標(biāo)題: Titlebook: Self-Representation and Digital Culture; Nancy Thumim Book 2012 Palgrave Macmillan, a division of Macmillan Publishers Limited 2012 cultur [打印本頁] 作者: 悲傷我 時(shí)間: 2025-3-21 16:48
書目名稱Self-Representation and Digital Culture影響因子(影響力)
書目名稱Self-Representation and Digital Culture影響因子(影響力)學(xué)科排名
書目名稱Self-Representation and Digital Culture網(wǎng)絡(luò)公開度
書目名稱Self-Representation and Digital Culture網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Self-Representation and Digital Culture被引頻次
書目名稱Self-Representation and Digital Culture被引頻次學(xué)科排名
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書目名稱Self-Representation and Digital Culture讀者反饋
書目名稱Self-Representation and Digital Culture讀者反饋學(xué)科排名
作者: B-cell 時(shí)間: 2025-3-21 23:45 作者: frozen-shoulder 時(shí)間: 2025-3-22 02:52 作者: Interferons 時(shí)間: 2025-3-22 06:50
Nancy Thumimal sovereignty. Yet within a year of the end of the Second World War, in which Irish neutrality had been so successfully asserted, and almost a decade after all monarchical forms had been expunged from the internal institutions of the Irish state, there took place in the Dáil what must surely rank a作者: VEN 時(shí)間: 2025-3-22 12:02
Nancy Thumimssage film that takes place during the ‘Troubles’. The script presents two eight-year-old Protestant and Catholic boys from Belfast in the 1970s, who become and remain friends, despite bigotry and violence. Notwithstanding the progressive contemporaneity of the original scenario and its attempts to 作者: 不自然 時(shí)間: 2025-3-22 16:46
Nancy Thumimuctive teleological interpretations and categorization, and both are at the mercy of the vicissitudes of sociological, political, hegemonic, global, historical and economic events and eventualities. Even in cases where certain structural trends of film output are historically identifiable in differe作者: 瑪瑙 時(shí)間: 2025-3-22 20:09
Nancy Thumimpresentations and romanticization of the Irish landscape on screen, or images of violence (Rockett, Gibbons & Hill, 1988), public interest and commentary on Irish cinema is wrought with criticism of ‘false’ representations of Ireland and its people. However, more than any other of these criticized a作者: BUDGE 時(shí)間: 2025-3-22 22:31 作者: 偽造 時(shí)間: 2025-3-23 03:07
uctive teleological interpretations and categorization, and both are at the mercy of the vicissitudes of sociological, political, hegemonic, global, historical and economic events and eventualities. Even in cases where certain structural trends of film output are historically identifiable in differe作者: Amorous 時(shí)間: 2025-3-23 08:43 作者: 罐里有戒指 時(shí)間: 2025-3-23 13:08
Nancy Thumim waren wohlgehütete Staatsgeheimnisse, die weder den Griechen noch den R?mern bekannt waren. Eine Verschleierungstaktik sollte Neugierigen den Einblick in das Handelsmonopol vernebeln. Herodot berichtet n?mlich, da? die Weihrauchhaine von geflügelten Schlangen und einer elit?ren Garde bewacht würden作者: 聲音刺耳 時(shí)間: 2025-3-23 15:37
Nancy Thumimnn Féin proto-state was of necessity clandestine and other than the Departments of Local Government and Finance its ministries were amateurish or even fictional affairs. Ministers consequently treated their portfolios as parttime or sinecures. It was also a one-party regime supported, manned and pro作者: 聯(lián)邦 時(shí)間: 2025-3-23 18:17 作者: 槍支 時(shí)間: 2025-3-23 23:37 作者: 你敢命令 時(shí)間: 2025-3-24 05:32
Nancy Thumimgories in the former, and imbricated and amalgamated within individual films in the latter). This diachronic peculiarity contrasts radically with the more synchronic national cinema movements that are often subsumed under a broader ‘European film’ epithet, but are nevertheless still identified discu作者: 平 時(shí)間: 2025-3-24 09:01 作者: 悅耳 時(shí)間: 2025-3-24 14:45
Nancy Thumimow the same theme: ‘The Worst Irish Accents in Hollywood Movies’ (Corrigan, 2015), ‘Begorrah, Sure Is That for Real? Ten Worst Irish Accents in Film’ (Phelan, 2014), ‘Top 10 Dreadful Fake Irish Accents in Films’ (Lee, 2013) and ‘The Worst Irish Accents in Film History’ (Selby, 2014) being representa作者: glacial 時(shí)間: 2025-3-24 18:53 作者: 脊椎動(dòng)物 時(shí)間: 2025-3-24 19:01 作者: 乞討 時(shí)間: 2025-3-25 02:18
Museums and Art Worlds,onvergence across cultural sites (of broadcasting and museum and art worlds) onto what is now, arguably, a recognisable generic form. And yet attending to the processes of mediation delivers a picture of complexity as to the meaning, purpose and role of self-representation in this particular (and va作者: 變色龍 時(shí)間: 2025-3-25 06:13
Self-Representation, Digital Culture and Genre, to distinguish between examples of self-representation that may look alike at a textual level but that arise in entirely different production contexts, for different purposes, involving different processes of production and engaging different ‘ordinary people’. In short, analysis of the three dimen作者: preeclampsia 時(shí)間: 2025-3-25 10:54
Histories of Self-Representation,rk highlights the role of people as the public of a nation and the role of the very same people in undermining the coherence of the nation specifically because of the struggles with their limitations in their own representation.作者: Omnipotent 時(shí)間: 2025-3-25 13:55
Mediation,econdly, in a section on audiences, I argue that established (and highly contested) categories of audience and text remain important, and show how theoretical and empirical scholarship in the field of audience research exploring the relationship between production, texts and audiences led to the concept of mediation.作者: ALTER 時(shí)間: 2025-3-25 16:47
Self-Representation Online,orm, to invite or to edit their self-representations. People do not need museums or artists to make displays or works to provide an outlet for their voices. In this never-ending platform, epitomising the possibilities of a digital culture, it seems as if ‘ordinary people’ might really ‘speak for themselves’.作者: 漸變 時(shí)間: 2025-3-25 21:09
Introduction: Self-Representation and Digital Culture,eader a way of making sense of diverse examples of what I ultimately suggest should now be understood as a genre in its own right. The ‘call’ for participation via self-representation extends from . by publicly funded bodies (see Chapter 4, ‘Broadcasters’, and Chapter 5, ‘Museum and Art Worlds’) to 作者: BLANC 時(shí)間: 2025-3-26 02:26 作者: 有偏見 時(shí)間: 2025-3-26 04:41
Mediation,diation, I propose that the concept can be deployed to make sense of self-representation in digital culture. I elaborate on three conceptually distinct dimensions of mediation process — institutional, textual and cultural — which are deployed in the analysis of self-representation in Chapters 4–6. S作者: ineffectual 時(shí)間: 2025-3-26 12:06
Broadcasters,at is it that we are seeing? Ordinary people’s participation in broadcast spaces has often been told as a story of extremes — between exploitative appearance and meaningful participation. In recent versions of this story we find critically lauded digital storytelling projects at one extreme and real作者: Employee 時(shí)間: 2025-3-26 14:04 作者: Crumple 時(shí)間: 2025-3-26 19:15
Self-Representation Online,like broadcasting or museums? It is both remarkable and genuinely new that making a self-representation no longer requires intermediaries to call, invite, edit or prescribe in any way what the text produced will turn out to be. In the online setting people do not need broadcasters to provide a platf作者: AMOR 時(shí)間: 2025-3-26 21:43
Self-Representation, Digital Culture and Genre,different in what they mean and how they are valued? I suggest that we need two concepts: mediation and genre. In this chapter I propose that a genre of self-representation has emerged through the analysis in the preceding pages. And yet there are myriad differences in what kinds of work different e作者: exceptional 時(shí)間: 2025-3-27 01:48
Broadcasters,ersonal story in news and current affairs, the continued use of phone-ins and audience discussion programmes and indeed the use of personal testimony in ‘serious’ documentary. Self-representations by ordinary people sit within a very wide set of participatory activities in broadcast TV.作者: helper-T-cells 時(shí)間: 2025-3-27 05:51
978-1-137-52017-3Palgrave Macmillan, a division of Macmillan Publishers Limited 2012作者: nocturia 時(shí)間: 2025-3-27 11:04
Overview: Taking a close look at ordinary people ‘telling their own story‘, Nancy Thumim explores self-representations in contemporary digital culture in settings as diverse as reality TV, online storytelling, and oral histories displayed in museums.978-1-137-52017-3978-1-137-26513-5作者: heterogeneous 時(shí)間: 2025-3-27 14:33
http://image.papertrans.cn/s/image/864551.jpg作者: Melodrama 時(shí)間: 2025-3-27 18:28
Book 2012Taking a close look at ordinary people ‘telling their own story‘, Nancy Thumim explores self-representations in contemporary digital culture in settings as diverse as reality TV, online storytelling, and oral histories displayed in museums.作者: 打算 時(shí)間: 2025-3-27 23:37 作者: perpetual 時(shí)間: 2025-3-28 05:37
Introduction,lenges that arise due to the transformation of energy systems, and introducing the model predictive control (MPC) approach that is suitable as an energy management framework and able to overcome the challenges. Moreover, the key research questions, which incite the development of the thesis, are for
