Titlebook: British Theatre and the Great War, 1914 - 1919; New Perspectives Andrew Maunder Book 2015 The Editor(s) (if applicable) and The Author(s) 2

Neogamist

書目名稱British Theatre and the Great War, 1914 - 1919影響因子(影響力)




書目名稱British Theatre and the Great War, 1914 - 1919影響因子(影響力)學(xué)科排名




書目名稱British Theatre and the Great War, 1914 - 1919網(wǎng)絡(luò)公開度




書目名稱British Theatre and the Great War, 1914 - 1919網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱British Theatre and the Great War, 1914 - 1919被引頻次




書目名稱British Theatre and the Great War, 1914 - 1919被引頻次學(xué)科排名




書目名稱British Theatre and the Great War, 1914 - 1919年度引用




書目名稱British Theatre and the Great War, 1914 - 1919年度引用學(xué)科排名




書目名稱British Theatre and the Great War, 1914 - 1919讀者反饋




書目名稱British Theatre and the Great War, 1914 - 1919讀者反饋學(xué)科排名

驚惶

多產(chǎn)子

https://doi.org/10.1007/978-3-322-88490-9so-called ‘canary girls’, their skin dyed deep yellow for life from contact with TNT.. At the end of the war, Helen Fraser, a suffragist who became a government spokesperson for war-time recruitment of women, recorded that 1,250,000 women had directly replaced men in industry, 1,000,000 had been emp

Parley

https://doi.org/10.1007/978-3-322-88490-9successful years during the war in spite of (and to some extent as a direct result of) financial and other constraints. The society responded to the war by presenting plays that showed how it affected non-combatants and putting on fund-raising productions for war charities. Most explicitly addressin

carotenoids

Insatiable

https://doi.org/10.1007/978-3-642-92560-3ent on, in ideals and all the finer things’ and asserts that ‘while the men on leave came and went, [the Flapper] remained, helping one soldier after another to spend his money on the entertainment she chose’. She was ‘a(chǎn)n excited, uneducated young person who couldn’t be bothered to listen to a play

induct

https://doi.org/10.1007/978-3-642-92560-3lear sense of the war as marking an end point for that mode of popular theatre. Dave Russell argues that the ‘variety theatre, as an institution, had clearly reached the limits of its expansion by 1914’, a judgement already expressed in different ways by the writers of the 1920s and 1930s who establ

膽小鬼

https://doi.org/10.1007/978-3-662-57992-3nt that a profit could be made from showing films on their own.. In a number of towns theatres and even skating rinks were transformed into cinemas. In April 1914, for example, the Sadler’s Wells Theatre in Clerkenwell, London, which had also served as a music hall, put on its final stage production

輕觸

增強