標(biāo)題: Titlebook: Arts and Power; Policies in and by t Lisa Gaupp,Alenka Barber-Kersovan,Volker Kirchberg Book 2022 Springer Fachmedien Wiesbaden GmbH, part [打印本頁] 作者: exterminate 時(shí)間: 2025-3-21 16:21
書目名稱Arts and Power影響因子(影響力)
書目名稱Arts and Power影響因子(影響力)學(xué)科排名
書目名稱Arts and Power網(wǎng)絡(luò)公開度
書目名稱Arts and Power網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Arts and Power被引頻次
書目名稱Arts and Power被引頻次學(xué)科排名
書目名稱Arts and Power年度引用
書目名稱Arts and Power年度引用學(xué)科排名
書目名稱Arts and Power讀者反饋
書目名稱Arts and Power讀者反饋學(xué)科排名
作者: overweight 時(shí)間: 2025-3-21 23:41
2625-1531 s of art in fields of domination and power, of structure and agency—whether they are used to impose hegemonic, totalitarian or unjust g978-3-658-37428-0978-3-658-37429-7Series ISSN 2625-1531 Series E-ISSN 2625-154X 作者: 侵略主義 時(shí)間: 2025-3-22 02:35
https://doi.org/10.1007/978-3-030-68900-1e by shaping taste. The politics of cultural production, on the other hand, must be examined as a relationship between power and the arts. The breakdown of the book is presented with chapters in three sections, “Establishing and De-establishing Power in the Arts,” “Arts and the Power of Social Struc作者: 文字 時(shí)間: 2025-3-22 08:01 作者: 不適當(dāng) 時(shí)間: 2025-3-22 09:46 作者: intolerance 時(shí)間: 2025-3-22 13:11 作者: 是比賽 時(shí)間: 2025-3-22 19:26 作者: Arb853 時(shí)間: 2025-3-22 22:49 作者: 使害羞 時(shí)間: 2025-3-23 02:25 作者: OVER 時(shí)間: 2025-3-23 08:14
https://doi.org/10.1057/9780230524262ct on public policy in the context of what became framed as Germany’s “refugee crisis”. We explain how we understand “discursive power”, rhetorical forces and the “forces of good reasons” within the framework of a discourse theory: Discursive power refers to forms of power of actors to deliberately 作者: 讓步 時(shí)間: 2025-3-23 12:39
,Power and Policies in and by the Arts—Introduction,e by shaping taste. The politics of cultural production, on the other hand, must be examined as a relationship between power and the arts. The breakdown of the book is presented with chapters in three sections, “Establishing and De-establishing Power in the Arts,” “Arts and the Power of Social Struc作者: Individual 時(shí)間: 2025-3-23 17:28 作者: 全國(guó)性 時(shí)間: 2025-3-23 20:25 作者: Locale 時(shí)間: 2025-3-23 22:11 作者: Clumsy 時(shí)間: 2025-3-24 03:12
Equality, History, Tradition: Gender-Political Issues in the Oxford Collegiate Choral Sceneenors); and a boy treble line in the front rows, mirroring the cathedral choral tradition within the Church of England. During the last decades, the Oxford collegiate choirs have undergone drastic changes, with the establishment of mixed voice choirs. This text will present findings of a music-socio作者: Collar 時(shí)間: 2025-3-24 10:24
Female Bodybuilding and Patriarchal Civilization. The Intrusion of a Practice in Sport into Artisticbalization beyond its origins in the United States and the United Kingdom, which was also facilitated by the internet—psycho power—and which redefined the practice’s visibility after the iconic turn in an overall economy of appearance and attention. Of special relevance, this essay analyzes some of 作者: Root494 時(shí)間: 2025-3-24 12:08 作者: Ventilator 時(shí)間: 2025-3-24 16:46
“The Dead are Coming”. Contemporary Interventionist Art, Political Beauty, and the Power of Reasonct on public policy in the context of what became framed as Germany’s “refugee crisis”. We explain how we understand “discursive power”, rhetorical forces and the “forces of good reasons” within the framework of a discourse theory: Discursive power refers to forms of power of actors to deliberately 作者: FORGO 時(shí)間: 2025-3-24 21:39
https://doi.org/10.1007/978-3-658-37429-7Power; Politics in Art; Political Art; Affirmative Art; Arts Sociology; Critical Art; Art organization; Eva作者: cliche 時(shí)間: 2025-3-24 23:33 作者: phlegm 時(shí)間: 2025-3-25 07:14
Arts and Power978-3-658-37429-7Series ISSN 2625-1531 Series E-ISSN 2625-154X 作者: 構(gòu)成 時(shí)間: 2025-3-25 10:15 作者: 尾巴 時(shí)間: 2025-3-25 12:18
Lisa Gaupp,Alenka Barber-Kersovan,Volker KirchbergConcepts of power and domination and their role in contemporary arts.Theoretical und empirical approaches.International study作者: nostrum 時(shí)間: 2025-3-25 16:59 作者: AWRY 時(shí)間: 2025-3-25 23:32 作者: Orgasm 時(shí)間: 2025-3-26 03:51
Rape of the Nation: , (2009) and , (2010),erican communities. Under the direction of the University of Chicago in collaboration with Theaster Gates, an African American artist, educator, entrepreneur and Chicago South Side native who has carved out a powerful position as a creative-pacemaker and arts impresario at the university a number of作者: NAVEN 時(shí)間: 2025-3-26 08:20
, (2006): The , and Circular Time, worlds and does so by focusing on paradigmatic worldviews. I reconstruct the ranking .’s understanding of art’s role in society, its assumed internal mechanisms and the function of power in it. My results show how the list makes sense within its own terms, because the analysis highlights the consis作者: Locale 時(shí)間: 2025-3-26 12:29 作者: ear-canal 時(shí)間: 2025-3-26 13:18
The Camera as an Irigarayan Speculum,es. Research on art perception is deeply involved in these issues as it promotes specific worldviews over others. The paper discusses resent developments of the research on art perception in terms of power relations. It asks how different research traditions prefer a specific conception of art and a作者: maverick 時(shí)間: 2025-3-26 18:16
Laura U. Marks,Radek Przedpe?ski possibilities to do this. Rather, it is above all the side effects of the social areas of family and school which shape the behaviour of visitors in art organisations, with the result that striking similarities can be observed in visitor behaviour in general.作者: 漫不經(jīng)心 時(shí)間: 2025-3-26 23:30
Laura U. Marks,Radek Przedpe?ski The collegiate tradition is directly linked and related to the cathedral choral tradition within the Church of England, which up until the early 1990s, was not accessible to girls and women. Until 1850, the University of Oxford and its colleges were primarily monastery-like religious institutions w作者: CAND 時(shí)間: 2025-3-27 04:53 作者: photophobia 時(shí)間: 2025-3-27 06:38 作者: magnanimity 時(shí)間: 2025-3-27 09:28
Six Theses on the Ethical Imaginationn particular in the ‘classic blues’ of the 1920s – had a far-reaching impact on various subfields of cultural production in the United States, whether in the form of ‘race records’ in the popular music segment or of the Harlem Renaissance, which was located in the literary-artistic field. A fundamen作者: ALB 時(shí)間: 2025-3-27 15:58 作者: Spangle 時(shí)間: 2025-3-27 20:15
: A Philosophical Investigationmenta series of exhibitions, launched in 1955, are regarded by the German art world as key events on the international contemporary art scene. Yet they show only a limited section of the art spectrum. A comparison between documenta exhibitions of the first four decades with exhibitions mounted by tw作者: molest 時(shí)間: 2025-3-28 00:28 作者: 沐浴 時(shí)間: 2025-3-28 04:01
https://doi.org/10.1057/9780230524262s outside the mainstream of the art world as the method of choice for artists with strong intentions to induce real changes in society. Most of them have very little impact since they either address very specific milieus that are confined to local communities or they get absorbed by the self-enclose作者: 小隔間 時(shí)間: 2025-3-28 09:55 作者: 發(fā)炎 時(shí)間: 2025-3-28 13:04 作者: N防腐劑 時(shí)間: 2025-3-28 17:59 作者: 注射器 時(shí)間: 2025-3-28 19:23 作者: 畢業(yè)典禮 時(shí)間: 2025-3-29 02:03 作者: averse 時(shí)間: 2025-3-29 07:08 作者: 死貓他燒焦 時(shí)間: 2025-3-29 10:42 作者: Critical 時(shí)間: 2025-3-29 12:34 作者: Defense 時(shí)間: 2025-3-29 17:04
Art Organisations and Their Visitors. About Standardisation Methods of Non-members possibilities to do this. Rather, it is above all the side effects of the social areas of family and school which shape the behaviour of visitors in art organisations, with the result that striking similarities can be observed in visitor behaviour in general.作者: 沉積物 時(shí)間: 2025-3-29 23:07 作者: homeostasis 時(shí)間: 2025-3-30 01:55 作者: deadlock 時(shí)間: 2025-3-30 06:04 作者: 向宇宙 時(shí)間: 2025-3-30 09:40
On the History of the Blues in the Field of Music Production in the United States Beginning in the 2n particular in the ‘classic blues’ of the 1920s – had a far-reaching impact on various subfields of cultural production in the United States, whether in the form of ‘race records’ in the popular music segment or of the Harlem Renaissance, which was located in the literary-artistic field. A fundamen作者: 反感 時(shí)間: 2025-3-30 14:22 作者: 貧窮地活 時(shí)間: 2025-3-30 18:54 作者: 笨重 時(shí)間: 2025-3-30 23:24 作者: ordain 時(shí)間: 2025-3-31 02:19
“The Dead are Coming”. Contemporary Interventionist Art, Political Beauty, and the Power of Reasons outside the mainstream of the art world as the method of choice for artists with strong intentions to induce real changes in society. Most of them have very little impact since they either address very specific milieus that are confined to local communities or they get absorbed by the self-enclose作者: HUMP 時(shí)間: 2025-3-31 06:31
Musical Interface Agendas. Musical Appropriation via Technological Pre-configurationic experiences and?capacities of musical and creative expression potentials?in musical practices. What?is?first established as a constructed?naturalness of individual music practices is challenged and?disrupted by the digitality-specific multiplicity of the musical interface complex (hardware/softwa作者: tympanometry 時(shí)間: 2025-3-31 11:51
Who Plays? an Analysis of Musicians’ Global Mobility in the World Music Market, focusing on Glick Schiller and Salazar’s (Journal of Ethnic and Migration Studies 39(2): 183–200. 10.1080/1369183X.2013.723253, 2013) approach to regimes of mobility, in order to investigate how global mobility becomes part of musicians’ careers within unequal fields of globe-spanning power. An em作者: mettlesome 時(shí)間: 2025-3-31 16:24
“When She Talks, I Hear the Revolution”: Pop Feminism Between Hegemony and Subalternityions. Pop feminism is understood to be part of the force relations within the State. It therefore plays an active part in the struggle for hegemony within civil society and can tie in with the common sense of subaltern groups. It can therefore develop subversive character—and at the very least builds necessary bridges between theory and praxis.
