標(biāo)題: Titlebook: Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990; Jon Stratton Book 2022 The Editor(s) (if applicable) and The Author(s [打印本頁] 作者: 紀(jì)念性 時間: 2025-3-21 17:55
書目名稱Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990影響因子(影響力)
書目名稱Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990影響因子(影響力)學(xué)科排名
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書目名稱Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990被引頻次
書目名稱Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990被引頻次學(xué)科排名
書目名稱Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990年度引用
書目名稱Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990年度引用學(xué)科排名
書目名稱Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990讀者反饋
書目名稱Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990讀者反饋學(xué)科排名
作者: plasma-cells 時間: 2025-3-21 20:55 作者: 自傳 時間: 2025-3-22 02:41 作者: SYN 時間: 2025-3-22 07:26
978-3-031-09014-1The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: 是比賽 時間: 2025-3-22 08:50
Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990978-3-031-09012-7Series ISSN 2730-9517 Series E-ISSN 2730-9525 作者: 浮雕寶石 時間: 2025-3-22 14:51
2730-9517 lar music, fashion and dancing in Britain to the developmentThis book explores dancing from the 1960s to the 1980s; though this period covers only twenty years, the changes during it were seismic. Nevertheless continuities can be found, and those are what this book examines. In dancing, it answers h作者: 玷污 時間: 2025-3-22 19:43
2730-9517 m the beat groups to electronic dance music. In terms of youth, it answers how we moved from youth culture to club culture.?978-3-031-09014-1978-3-031-09012-7Series ISSN 2730-9517 Series E-ISSN 2730-9525 作者: NAG 時間: 2025-3-22 22:01 作者: 凹槽 時間: 2025-3-23 01:55
Introduction: Those Dancing Years, noting that it developed at different times in America, France, the country about which Debord was writing, and Britain. Daniel Boorstin’s work on the increasing importance of the image and pseudo-events in American life is discussed in its similarities and differences to Debord’s concept of the society of the spectacle.作者: 禁令 時間: 2025-3-23 08:19 作者: 蔓藤圖飾 時間: 2025-3-23 13:21
Introduction: Those Dancing Years,e 1980s. The key theoretical terms used elsewhere in the book are introduced, most importantly Guy Debord’s conceptualisation of the society of the spectacle and Hakim Bey’s idea of the temporary autonomous zone. The chapter emphasises the historicity of the evolution of the society of the spectacle作者: Proclaim 時間: 2025-3-23 14:41 作者: 象形文字 時間: 2025-3-23 19:30 作者: 是限制 時間: 2025-3-23 22:15
Glam Rock and the Society of the Spectacle, a visual image lay in the transformation of British society into one founded in consumerism. Here it is that we find Britain evolving into a society of the spectacle with Glam Rock artists like David Bowie and Marc Bolan producing themselves as spectacles to be gazed upon. The chapter examines the 作者: 特征 時間: 2025-3-24 05:25
Glam Rock: Sexuality, Performance and Spectacle,embers of a youth culture. In the term popularised by Andy Bennett they could be understood as a neo-tribe. They dressed as their idol in the hope of becoming a part of the experience purveyed by that idol. Bowie, Bolan and the members of Roxy Music all exhibited androgynous qualities. The chapter a作者: 攀登 時間: 2025-3-24 09:28
The New Romantics: Dancing in the Society of the Spectacle,the spectacle, punk was regressive, an attempt to recapture an authenticity that had been dispersed in the new emphasis on image, consumption and artifice. New Romanticism was not a youth culture, nor was it really a neo-tribe. It was a culture based in clubs combining dancing and fashion. The New R作者: 極大痛苦 時間: 2025-3-24 12:58
Learning to Rave: The Construction of Rave in the UK in the 1980s, establishment of the British society of the spectacle clubs became a space of escape. In this context they can be understood as temporary autonomous zones. The London rave clubs evolved out of the New Romantics’ clubs, often with DJs who had either frequented the New Romantic clubs or worked there 作者: 門閂 時間: 2025-3-24 16:28
Book 2022ballroom dancing, to ecstatic rave dancing. In terms of music, it answers how we moved from the beat groups to electronic dance music. In terms of youth, it answers how we moved from youth culture to club culture.?作者: 蔑視 時間: 2025-3-24 22:04
Dancing to Records in the 1960s, discussed, along with an acknowledgement of his depraved personal behaviour. The chapter also discusses the evolution of uncoupled dancing in Britain from the importation of the shimmy during the 1920s to the more general impact of the Twist in the early 1960s.作者: Diskectomy 時間: 2025-3-25 00:38 作者: genesis 時間: 2025-3-25 05:57
Glam Rock: Sexuality, Performance and Spectacle,lan, Bowie and Eno of Roxy Music. At the same time, Glam Rock was much influenced by gay culture from the many gay managers of British pop stars to the gay clubs from which much of the performative style was drawn. Performance was a key element of Glam Rock.作者: 符合規(guī)定 時間: 2025-3-25 11:21
The New Romantics: Dancing in the Society of the Spectacle,he links between fashion and popular music go back at least as far as mod bands like the Small Faces who shopped at the boutiques of Carnaby Street. In the late 1970s and early 1980s the dance floors of the clubs of the New Romantics became sites for spectacular expression.作者: 含沙射影 時間: 2025-3-25 12:17
eois school that selected highly trained students in the field of mathematics. Condorcet envisioned this institution as a school where students learned techniques for developing specialized engineering in mines or bridges, civil works, and so on. This is what the French nation and its citizens were 作者: 別炫耀 時間: 2025-3-25 15:52 作者: Meditative 時間: 2025-3-25 20:51 作者: 下船 時間: 2025-3-26 02:10 作者: Critical 時間: 2025-3-26 08:18 作者: BATE 時間: 2025-3-26 11:29 作者: 填料 時間: 2025-3-26 16:15
Jon Strattonnsen looks forward to travelling back to Denmark soon after finishing the manuscript (the first censorship stems from August 30, 1668). He remained in Florence until November, and thereafter he travelled south. Not until in January 1669 did he begin slowly to move north. He took his time in Northern作者: Resign 時間: 2025-3-26 18:03
Jon Strattonnsen looks forward to travelling back to Denmark soon after finishing the manuscript (the first censorship stems from August 30, 1668). He remained in Florence until November, and thereafter he travelled south. Not until in January 1669 did he begin slowly to move north. He took his time in Northern作者: 使糾纏 時間: 2025-3-27 00:28 作者: 褻瀆 時間: 2025-3-27 03:10
ureaucracy”) and disciplines (mathematics being the most general at the top, with the applied sciences and technical skills depending on mathematical understanding). The school’s curricula were therefore oriented towards the physical sciences. The setting, as well as the school rites, was influenced作者: 新字 時間: 2025-3-27 05:57 作者: Indigence 時間: 2025-3-27 12:58
Jon Strattonstockungen wenig ein, so da? es im Hause stets an Geld mangelte. Damit stand die Situation der Familie . ganz im Gegensatz zur glanzvollen Oberfl?che der Weltstadt an der Seine, dieser ersten technisch-wissenschaftlichen Metropole des Kontinents mit ihren aufsehenerregenden Industrie- und Weltausste作者: Aspiration 時間: 2025-3-27 17:23 作者: 假裝是你 時間: 2025-3-27 19:34
