LEADER 02067nam 2200361 450 001 9910131062103321 005 20240207143344.0 010 $a1-4123-5516-8 035 $a(CKB)3680000000166907 035 $a(NjHacI)993680000000166907 035 $a(EXLCZ)993680000000166907 100 $a20240207d2006 uy 0 101 0 $afre 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 13$aLa re?volution tranquile, rupture ou tournant? /$fJacques Rouillard 210 1$aChicoutimi :$cJ.-M. Tremblay,$d2006. 215 $a1 online resource 225 1 $aClassiques des sciences sociales 327 $aIntroduction -- 1. De?veloppement e?conomique et urbanisation -- 2. La structure sociale -- La bourgeoisie industrielle -- La classe ouvrie?re -- 3. La pense?e libe?rale -- Tableau 1. Re?partition de la population active dans les industries secondaires, 1911-1971 (en %) -- Tableau 2. Re?partition de la population active au Que?bec selon l'origine ethnique, 1931 (en %) -- Tableau 3. Pourcentages de la population urbaine, 1901-1961 -- Tableau 4. Pourcentages de la population dans les villes de plus de 10,000 et 30,000 habitant -- Tableau 5. Pourcentages de la population dans les villes de plus de 10,000 habitants -- Tableau 6. Pourcentages de la population urbaine selon la taille et l'origine ethnique -- Tableau 7. Proprie?taires et ge?rants dans certains secteurs industriels selon l'origine ethnique au Que?bec (en %) -- Tableau 8. Niveau de syndicalisation -- Tableau 9. Indice des jours personne perdus par 100 salarie?s. 410 0$aClassiques des sciences sociales. 606 $aRevolutions$xEconomic aspects 615 0$aRevolutions$xEconomic aspects. 676 $a303.64 700 $aRouillard$b Jacques$f1945-$01592277 801 0$bNjHacI 801 1$bNjHacl 906 $aBOOK 912 $a9910131062103321 996 $aLa re?volution tranquile, rupture ou tournant$93909392 997 $aUNINA LEADER 04684nam 22006135 450 001 9910494560203321 005 20231109073540.0 010 $a9783030752095 010 $a3030752097 024 7 $a10.1007/978-3-030-75209-5 035 $a(CKB)4100000011994638 035 $a(MiAaPQ)EBC6688954 035 $a(Au-PeEL)EBL6688954 035 $a(DE-He213)978-3-030-75209-5 035 $a(EXLCZ)994100000011994638 100 $a20210731d2021 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aNation and Race in West End Revue $e1910-1930 /$fby David Linton 205 $a1st ed. 2021. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2021. 215 $a1 online resource (206 pages) 225 1 $aPalgrave Studies in British Musical Theatre,$x2946-4145 311 08$a9783030752088 311 08$a3030752089 320 $aIncludes bibliographical references and index. 327 $aChapter 1: Reading London West End Revue -- Chapter 2: Revue in the Modern World: Possibilities and Perils -West End Identities -- Chapter 3: New Insecurities, New Form, New Identity- National Identity and Raciologies in Eightpence a Mile (1913) -- Chapter 4: Degeneration/Regeneration - The Remaking of Nation in Wartime West End Spectacular Revue -- Chapter 5: Blackbirds in London: Black Internationalism and the Black Imaginary -- Chapter 6: Class Distinction and National Identity in 1920s West End Intimate Revue. 330 $aLondon West End revue constituted a particular response to mounting social, political, and cultural insecurities over Britain's status and position at the beginning of the twentieth century. Insecurities regarding Britain's colonial rule as exemplified in Ireland and elsewhere, were compounded by growing demands for social reform across the country - the call for women's emancipation, the growth of the labour, and the trade union movements all created a climate of mounting disillusion. Revue correlated the immediacy of this uncertain world, through a fragmented vocabulary of performance placing satire, parody, social commentary, and critique at its core and found popularity in reflecting and responding to the variations of the new lived experiences. Multidisciplinary in its creation and realisation, revue incorporated dance, music, design, theatre, and film appropriating pre-modern theatre forms, techniques, and styles such as burlesque, music hall, pantomime, minstrelsy, and pierrot. Experimenting with narrative and expressions of speech, movement, design, and sound, revue displayed ambivalent representations that reflected social and cultural negotiations of previously essentialised identities in the modern world. Part of a wide and diverse cultural space at the beginning of the twentieth century it was acknowledged both by the intellectual avant-garde and the workers theatre movement not only as a reflexive action, but also as an evolving dynamic multidisciplinary performance model, which was highly influential across British culture. Revue displaced the romanticism of musical comedy by combining a satirical listless detachment with a defiant sophistication that articulated a fading British hegemonic sensibility, a cultural expression of a fragile and changing social and political order. David Linton is a performer/theatre practitioner and senior lecturer in Drama at Kingston University, London, UK. His research explores issues of resistance, adaptation, and exchange in theatre. This focuses on participatory arts practice, black British performance and pre-modern popular theatre forms, and their contemporary applications, specifically mask/minstrelsy, pantomime, burlesque/neo burlesque, cabaret, pierrot, hip hop theatre, and revue. 410 0$aPalgrave Studies in British Musical Theatre,$x2946-4145 606 $aTheater$xHistory 606 $aTheater 606 $aPerforming arts 606 $aTheatre History 606 $aNational and Regional Theatre and Performance 606 $aTheatre and Performance Arts 615 0$aTheater$xHistory. 615 0$aTheater. 615 0$aPerforming arts. 615 14$aTheatre History. 615 24$aNational and Regional Theatre and Performance. 615 24$aTheatre and Performance Arts. 676 $a782.1409 676 $a792.60942109041 700 $aLinton$b David$f1967-$01221983 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910494560203321 996 $aNation and race in West End revue$92833876 997 $aUNINA