{"title":"Robert L Mclaughlin","description":"\u003cp\u003eDelve into the captivating worlds crafted by Robert L. McLaughlin, blending thrilling suspense with heartfelt emotion. Perfect for readers seeking gripping plots and characters that linger long after the final page.\u003c\/p\u003e","products":[{"product_id":"stephen-sondheim-and-the-reinvention-of-the-american-musical-book-robert-l-mclaughlin-9781496818324","title":"Stephen Sondheim and the Reinvention of the American Musical","description":"From West Side Story in 1957 to Road Show in 2008, the musicals of Stephen Sondheim and his collaborators have challenged the conventions of American musical theater and expanded the possibilities of what musical plays can do, how they work, and what they mean. Sondheim's brilliant array of work, including such musicals as Company, Follies, Sweeney Todd, Sunday in the Park with George, and Into the Woods, has established him as the preeminent composer\/lyricist of his, if not all, time.  Stephen Sondheim and the Reinvention of the American Musical places Sondheim's work in two contexts: the exhaustion of the musical play and the postmodernism that, by the 1960s, deeply influenced all the American arts. Sondheim's musicals are central to the transition from the Rodgers and Hammerstein-style musical that had dominated Broadway stages for twenty years to a new postmodern musical. This new style reclaimed many of the self-aware, performative techniques of the 1930s musical comedy to develop its themes of the breakdown of narrative knowledge and the fragmentation of identity. In his most recent work, Sondheim, who was famously mentored by Oscar Hammerstein II, stretches toward a twenty-first-century musical that seeks to break out of the self-referring web of language.  Stephen Sondheim and the Reinvention of the American Musical offers close readings of all of Sondheim's musicals and finds in them critiques of the operation of power, questioning of conventional systems of knowledge, and explorations of contemporary identity.","brand":"WoB","offers":[{"title":"GB \/ LIKE_NEW \/ INTERNAL","offer_id":49725946298641,"sku":"GOR011577471","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ GOOD \/ SBYB","offer_id":51135988891921,"sku":"CIN1496818326G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":51224555290897,"sku":"GOR010919616","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ NEW \/ INGRAM","offer_id":52120376869137,"sku":"NLS9781496818324","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1496818326.jpg?v=1763472417"},{"product_id":"innovations-book-robert-l-mclaughlin-9781564781857","title":"Innovations","description":"The critic F. 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A theoretical framework is established based on the work of pioneers in the field of psychoanalysis, like Freud and Lacan, and refined by contemporary trauma theorists (Caruth, Di Prete, Whitehead, et al.). In order to bolster the claim that cultural trauma leads to a postmodern narrative style, the Anglo-Saxon Period of English history is examined, and especially the poem Beowulf. Meanwhile, several twentieth-century postmodernists are discussed (Pynchon, Gaddis, Vonnegut, etc.), but especially the work of William H. Gass. In addition to a thorough discussion of literary trauma theory, there is also a chapter on trauma writing, and its practice in the classroom and classroom-like settings. This edition is updated and expanded beyond its related 2016 publication, including a new introduction, notes, and four readings by the author. 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Meanwhile, the theater stages in New York broached and debated topics of fascism, interventionism, and the democratic state of the country with productions like  Watch on the Rhine (1941),  The Moon is Down (1942),  Tomorrow the World (1943) , and  A Bell for Adano (1944) . While the United States' government used media platforms such as posters, periodicals, and radio to convey a popular opinion on the war and Germany, theater was not as highly monitored, and writers, directors, actors, and even audiences were able to discuss and argue their viewpoints on topics that would have been considered taboo on a film set. The theater became the perfect medium to express home-front tensions and anxieties.      In Broadway Goes to War: American Theater during World War II, authors Robert L. McLaughlin and Sally E. 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