Titlebook: Comic Performance in Pakistan; The Bhānd Claire Pamment Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Pakistani performanc

無力向前

書目名稱Comic Performance in Pakistan影響因子(影響力)




書目名稱Comic Performance in Pakistan影響因子(影響力)學(xué)科排名




書目名稱Comic Performance in Pakistan網(wǎng)絡(luò)公開度




書目名稱Comic Performance in Pakistan網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Comic Performance in Pakistan被引頻次




書目名稱Comic Performance in Pakistan被引頻次學(xué)科排名




書目名稱Comic Performance in Pakistan年度引用




書目名稱Comic Performance in Pakistan年度引用學(xué)科排名




書目名稱Comic Performance in Pakistan讀者反饋




書目名稱Comic Performance in Pakistan讀者反饋學(xué)科排名

Ebct207

s in the Drawing Room: The Popular Punjabi Theatre studies that explicate these interventions: . (., Baral 2002), which addresses class strife; . (., Jee 2003), wherein transgendering probes patriarchy; and ., . (., . and ., Anon 2004), where female performers adopt the . mode in rejoinder to the censorship of the woman dancer (2002–2004).

昏暗

Legion

屈尊

Interdict

Book 2017contemporary weddings. With irreverent repartee, genealogical prowess, a topsy-turvy play with hierarchies and shape shifting, the low-status .bhānd. jostles space in otherwise rigid class and caste hierarchies. Tracing these negotiations in both historical and contemporary sites, the author unfolds

Interdict

Communicate

MOCK

https://doi.org/10.1007/978-3-031-55791-0pted to contemporary challenges by using their residuality to locate the persistence of feudal value systems within the urban political elite and upwardly mobile, from where they play more of a balancing act with the social structures, reaching diverse audiences, as the . Munir Hussain puts it, from ‘the donkey cart to the aeroplane’.

沒收

https://doi.org/10.1007/978-3-8349-7093-0y intended variously as a device for comic relief . oppositional satire, the . ventures further, using his outsider status to playfully challenge ideological binaries and release multiple perspectives on the news.