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Organometallic chemistry is an interdisciplinary science which
continues to grow at a rapid pace. Although there is continued
interest in synthetic and structural studies the last decade has
seen a growing interest in the potential of organometallic
chemistry to provide answers to problems in catalysis synthetic
organic chemistry and also in the development of new materials.
This Specialist Periodical Report aims to reflect these current
interests reviewing progress in theoretical organometallic
chemistry, main group chemistry, the lanthanides and all aspects of
transition metal chemistry.
Organometallic chemistry is an interdisciplinary science which
continues to grow at a rapid pace. Although there is continued
interest in synthetic and structural studies the last decade has
seen a growing interest in the potential of organometallic
chemistry to provide answers to problems in catalysis, synthetic
organic chemistry and also in the development of new materials.
This Specialist Periodical Report aims to reflect these current
interests, reviewing progress in theoretical organometallic
chemistry, main group chemistry, the lanthanides and all aspects of
transition metal chemistry. Volume 31 covers literature published
during 2001. Specialist Periodical Reports provide systematic and
detailed review coverage in major areas of chemical research.
Compiled by teams of leading authorities in the relevant subject
areas, the series creates a unique service for the active research
chemist, with regular, in-depth accounts of progress in particular
fields of chemistry. Subject coverage within different volumes of a
given title is similar and publication is on an annual or biennial
basis.
London 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.
What's with the men in menstruation? This is the question Men in
Menstruation: A Social Transaction sets out to answer. From
earliest times men have been puzzled and perplexed by the menstrual
cycle and have constructed elaborate taboos, superstitions, and
practices attempting to explain why women have a periodical
emission of a fluid that resembles blood but is not the result of
an injury or affliction. In other words, men want to know why it is
possible to bleed and not die. In order to understand what goes on
between men and women in the presence of menstruation, this book
examines a variety of encounters, referred to as "menstrual
transactions." From the three women in the Bible who are identified
as menstruating to contemporary films, advertising, TV programs and
literature, the book explores a wide range of transactions, even
including Prince Charles's close encounter of a menstrual kind. The
book will appeal to anyone interested in gaining insights into the
mystery of menstruation as well as students of gender and women's
studies or media theory and history.
What's with the men in menstruation? This is the question Men in
Menstruation: A Social Transaction sets out to answer. From
earliest times men have been puzzled and perplexed by the menstrual
cycle and have constructed elaborate taboos, superstitions, and
practices attempting to explain why women have a periodical
emission of a fluid that resembles blood but is not the result of
an injury or affliction. In other words, men want to know why it is
possible to bleed and not die. In order to understand what goes on
between men and women in the presence of menstruation, this book
examines a variety of encounters, referred to as "menstrual
transactions." From the three women in the Bible who are identified
as menstruating to contemporary films, advertising, TV programs and
literature, the book explores a wide range of transactions, even
including Prince Charles's close encounter of a menstrual kind. The
book will appeal to anyone interested in gaining insights into the
mystery of menstruation as well as students of gender and women's
studies or media theory and history.
In the decades before the Second World War, popular musical theatre
was one of the most influential forms of entertainment. This is the
first book to reconstruct early popular musical theatre as a
transnational and highly cosmopolitan industry that included
everything from revues and operettas to dance halls and cabaret.
Bringing together contributors from Britain and Germany, this
collection moves beyond national theatre histories to study
Anglo-German relations at a period of intense hostility and
rivalry. Chapters frame the entertainment zones of London and
Berlin against the wider trading routes of cultural transfer, where
empire and transatlantic song and dance produced, perhaps for the
first time, a genuinely international culture. Exploring
adaptations and translations of works under the influence of
political propaganda, this collection will be of interest both to
musical theatre enthusiasts and to those interested in the wider
history of modernism.
London 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.
In the decades before the Second World War, popular musical theatre
was one of the most influential forms of entertainment. This is the
first book to reconstruct early popular musical theatre as a
transnational and highly cosmopolitan industry that included
everything from revues and operettas to dance halls and cabaret.
Bringing together contributors from Britain and Germany, this
collection moves beyond national theatre histories to study
Anglo-German relations at a period of intense hostility and
rivalry. Chapters frame the entertainment zones of London and
Berlin against the wider trading routes of cultural transfer, where
empire and transatlantic song and dance produced, perhaps for the
first time, a genuinely international culture. Exploring
adaptations and translations of works under the influence of
political propaganda, this collection will be of interest both to
musical theatre enthusiasts and to those interested in the wider
history of modernism.
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