that these dramas go beyond raising awareness of injustice to present complex ethical questions stemming from the specific and subjective experience of those affected. Insisting on the significance of axes of power and discrimination, tucker green encourages spectators to reflect on the impact of作者: 尖 時(shí)間: 2025-3-23 17:17
Developing Windows Applicationsd argues, discussions about race are often not as central to analysis of her plays as they should be. This chapter identifies key moments in the texts and their productions that link to specific cultural and historical moments to reveal how the plays reach beyond the de-raced or post-racial approach作者: coagulation 時(shí)間: 2025-3-23 20:08 作者: Abominate 時(shí)間: 2025-3-23 23:21
B. Hague D.SC., PH.D., F.C.G.I.. [2013]). Adopting the trinary structure favoured by tucker green, Aston organizes her analysis into three parts. The first focuses on black-cultural influences and the technique of story-layering. Part two examines how the playwright’s eschewal of standard English usage and styling of the vernacul作者: glowing 時(shí)間: 2025-3-24 04:05 作者: Jacket 時(shí)間: 2025-3-24 07:08
Related Studies on Formulaic Sequences,ervations initiated by Eilon Morris, and involves analyses of how the apparently hyperrealistic exchanges of spoken words and body language in tucker green’s drama create, alternately, striking and interrogatory effects of unease, intensification or emotional detachment. This chapter also considers 作者: 泥沼 時(shí)間: 2025-3-24 13:05 作者: 有角 時(shí)間: 2025-3-24 15:21 作者: eucalyptus 時(shí)間: 2025-3-24 19:09
https://doi.org/10.1007/978-3-662-41500-9tion Commissions in post-apartheid South Africa. By approaching debbie tucker green’s theatre as an ‘ethical space of unrest’ (Middeke ., p. 101), this chapter departs from binary understandings that couple silence with oppression and voice with agency, instead proposing that we regard silences as s作者: 不適當(dāng) 時(shí)間: 2025-3-25 01:33
Contributions to Finance and Accountingbling of grief through speech—by speaking, we corrupt the singularity of our experience into a universal language. This is a recurrent theme in tucker green’s texts, which are replete with characters whose experience pushes them beyond the boundaries of the communicable but who speak anyway. For the作者: 使顯得不重要 時(shí)間: 2025-3-25 07:09
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. 作者: Additive 時(shí)間: 2025-3-25 09:54
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.作者: 使習(xí)慣于 時(shí)間: 2025-3-25 14:36 作者: absorbed 時(shí)間: 2025-3-25 18:51
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.作者: paltry 時(shí)間: 2025-3-25 22:02 作者: 一小塊 時(shí)間: 2025-3-26 02:34
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’.作者: Temporal-Lobe 時(shí)間: 2025-3-26 08:16 作者: infantile 時(shí)間: 2025-3-26 08:32
‘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.作者: 憲法沒有 時(shí)間: 2025-3-26 16:03 作者: Camouflage 時(shí)間: 2025-3-26 17:36 作者: gait-cycle 時(shí)間: 2025-3-27 00:54 作者: HOWL 時(shí)間: 2025-3-27 01:25
‘I’m a Black Woman. I Write Black Characters’: Black Mothers, the Police, and Social Justice in , anding interpretations of tucker green’s plays within narratives of Black histories, of linking the texts to potential contexts and recognizing the social, political, and emotional resonances of the plays.作者: Vo2-Max 時(shí)間: 2025-3-27 09:15 作者: 不容置疑 時(shí)間: 2025-3-27 12:32 作者: Medley 時(shí)間: 2025-3-27 16:38 作者: 有組織 時(shí)間: 2025-3-27 18:12
Problem Solving Using Lists and Functions,d offers such a reading of tucker green’s . (2005) and . (2005). A counter-discursive approach can override normative reading practices, Tyler argues, thus demonstrating their constraints and the dramatic possibilities achieved in departing from them.作者: 使害羞 時(shí)間: 2025-3-27 21:59 作者: Spangle 時(shí)間: 2025-3-28 04:20
Philosophy of Engineering and Technologyes affective charges and material histories of pain, causes audience members to undergo aesthetic experiences that ‘stick in the throat’. The dialogue resists pleasurable consumption, acting as a pointed reminder to audiences and of wider structures of privilege and oppression.作者: HALO 時(shí)間: 2025-3-28 07:21
Related Studies on Formulaic Sequences,e challenged to negotiate, and makes senses of, their experiences. tucker green’s drama is identified as distinctively associative and dis-closural, demonstrating how charged rhythmic uses of language and silence can activate disputes between individually and socially variant senses of temporality.作者: 公豬 時(shí)間: 2025-3-28 10:30
Einleitung und Aufgabenstellung,going after-shock of colonization as being crucial to conceptions of contemporary British culture, and asserts the ‘right to opacity’ (Glissant 1997) as a counter-stance to the hegemonic critical and aesthetic frameworks that are habitually applied to black British writers and their writing.作者: 有害 時(shí)間: 2025-3-28 15:20
Black Rage: Diasporic Empathy and Ritual in debbie tucker green’s transhistorical meditation on racism, gender and criminal (in)justice in .. In doing so, the chapter reveals how the play empathetically speaks to African American political and dramatic traditions while affirming black women’s experiences and, to quote the political slogan, emphasizing that ‘Black Lives Matter’.作者: Alveolar-Bone 時(shí)間: 2025-3-28 19:28
debbie tucker green and (the Dialectics of) Dispossession: Reframing the Ethical Encounterossession is (always) in question, a process that invites audiences to think/feel the violence of this negation. This withholding of resolution creates, they argue, an aggressive but energizing demand for a different form of relationality.作者: Abominate 時(shí)間: 2025-3-29 00:49 作者: IRK 時(shí)間: 2025-3-29 05:07
‘Almost, but Not Quite’: Reading debbie tucker green’s Dramaturgy inside British Playwriting Studiesd offers such a reading of tucker green’s . (2005) and . (2005). A counter-discursive approach can override normative reading practices, Tyler argues, thus demonstrating their constraints and the dramatic possibilities achieved in departing from them.作者: 微枝末節(jié) 時(shí)間: 2025-3-29 07:39
Yarns and Yearnings: Story-Layering, Signifyin’, and debbie tucker green’s Black-Feminist Angere that rails against systemic oppressions and women’s complicity in oppressive behaviours. Through the triangulation of form, language, and black feminism, Aston argues that the yarns tucker green weaves are yearnings for a world that is more ‘equal-righted’.作者: 異端邪說下 時(shí)間: 2025-3-29 14:20
sticking in the throat/keyword bitch: aesthetic discharge in debbie tucker green’s , and es affective charges and material histories of pain, causes audience members to undergo aesthetic experiences that ‘stick in the throat’. The dialogue resists pleasurable consumption, acting as a pointed reminder to audiences and of wider structures of privilege and oppression.作者: 變形 時(shí)間: 2025-3-29 17:43
Jumping to (and Away from) Conclusions: Rhythm and Temporality in debbie tucker green’s Dramae challenged to negotiate, and makes senses of, their experiences. tucker green’s drama is identified as distinctively associative and dis-closural, demonstrating how charged rhythmic uses of language and silence can activate disputes between individually and socially variant senses of temporality.作者: arcane 時(shí)間: 2025-3-29 21:59 作者: HEED 時(shí)間: 2025-3-30 02:35
nd students the opportunity to engage in cutting-edge critic.This long-awaited book is the first full-length study of the work of the extraordinary contemporary black British playwright, debbie tucker green. Covering the period from 2000 (.Two Women.) to 2017 (.a profoundly affectionate, passionate 作者: 牽索 時(shí)間: 2025-3-30 07:54 作者: dragon 時(shí)間: 2025-3-30 11:41
,‘change ain’t fuckin polite, scuse my language’: Situating debbie tucker green,). It reflects on scholarly debates within tucker green scholarship, teasing out key questions that are pertinent to how her work has been understood. The chapter articulates a primary concern of this volume, which is not only to emphasize the central importance of tucker green as a black woman play作者: 旅行路線 時(shí)間: 2025-3-30 13:35
Black Rage: Diasporic Empathy and Ritual in debbie tucker green’s the history and persistence of institutional racism in the British criminal justice system. However, it is only in the play’s final moments that tucker green’s intentions to explore themes of racial violence within a broader historical and geographical context become clear. This chapter argues that作者: 拔出 時(shí)間: 2025-3-30 17:38
‘What About the Burn Their Bra Bitches?’: debbie tucker green as the Willfully Emotional Subjectwoman-centred dramaturgy, including its use of strong, often negative, emotions, and its refusal of dramaturgical norms. The chapter traces willfulness as an aspect of tucker green’s characterization with particular focus on the figure of Dawta in . (2003). It also considers the willful emotionality作者: 范例 時(shí)間: 2025-3-31 00:45 作者: Matrimony 時(shí)間: 2025-3-31 04:25
Engaging with Human Rights: , and ue that these dramas go beyond raising awareness of injustice to present complex ethical questions stemming from the specific and subjective experience of those affected. Insisting on the significance of axes of power and discrimination, tucker green encourages spectators to reflect on the impact of
