標(biāo)題: Titlebook: Affective Intensities in Extreme Music Scenes; Cases from Australia Rosemary Overell Book 2014 Palgrave Macmillan, a division of Macmillan [打印本頁] 作者: Filament 時(shí)間: 2025-3-21 19:45
書目名稱Affective Intensities in Extreme Music Scenes影響因子(影響力)
書目名稱Affective Intensities in Extreme Music Scenes影響因子(影響力)學(xué)科排名
書目名稱Affective Intensities in Extreme Music Scenes網(wǎng)絡(luò)公開度
書目名稱Affective Intensities in Extreme Music Scenes網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Affective Intensities in Extreme Music Scenes被引頻次
書目名稱Affective Intensities in Extreme Music Scenes被引頻次學(xué)科排名
書目名稱Affective Intensities in Extreme Music Scenes年度引用
書目名稱Affective Intensities in Extreme Music Scenes年度引用學(xué)科排名
書目名稱Affective Intensities in Extreme Music Scenes讀者反饋
書目名稱Affective Intensities in Extreme Music Scenes讀者反饋學(xué)科排名
作者: Substance-Abuse 時(shí)間: 2025-3-21 21:32
https://doi.org/10.1057/9780230801516belonging, generated by the affective intensity of grindcore music and brutal sociality. In this chapter, I look at the relatively recent interaction between both cities and how scene members negotiate brutal belonging in spaces away from home.作者: Project 時(shí)間: 2025-3-22 01:12 作者: 聽覺 時(shí)間: 2025-3-22 06:08
Idiots and Wankers: Grindcore Sociality, belonging for scene members. However, with this belonging comes a process of designating those who do not belong in the scene. Here, I will discuss scene members’ experiences of belonging to the grindcore scene and how this works in relation to other scenes and, in Japan’s case, dominant modes of national belonging.作者: HARP 時(shí)間: 2025-3-22 12:43 作者: ineptitude 時(shí)間: 2025-3-22 15:22
Conclusion, grindcore objects and visible grindcore practices work primarily on a representational level. Scene members’ experience of belonging at a live grindcore performance, however, is more than representational. It is primarily affective — it constitutes the experience of brutal belonging.作者: bifurcate 時(shí)間: 2025-3-22 20:12 作者: 易于 時(shí)間: 2025-3-22 22:21 作者: 真 時(shí)間: 2025-3-23 03:27 作者: 高射炮 時(shí)間: 2025-3-23 06:20
Conclusion, shared knowledges and significations, social practices and the experience of being in a live grindcore performance — as a fan or a musician. Material grindcore objects and visible grindcore practices work primarily on a representational level. Scene members’ experience of belonging at a live grindc作者: 止痛藥 時(shí)間: 2025-3-23 10:30 作者: 越自我 時(shí)間: 2025-3-23 14:45 作者: overwrought 時(shí)間: 2025-3-23 18:57
Kry?tof Mejst?ík,Michal Mejst?íkWhether in Melbourne, New York, Birmingham or Osaka, the word ‘brutal’ is an integral part of extreme metal music fans’ vocabulary. It features in band names and generic demarcations. But it is most commonly used as an adjective, to describe the intense experience of listening to grindcore music.作者: Additive 時(shí)間: 2025-3-23 23:55 作者: 戰(zhàn)勝 時(shí)間: 2025-3-24 03:18 作者: SOB 時(shí)間: 2025-3-24 08:44 作者: 連詞 時(shí)間: 2025-3-24 12:43 作者: hauteur 時(shí)間: 2025-3-24 18:46
I Hate Girls and Emotions: Brutal Sociality and Gender,Brutal sociality in grindcore concerns gendered power relations. There is a recurrent assumption that Western metal is sexist, masculinist and even misogynist (Arnett, 1996; Kahn-Harris, 2007; Walser, 1993; Weinstein, 2000 [1991]). Metal signifiers, often literally, scream masculinity, or even misogyny.作者: 聽寫 時(shí)間: 2025-3-24 22:41
Book 2014An ethnographic study of gender, place and belonging, Affective Intensities introduces readers to the embodied sensations, flows and experiences of being in extreme music scenes in Australia and Japan.作者: 使虛弱 時(shí)間: 2025-3-25 01:18
https://doi.org/10.1057/9781137406774Affect; Australia; belonging; bibliography; emotion; Ethnographic Study; ethnography; experience; flow; flows作者: 提煉 時(shí)間: 2025-3-25 06:43 作者: 阻止 時(shí)間: 2025-3-25 08:20
Pop Music, Culture and Identityhttp://image.papertrans.cn/a/image/150632.jpg作者: Invertebrate 時(shí)間: 2025-3-25 14:27 作者: 障礙 時(shí)間: 2025-3-25 18:56 作者: 胡言亂語 時(shí)間: 2025-3-25 23:25 作者: phytochemicals 時(shí)間: 2025-3-26 01:49
Holger Wengert,Frank Andreas Schittenhelm shared knowledges and significations, social practices and the experience of being in a live grindcore performance — as a fan or a musician. Material grindcore objects and visible grindcore practices work primarily on a representational level. Scene members’ experience of belonging at a live grindc作者: 令人發(fā)膩 時(shí)間: 2025-3-26 05:53
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