標(biāo)題: Titlebook: International Relations, Music and Diplomacy; Sounds and Voices on Frédéric Ramel,Cécile Prévost-Thomas Book 2018 The Editor(s) (if applica [打印本頁] 作者: Malinger 時(shí)間: 2025-3-21 18:24
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2945-607X e notion of the stage and therefore the representation of thThis volume explores the interrelation of international relations, music, and diplomacy from a multidisciplinary perspective. Throughout history, diplomats have gathered for musical events, and musicians have served as national representati作者: overhaul 時(shí)間: 2025-3-22 01:13
Book 2018omats have gathered for musical events, and musicians have served as national representatives. Whatever political unit is under consideration (city-states, empires, nation-states), music has proven to be a component of diplomacy, its ceremonies, and its strategies. Following the recent acoustic turn作者: 商業(yè)上 時(shí)間: 2025-3-22 08:10 作者: 水汽 時(shí)間: 2025-3-22 12:11
,Introduction: Understanding Musical Diplomacies—Movements on the “Scenes”,national relations. The reflection presented in this book aims to contribute to this turning point by putting the emphasis and the focus on the notion of “scenes.” The perspective adopted in this volume is to study music as a series of movements in international relations defined as scenes. The diff作者: 使饑餓 時(shí)間: 2025-3-22 13:57 作者: companion 時(shí)間: 2025-3-22 20:10 作者: Mystic 時(shí)間: 2025-3-22 21:51
Targeting New Music in Postwar Europe: American Cultural Diplomacy in the Crafting of Art Music Avaneriod of intense innovation has been marked by very active intervention of cultural diplomacies in a Cold War context: cultural diplomacy of the Americans (governmental and non-governmental) in Europe and of the European Allies in their occupation zones in Germany. Yet Cold War studies have examined作者: flavonoids 時(shí)間: 2025-3-23 05:01 作者: collateral 時(shí)間: 2025-3-23 08:53
The Diplomat’s Music Test: Branding New and Old Diplomacy at the Beginning of the Nineteenth and Tweth century to the present, music has been a flagship of new programs in cultural and public diplomacy. Conversely, at the beginning of the nineteenth century, musical diplomacy appeared to betray a misguided attachment to . practices and the enjoyments of good society. These opposite assessments bot作者: WAG 時(shí)間: 2025-3-23 09:54
Schaeffer, Boulez, and the Everyday Diplomacies of French Decolonizationa rather unexplored prism, namely, that of their respective roles in the decolonization of French diplomacy during the central decades of the past century. More specifically, it aims to ascertain to what extent, if any, Boulez and Schaeffer’s possible contributions to the decolonization of French di作者: Pessary 時(shí)間: 2025-3-23 15:22
Negotiating the Pitch: For a Diplomatic History of ,, at the Crossroads of Politics, Music, Science international conference held in London in 1939. The adoption of this norm was the result of decades of international negotiations involving a surprising mix of actors: musicians (performers and composers), instrument builders, physicists, representatives of different state ministries and broadcasti作者: 蘑菇 時(shí)間: 2025-3-23 18:34
Music, Diplomacy and International Solidarity: The Campaign for Miguel ángel Estrella (1977–1980)lla were quick to react and mobilize: in Paris, Yves and Martine Haguenauer founded the “Comité de soutien de Miguel Estrella” (Miguel Estrella Support Committee) with the sponsorship of Nadia Boulanger, Henri Dutilleux and Yehudi Menuhin. During two years the committee conducted an intense campaign作者: 混合 時(shí)間: 2025-3-23 22:50
The Eurovision Song Contest in the Musical Diplomacy of Authoritarian Statese most popular television programs in Europe. It is organized annually by the European Broadcasting Union, whose members now include public broadcasters from almost every European state. As it is based on national entries, Eurovision provides an interesting case study of how states have imagined and作者: debase 時(shí)間: 2025-3-24 04:31
Music that Divides: The Case of Russian Musical Diplomacy in the Baltic Statesinternational borders, as acts of diplomacy. Music can perform diplomatic functions, defined as representation and communication. As a social activity, embedded in a specific socio-political context, music is loaded with symbolic meaning which subsequently is interpreted by the receiving society. Th作者: 話 時(shí)間: 2025-3-24 08:35
Of Dreams and Desire: Diplomacy and Musical Nation Branding Since the Early Modern Period research in the field under investigation. Then, I will identify what I see as a common challenge in nearly all of the chapters included in this volume. Finally, I would like to suggest different ways how to meet that challenge by pointing to a singular phenomenon spanning across space and time. I 作者: 先行 時(shí)間: 2025-3-24 11:16 作者: KEGEL 時(shí)間: 2025-3-24 15:48 作者: AGATE 時(shí)間: 2025-3-24 20:44 作者: Champion 時(shí)間: 2025-3-25 01:43 作者: acrimony 時(shí)間: 2025-3-25 04:55
Mark Ferragutore.Considers countries and cultures beyond England.Early Modern Debts:?1550–1700?.makes an important contribution to the history of debt and credit in Europe, creating new transnational and interdisciplinary perspectives on problems of debt, credit, trust, interest, and investment in early modern so作者: abreast 時(shí)間: 2025-3-25 10:50 作者: overweight 時(shí)間: 2025-3-25 13:38 作者: 細(xì)胞學(xué) 時(shí)間: 2025-3-25 16:18 作者: 蚊帳 時(shí)間: 2025-3-25 22:17 作者: 側(cè)面左右 時(shí)間: 2025-3-26 01:21 作者: Substance 時(shí)間: 2025-3-26 05:37 作者: 緩和 時(shí)間: 2025-3-26 10:43
Fanny Gribenski reconcile the European family torn by religious wars. A friend of Grotius, the founder of ., his first aim is peace in Europe, before the selfish interests of princes and states. This chapter discusses how Hotman uses editorial diplomacy in order to create a performative vision of the common weal. 作者: Hyperplasia 時(shí)間: 2025-3-26 13:23
Esteban Buch,Ana?s Fléchet both as a room of state and as a privy space, a place for the successful deployment of soft, coercive power, was only beginning to be commonplace in the early seventeenth century when the play was first performed (1609–11). .’., stages the work of soft power diplomacy as a remedy for tyranny and as作者: 排斥 時(shí)間: 2025-3-26 20:31 作者: Gorilla 時(shí)間: 2025-3-27 00:44 作者: Wordlist 時(shí)間: 2025-3-27 02:04 作者: sacrum 時(shí)間: 2025-3-27 07:25
Jessica C. E. Gienow-Hecht antiquity, dignity and ‘the true use of their quality’ (Heywood, 1841, xvii).. . operates not only as a defence of the acting profession, but as a celebration of drama as a valuable instrument of instruction and edification. Heywood argues that the unique power of live performance (when compared wi作者: 靦腆 時(shí)間: 2025-3-27 11:13
n on London public stages, though Philip Henslowe’s Admiral’s Men had a presumably successful run of biblical plays between 1590 and 1602, including Robert Greene’s ., George Peele’s ., and the anonymous . and ., and, as Beatrice Groves outlines, the Chamberlain’s Men staged the story of Jonah in th作者: Occlusion 時(shí)間: 2025-3-27 15:53
978-3-319-87488-3The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer International P作者: Malleable 時(shí)間: 2025-3-27 21:42 作者: Culpable 時(shí)間: 2025-3-28 00:28
https://doi.org/10.1007/978-3-319-63163-9IR theory; Acoustic turn; Musical diplomacy; International voices; Cultural diplomacy; Synbolism; Represen作者: 公社 時(shí)間: 2025-3-28 04:52
Frédéric Ramel,Cécile Prévost-ThomasProposes an alternative study of IR based on the role of sensitivity.Offers an emotional or symbolical approach to diplomacy by examining the notion of the stage and therefore the representation of th作者: 帶子 時(shí)間: 2025-3-28 08:32 作者: Amylase 時(shí)間: 2025-3-28 11:01
,Introduction: Understanding Musical Diplomacies—Movements on the “Scenes”,g which these ambassadors think of the diplomatic stage as a musical scene (Part 2), how international music scenes emerge, where the musical challenges become some objects of diplomatic negotiations (the music scene is imported on the diplomatic scene) (Part 3). These processes prove that sounds an作者: 抵押貸款 時(shí)間: 2025-3-28 17:58 作者: 豎琴 時(shí)間: 2025-3-28 22:38
Targeting New Music in Postwar Europe: American Cultural Diplomacy in the Crafting of Art Music Avanher studies have also focused on exchanges between musicians (Beal, Fosler-Lussier)..The interactions between worldwide, European and local Parisian strategies led by actors of the . until 1967 are here considered under the angle of the concept of “scene”. It appears indeed that esthetical orientati作者: 改革運(yùn)動(dòng) 時(shí)間: 2025-3-29 01:11 作者: Bereavement 時(shí)間: 2025-3-29 06:10
The Diplomat’s Music Test: Branding New and Old Diplomacy at the Beginning of the Nineteenth and Twe official interactions while allowing the host to underscore cultural differences, power hierarchies, and cooperative aspirations. Music thus offers occasions for faux pas, misinterpretation, snubs, and other out-of-character communications, but it also provides opportunities to build affiliation an作者: Generalize 時(shí)間: 2025-3-29 09:01 作者: 并入 時(shí)間: 2025-3-29 14:27 作者: 蝕刻 時(shí)間: 2025-3-29 17:20
Music, Diplomacy and International Solidarity: The Campaign for Miguel ángel Estrella (1977–1980)La musique en prison” came out and the media’s stories about the silent piano that was brought to his cell. Based on the Estrella committee’s archives, the French Foreign Affairs and on several interviews, this chapter will retrace the various steps of the imprisonment and liberation of the pianist 作者: 起皺紋 時(shí)間: 2025-3-29 22:04
