標(biāo)題: Titlebook: Audible Geographies in Latin America; Sounds of Race and P Dylon Lamar Robbins Book 2019 The Editor(s) (if applicable) and The Author(s), u [打印本頁] 作者: Hypothesis 時(shí)間: 2025-3-21 17:48
書目名稱Audible Geographies in Latin America影響因子(影響力)
書目名稱Audible Geographies in Latin America影響因子(影響力)學(xué)科排名
書目名稱Audible Geographies in Latin America網(wǎng)絡(luò)公開度
書目名稱Audible Geographies in Latin America網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Audible Geographies in Latin America被引頻次
書目名稱Audible Geographies in Latin America被引頻次學(xué)科排名
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書目名稱Audible Geographies in Latin America年度引用學(xué)科排名
書目名稱Audible Geographies in Latin America讀者反饋
書目名稱Audible Geographies in Latin America讀者反饋學(xué)科排名
作者: Enteropathic 時(shí)間: 2025-3-21 21:46 作者: ordain 時(shí)間: 2025-3-22 02:33
Gabler Kompakt-Lexikon Unternehmensgründunghor’s first novel .-.-. Mário’s ideas regarding the influx of “Cuban” rhythms into Brazilian popular music provide an opportunity to reflect upon sonic phenomena and national boundaries, as well as how their movements were theorized in the context of their thought as gendered distinctions.作者: FID 時(shí)間: 2025-3-22 06:49
https://doi.org/10.1007/978-3-658-30901-5 chapter discusses works by Alberto Roldán, Julio García Espinosa, Tomás Gutiérrez Alea, and Nicolás Guillén Landrián, among others as instantiations of listening informed by concerns with race and history, approached through discussions in film theory regarding film sound, the audio-visual, and noise.作者: Sinus-Rhythm 時(shí)間: 2025-3-22 10:14
,Clinical Listening and Corporeal Resonance in the Brazilian Belle époque,h the work of the medical criminologist, Raimundo Nina Rodrigues, with particular attention to his dialogue with the work of French neuropathologists like Jean Martin Charcot. Through an analysis of his case study of a young Afro-Brazilian woman named Fausta, the chapter discusses the roles of sound recording technology in a former slavocracy.作者: LUDE 時(shí)間: 2025-3-22 13:22
Rhythm, Diasporas, and the National Popular State,hor’s first novel .-.-. Mário’s ideas regarding the influx of “Cuban” rhythms into Brazilian popular music provide an opportunity to reflect upon sonic phenomena and national boundaries, as well as how their movements were theorized in the context of their thought as gendered distinctions.作者: 退潮 時(shí)間: 2025-3-22 20:00
Noises in Cuban Revolutionary Cinema, chapter discusses works by Alberto Roldán, Julio García Espinosa, Tomás Gutiérrez Alea, and Nicolás Guillén Landrián, among others as instantiations of listening informed by concerns with race and history, approached through discussions in film theory regarding film sound, the audio-visual, and noise.作者: 外表讀作 時(shí)間: 2025-3-23 00:57 作者: 鍍金 時(shí)間: 2025-3-23 01:29 作者: insular 時(shí)間: 2025-3-23 06:37
Introduction: Notes for an Audible Geography,omenon traversed with mediatic concerns. It subsequently analyzes a sound installation by the Brazilian artists Otavio Schipper and Sergio Krakowski in order to propose a link between a sensorial economy and a political economy for which the racialized and commodified body serves as an essential feature of its operation.作者: 種類 時(shí)間: 2025-3-23 09:59 作者: 不能約 時(shí)間: 2025-3-23 16:06
,Hearing Voices, Seeing Tongues: Speech as Gestural Economy in Havana (1899–1924), for how the specific linguistic and historical conditions of Cuba necessarily entail a consideration of voice as a racialized concept. The discussion analyzes interventions by Pe?alver, Pichardo, Bachiller y Morales, Trujillo y Monagas, Antonio Gordon y de Acosta, Fernando Ortiz.作者: Pudendal-Nerve 時(shí)間: 2025-3-23 19:25 作者: DUCE 時(shí)間: 2025-3-24 01:49 作者: inferno 時(shí)間: 2025-3-24 04:49 作者: 暖昧關(guān)系 時(shí)間: 2025-3-24 10:26 作者: miniature 時(shí)間: 2025-3-24 12:05 作者: etiquette 時(shí)間: 2025-3-24 18:11 作者: 預(yù)兆好 時(shí)間: 2025-3-24 19:48
Gabler Kompakt-Lexikon Marketingro in 1869 to ask that we distinguish between sounding and listening. To listen, it argues, is to engage an epistemology of place as a racialized phenomenon traversed with mediatic concerns. It subsequently analyzes a sound installation by the Brazilian artists Otavio Schipper and Sergio Krakowski i作者: BROW 時(shí)間: 2025-3-25 02:45
https://doi.org/10.1007/978-3-322-94418-4ry. It begins with an analysis of period reception of the phonograph, highlighting demonstrations of the device for the Brazilian Emperor, Dom Pedro II, and, after his exile, for the ascendant bourgeoisie. The phonograph, serves, as well, as a point from which to consider how medically informed list作者: BRIBE 時(shí)間: 2025-3-25 03:37
https://doi.org/10.1007/978-3-322-86986-9-of-the-art workspace for the study of how Cubans pronounced Spanish that also, according to Dihigo, served a therapeutic aim of correcting the “vices” of characteristic of Cuban Spanish pronunciation. Through a review of ideas regarding the speech of Black Cubans throughout the nineteenth century, 作者: cacophony 時(shí)間: 2025-3-25 07:46
Gabler Kompakt-Lexikon Unternehmensgründungand nationalism is the tension between Afro-diasporic traditions and their relevance as the foundations of a national, popular culture. This chapter examines their differing approaches to this tension and to the roles each saw in rhythm in defining its characteristics. It explores Carpentier’s Paris作者: palliate 時(shí)間: 2025-3-25 13:47
https://doi.org/10.1007/978-3-658-30901-5s chapter examines and discusses a selection of central films from this period as interventions regarding the status of sound and listening practices, with attention to noise in relation to emergent subjectivities. It situates Cuban film production in a context shaped by a heightened sonic sensibili作者: 枕墊 時(shí)間: 2025-3-25 16:08
Book 2019 demonstrations in Rio de Janeiro and research on dancing manias and hypnosis in Salvador da Bahia in the 1890s. Chapter 3 studies voice and speech as racialized movements, informed by criminology and the proscriptive norms defining “white” Spanish in Cuba. Chapter 4 unpacks conflicting listening cr作者: 細(xì)節(jié) 時(shí)間: 2025-3-25 20:10
da Bahia in the 1890s. Chapter 3 studies voice and speech as racialized movements, informed by criminology and the proscriptive norms defining “white” Spanish in Cuba. Chapter 4 unpacks conflicting listening cr978-3-030-10558-7作者: 清澈 時(shí)間: 2025-3-26 01:31
Introduction: Notes for an Audible Geography,ro in 1869 to ask that we distinguish between sounding and listening. To listen, it argues, is to engage an epistemology of place as a racialized phenomenon traversed with mediatic concerns. It subsequently analyzes a sound installation by the Brazilian artists Otavio Schipper and Sergio Krakowski i作者: 教育學(xué) 時(shí)間: 2025-3-26 06:34
,Clinical Listening and Corporeal Resonance in the Brazilian Belle époque,ry. It begins with an analysis of period reception of the phonograph, highlighting demonstrations of the device for the Brazilian Emperor, Dom Pedro II, and, after his exile, for the ascendant bourgeoisie. The phonograph, serves, as well, as a point from which to consider how medically informed list作者: 束以馬具 時(shí)間: 2025-3-26 10:12
,Hearing Voices, Seeing Tongues: Speech as Gestural Economy in Havana (1899–1924),-of-the-art workspace for the study of how Cubans pronounced Spanish that also, according to Dihigo, served a therapeutic aim of correcting the “vices” of characteristic of Cuban Spanish pronunciation. Through a review of ideas regarding the speech of Black Cubans throughout the nineteenth century, 作者: Vasodilation 時(shí)間: 2025-3-26 15:23
Rhythm, Diasporas, and the National Popular State,and nationalism is the tension between Afro-diasporic traditions and their relevance as the foundations of a national, popular culture. This chapter examines their differing approaches to this tension and to the roles each saw in rhythm in defining its characteristics. It explores Carpentier’s Paris作者: 悅耳 時(shí)間: 2025-3-26 19:09
Noises in Cuban Revolutionary Cinema,s chapter examines and discusses a selection of central films from this period as interventions regarding the status of sound and listening practices, with attention to noise in relation to emergent subjectivities. It situates Cuban film production in a context shaped by a heightened sonic sensibili作者: babble 時(shí)間: 2025-3-26 22:46
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