Titlebook: Staging Black Feminisms; Identity, Politics, Lynette Goddard Book 2007 Palgrave Macmillan, a division of Macmillan Publishers Limited 2007

CHARY

書目名稱Staging Black Feminisms影響因子(影響力)




書目名稱Staging Black Feminisms影響因子(影響力)學(xué)科排名




書目名稱Staging Black Feminisms網(wǎng)絡(luò)公開度




書目名稱Staging Black Feminisms網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Staging Black Feminisms被引頻次




書目名稱Staging Black Feminisms被引頻次學(xué)科排名




書目名稱Staging Black Feminisms年度引用




書目名稱Staging Black Feminisms年度引用學(xué)科排名




書目名稱Staging Black Feminisms讀者反饋




書目名稱Staging Black Feminisms讀者反饋學(xué)科排名

MOTTO

Winsome Pinnock’s Migration Narratives the George Devine award for . in 1991 and she was the first black British woman to have a play staged at the National Theatre when . was revived at the Cottesloe in 1995. Her career has also included commissions for television.and radio.

Organonitrile

Black Mime Theatre Women’s Troopnciple that ‘t is a world of gesture, facial expression, and sound that reveals what we have in common’ (BMT Press Pack), thus they aimed ‘to provide entertaining and thought-provoking experiences, relying on visual rather then verbal skills to break through barriers of language, accent, age and class’ (BMT Press Pack).

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使迷惑

anthropologist

Black British Women and Theatre: An Overviewth the post-war theatre productions which practically excluded the black experience altogether. Several critics have pointed out that even though black theatre in Britain is usually classified as alternative theatre it did not develop alongside the 1960s fringe theatre movement whose focus on politi

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相一致

Winsome Pinnock’s Migration Narrativesvery few black women playwrights in this country whose work has been recognised and celebrated by the mainstream’ (Stephenson and Langridge, 1997, p. 46). Her plays have been produced by well-established theatre companies at key venues, including the Royal Court and the Tricycle Theatre..Pinnock won

只有

fodlder

Jackie Kay and Valerie Mason-John’s Zamis, Lesbians and Queers and the late 1990s (Mason-John) their plays reflect each respective era’s attitudes about black and lesbian identity. Both Kay’s and Mason-John’s personal biographies indicate distinctive perspectives from which to critique biologically deterministic ideas about identity. Kay is of mixed parentage