標(biāo)題: Titlebook: Akram Khan; Dancing New Intercul Royona Mitra Book 2015 Palgrave Macmillan, a division of Macmillan Publishers Limited 2015 Akram Khan.Inte [打印本頁] 作者: audiogram 時(shí)間: 2025-3-21 18:29
書目名稱Akram Khan影響因子(影響力)
書目名稱Akram Khan影響因子(影響力)學(xué)科排名
書目名稱Akram Khan網(wǎng)絡(luò)公開度
書目名稱Akram Khan網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Akram Khan被引頻次
書目名稱Akram Khan被引頻次學(xué)科排名
書目名稱Akram Khan年度引用
書目名稱Akram Khan年度引用學(xué)科排名
書目名稱Akram Khan讀者反饋
書目名稱Akram Khan讀者反饋學(xué)科排名
作者: GENUS 時(shí)間: 2025-3-21 22:12
,Khan’s Body-of-Action,, it would be reductive, even impossible, to engage with Khan’s art without understanding the embodied reality and the socio-political contexts that catalyse it. Sondra Horton Fraleigh reminds us of the fundamental link between a dancer’s lived reality and their art:.To understand the kinaesthetic q作者: 連鎖 時(shí)間: 2025-3-22 04:12 作者: 單挑 時(shí)間: 2025-3-22 04:40
Auto-ethnography and , (1999),ategy of artistic enquiry was evident from his earliest endeavour as a student at university. Between 1996 and 1998, during his time at Northern School of Contemporary Dance, Khan created ., a solo that began to negotiate the confusion generated through the multicorporeal layers between his training作者: Corral 時(shí)間: 2025-3-22 12:10 作者: Inclement 時(shí)間: 2025-3-22 13:37 作者: 翻動(dòng) 時(shí)間: 2025-3-22 19:39
Queering Normativity in , (2013),sation process through which Khan’s new interculturalism queers normativity. An acronym for ., and inspired by Igor Stravinsky’s seminal composition of ., Khan choreographed . for the centenary celebrations of its premiere on 29 May 1913 at Théatre des Champs-Elysées in Paris. Critics have received 作者: 高歌 時(shí)間: 2025-3-22 23:56 作者: notion 時(shí)間: 2025-3-23 05:19 作者: aesthetic 時(shí)間: 2025-3-23 07:31
Wirtschaftende Personen und Institutionen,s and places simultaneously points to another significant catalyst that fuels his embodied approach to new interculturalism; this is the condition of mobility and its relationship to flexibility vis-à-vis relocated subjectivities and homes..作者: 交響樂 時(shí)間: 2025-3-23 11:53 作者: municipality 時(shí)間: 2025-3-23 16:46
Mobility and Flexibility in , (2008),s and places simultaneously points to another significant catalyst that fuels his embodied approach to new interculturalism; this is the condition of mobility and its relationship to flexibility vis-à-vis relocated subjectivities and homes..作者: 無王時(shí)期, 時(shí)間: 2025-3-23 20:10
Conclusion,gages with all of the following features that nuance his embodied approach to this position. As a dancer and choreographer, working with his own lived reality and that of others, Khan ultimately interrogates his own multiple and fragmented selves through his art.作者: 上下連貫 時(shí)間: 2025-3-23 23:49
2730-9266 rcultural theatre‘ project, as a more nuanced and embodied approach to representing Othernesses, from his own position of the Other.978-1-349-48363-1978-1-137-39366-1Series ISSN 2730-9266 Series E-ISSN 2730-9274 作者: Diskectomy 時(shí)間: 2025-3-24 03:58 作者: Metamorphosis 時(shí)間: 2025-3-24 10:01
,Führungsinstrumente der Wirtschaftlichkeit,sing the embodied nature of his exploration of both the epic and the theme of mother-son relationships, . distinguishes itself from Brook’s intellectual and dis-embodied treatment of the ., and is thus exemplary of Khan’s new interculturalism.作者: 善變 時(shí)間: 2025-3-24 10:43 作者: SOBER 時(shí)間: 2025-3-24 16:15
Corporeal Gestures in , (2010),sing the embodied nature of his exploration of both the epic and the theme of mother-son relationships, . distinguishes itself from Brook’s intellectual and dis-embodied treatment of the ., and is thus exemplary of Khan’s new interculturalism.作者: nocturia 時(shí)間: 2025-3-24 22:39 作者: endocardium 時(shí)間: 2025-3-25 00:19
https://doi.org/10.1057/9781137393661Akram Khan; Interculturalism; Dance; dancing; performance; theatre作者: Diaphragm 時(shí)間: 2025-3-25 06:42
978-1-349-48363-1Palgrave Macmillan, a division of Macmillan Publishers Limited 2015作者: emission 時(shí)間: 2025-3-25 07:55 作者: chapel 時(shí)間: 2025-3-25 14:55 作者: allergen 時(shí)間: 2025-3-25 18:25
Third Space Politics in , (2005) and , (2011), Bangladesh and his own embodied Britishness. This in-betweenness fuels Khan’s musings on identity-politics in the diaspora and beyond, and finds profound manifestations in two critically acclaimed pieces, . (2005) and . (2011).作者: 作嘔 時(shí)間: 2025-3-25 20:05
Queering Normativity in , (2013),sation process through which Khan’s new interculturalism queers normativity. An acronym for ., and inspired by Igor Stravinsky’s seminal composition of ., Khan choreographed . for the centenary celebrations of its premiere on 29 May 1913 at Théatre des Champs-Elysées in Paris. Critics have received Khan’s homage in divergent ways.作者: 共同生活 時(shí)間: 2025-3-26 00:38 作者: PAGAN 時(shí)間: 2025-3-26 04:34 作者: Pelvic-Floor 時(shí)間: 2025-3-26 10:12
,Führungsinstrumente der Wirtschaftlichkeit,er than inherited intellect is a poignant echo of my framing of Khan’s new interculturalism as an interventionist aesthetic that is driven by his unique embodied realities, as detailed in the previous chapter. It is therefore not a coincidence that . (2010) is the title of Khan’s explorations of a m作者: 逃避系列單詞 時(shí)間: 2025-3-26 13:34
Wirtschaftlichkeit als Handlungsprinzip,ategy of artistic enquiry was evident from his earliest endeavour as a student at university. Between 1996 and 1998, during his time at Northern School of Contemporary Dance, Khan created ., a solo that began to negotiate the confusion generated through the multicorporeal layers between his training作者: ethnology 時(shí)間: 2025-3-26 20:27 作者: 強(qiáng)化 時(shí)間: 2025-3-26 22:13 作者: Nomogram 時(shí)間: 2025-3-27 02:32
Rechenkategorien der Wirtschaftlichkeit,sation process through which Khan’s new interculturalism queers normativity. An acronym for ., and inspired by Igor Stravinsky’s seminal composition of ., Khan choreographed . for the centenary celebrations of its premiere on 29 May 1913 at Théatre des Champs-Elysées in Paris. Critics have received 作者: Fermentation 時(shí)間: 2025-3-27 05:18
Ziele, Faktoren und Wirkungsanalyse,a performance aesthetic. Although I have deployed one characteristic per case study in each of the preceding chapters, Khan’s trajectory as a whole engages with all of the following features that nuance his embodied approach to this position. As a dancer and choreographer, working with his own lived作者: adhesive 時(shí)間: 2025-3-27 12:31 作者: Tortuous 時(shí)間: 2025-3-27 17:35 作者: 廢除 時(shí)間: 2025-3-27 19:04 作者: right-atrium 時(shí)間: 2025-3-28 00:49 作者: RENAL 時(shí)間: 2025-3-28 05:29
Wirtschaftlichkeit als Handlungsprinzip,ish television producer Rosa Rogers of Channel 4 approached Khan to adapt this solo for the screen in collaboration with filmmaker Rachel Davies, as part of a series called . which was designed to promote short collaborations between filmmakers and performing artists. As a dance-film . (1999) embodi作者: 闡釋 時(shí)間: 2025-3-28 08:04 作者: 別名 時(shí)間: 2025-3-28 14:19 作者: Inertia 時(shí)間: 2025-3-28 18:15
10樓作者: AWL 時(shí)間: 2025-3-28 22:08
10樓作者: 典型 時(shí)間: 2025-3-29 00:42
10樓
