David Linton – författare

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.

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.

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.

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.

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.