標(biāo)題: Titlebook: Cultural Memory and Popular Dance; Dancing to Remember, Clare Parfitt Book 2021 The Editor(s) (if applicable) and The Author(s), under excl [打印本頁(yè)] 作者: complicated 時(shí)間: 2025-3-21 18:30
書(shū)目名稱(chēng)Cultural Memory and Popular Dance影響因子(影響力)
書(shū)目名稱(chēng)Cultural Memory and Popular Dance影響因子(影響力)學(xué)科排名
書(shū)目名稱(chēng)Cultural Memory and Popular Dance網(wǎng)絡(luò)公開(kāi)度
書(shū)目名稱(chēng)Cultural Memory and Popular Dance網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱(chēng)Cultural Memory and Popular Dance被引頻次
書(shū)目名稱(chēng)Cultural Memory and Popular Dance被引頻次學(xué)科排名
書(shū)目名稱(chēng)Cultural Memory and Popular Dance年度引用
書(shū)目名稱(chēng)Cultural Memory and Popular Dance年度引用學(xué)科排名
書(shū)目名稱(chēng)Cultural Memory and Popular Dance讀者反饋
書(shū)目名稱(chēng)Cultural Memory and Popular Dance讀者反饋學(xué)科排名
作者: Bernstein-test 時(shí)間: 2025-3-21 20:57
Conclusion: The Twilight of an Idol,collection’s essays into dialogue with the history of theories of embodied cultural memory. Whereas Pierre Nora (.. Translated by Arthur Goldhammer. New York: Columbia University Press, 1996) argued that embodied memory is depleted in modernity, the contributors to this collection make a strong case作者: 落葉劑 時(shí)間: 2025-3-22 01:57 作者: 跳動(dòng) 時(shí)間: 2025-3-22 07:45 作者: 異端邪說(shuō)2 時(shí)間: 2025-3-22 11:58
Weber‘s Rationalism and Modern Societythe celebration of shared steps across national and cultural boundaries. This chapter explores three mechanisms through which Zumba achieves its ethical Othering: (i) mimesis and alterity (Taussig 1993), (ii) parody and the carnivalesque (Ehrenreich 2007), and (iii) incorporated practices and commem作者: Confess 時(shí)間: 2025-3-22 16:45 作者: Confess 時(shí)間: 2025-3-22 20:04 作者: Nerve-Block 時(shí)間: 2025-3-22 22:32 作者: 抵制 時(shí)間: 2025-3-23 02:43 作者: FEIGN 時(shí)間: 2025-3-23 09:29
Beyond Work and Sex in Czech Cinemaighly political choices that reveal specific representational directions—one as a dance that has its origins in Spain, and has since been ‘Filipinized’, and the other as an attempt to work into a more Asian identity.作者: Missile 時(shí)間: 2025-3-23 10:48 作者: aggravate 時(shí)間: 2025-3-23 17:05 作者: famine 時(shí)間: 2025-3-23 19:21
Introduction: Dancing with Memory,collection’s essays into dialogue with the history of theories of embodied cultural memory. Whereas Pierre Nora (.. Translated by Arthur Goldhammer. New York: Columbia University Press, 1996) argued that embodied memory is depleted in modernity, the contributors to this collection make a strong case作者: 和藹 時(shí)間: 2025-3-23 22:46 作者: 劇毒 時(shí)間: 2025-3-24 04:02 作者: callous 時(shí)間: 2025-3-24 07:21 作者: 咯咯笑 時(shí)間: 2025-3-24 14:26
Queer Tango—Bent History? The Late-Modern Uses and Abuses of Historical Imagery Showing Men Dancing of tango’s . history, their meanings remain contested. Drawing on a methodology of visual ethnography, this chapter examines how historical photographic and non-photographic representations of male, same-sex tango dancing are deployed in contemporary, late-modern contexts. Specifically, it will exam作者: 幻影 時(shí)間: 2025-3-24 16:07
Bomba Cimarrona: Hip Interactions in the Afro-Ecuadorian Bomba del Chota as a Decolonial Means to Reations and a “relación de escucha” (relationship of listening; Rivera Cusicanqui, El Potencial Epistemológico y Teórico de La Historia Oral: De La Lógica Instrumental a La Descolonización de La Historia. ., ., p. 286), I want to suggest that Afro-Ecuadorian dancers have strategically maintained, and作者: osculate 時(shí)間: 2025-3-24 20:02
Youthful Bodies as Mnemonic Artifacts: Traversing the Cultural Terrain from Traditional to Popular D popular dance and music terrain, characterized by the global-local problematic, has often produced hodgepodge artistic encounters, resulting in the creation of some popular music and dance types. In post-millennial Ghana, therefore, popular dances such as . included movements that were transmuted f作者: START 時(shí)間: 2025-3-24 23:54
Csángó Space and Time in the Hungarian , Revivalgether majority and minority Hungarian cultures, but one that is based on highly politicised discourses?around ethnonational protest and memory politics. To the folk dancers, Csángó culture provides an outlet to the overt politicisation of national space and time: both outwardly to a mythic, pre-nat作者: 符合國(guó)情 時(shí)間: 2025-3-25 04:43 作者: CRASS 時(shí)間: 2025-3-25 11:11 作者: 善于 時(shí)間: 2025-3-25 14:52
Filmed, Felt, and False Rhythms: Dance Videos and an Embodying “Home” in Post-migrationand London: Duke University Press, 2000). The embodied knowledge of rhythm and dance, both transmitted within families and gained through a mimetic relationship with filmed images, is a core theme in these public negotiations. This is examined in the analysis of a YouTube-mediated conflict between A作者: Rheumatologist 時(shí)間: 2025-3-25 17:54 作者: 沉積物 時(shí)間: 2025-3-25 22:10
Cultural Memory and Popular Dance978-3-030-71083-5Series ISSN 2634-6257 Series E-ISSN 2634-6265 作者: adipose-tissue 時(shí)間: 2025-3-26 03:46
https://doi.org/10.1007/978-3-030-71083-5Popular Dance; Cultural Memory; Commemoration; Cultural Identity; Popular Performance; Embodied Memory; Pe作者: PARA 時(shí)間: 2025-3-26 08:01 作者: Intend 時(shí)間: 2025-3-26 08:53
Clare ParfittFocuses on popular dance, as opposed to theatrical high art dance, and emphasises the geographical diversity that this medium covers.Re-visits some of the most influential theories about how memory an作者: BLINK 時(shí)間: 2025-3-26 16:07
Palgrave Macmillan Memory Studieshttp://image.papertrans.cn/d/image/240850.jpg作者: FLUSH 時(shí)間: 2025-3-26 17:00
Conclusion: The Twilight of an Idol,ntanglement of popular dance practices with both personal and collective dimensions of memory. The chapter then traces the role of popular dancing bodies in the development of ideas about cultural memory from the turn of the twentieth century to today. It argues that approaches to embodied memory ha作者: 西瓜 時(shí)間: 2025-3-27 00:50
https://doi.org/10.1057/9781137365866uffles.” Bufalino’s comment characterises a concept I call dancestry. Similar to following bloodlines through ancestry, dancestry traces movement legacies through dancers’ bodies. Drawing together social-habit memory (Connerton, .. New York, NY: Cambridge University Press, 1989), the repertoire (Tay作者: Prophylaxis 時(shí)間: 2025-3-27 02:54
ic origins, and backgrounds performing the steps of Yemayá or Eleguá. These are some of the deities of the orisha pantheon, but most of these dancers will neither be trained in folkloric dance nor be practitioners of the Afro-Cuban religious tradition to which these deities and their dances pertain.作者: 驚呼 時(shí)間: 2025-3-27 06:28 作者: 音的強(qiáng)弱 時(shí)間: 2025-3-27 12:42 作者: 去掉 時(shí)間: 2025-3-27 14:58
of men, wearing aprons, in a market, posing in tango couples. Elsewhere in Buenos Aires, a cropped version in a glass case at the . is labelled ‘Baile popular en el Abasto (c. 1910)’. Yet another photograph of men in a street, some standing, some posing in couples, with a seated bandoneon player is作者: Foregery 時(shí)間: 2025-3-27 18:28
Beyond Work and Sex in Czech Cinemaiod, the inhabitants of this valley have been performing the event of .. Currently, the most widespread representations of Bomba del Chota focus on a female Afrodescendant dancer smiling and moving her hips. In this chapter, I focus on the historical connection between dancers’ interactions through 作者: Accord 時(shí)間: 2025-3-27 23:41 作者: Microaneurysm 時(shí)間: 2025-3-28 03:37
Documentaries, Work, and Global Challengese) revival. The táncház folk-dance movement developed in 1970s Hungary as a form of embodied ethnonational resistance to the Communist regime. The rediscovered dance repertoires largely came from the Hungarian minority groups living in territory ceded from Hungary after World War I. The Csángó are o作者: headway 時(shí)間: 2025-3-28 09:49 作者: 靦腆 時(shí)間: 2025-3-28 14:19 作者: Tartar 時(shí)間: 2025-3-28 17:03
Beyond Work and Sex in Czech Cineman a half century. Few of these studies investigate the centrality of dance in its narrative, or the unusual placement of a Hollywood reconstruction of a forgotten eighteenth-century Hapsburg l?ndler, in its principal courtship scene. Yet, when analyzed with recourse to choreographic history/theory, 作者: PALL 時(shí)間: 2025-3-28 21:01
Beyond Work and Sex in Czech Cinemaademy, is long overdue for reconceptualization and revitalization. Drawing upon innovative ideas within New Materialism and Performance Studies, I suggest that we inhabit and “feel with” our historical source materials, imagining embedded relationships and interactions while allowing ourselves to be作者: 能夠支付 時(shí)間: 2025-3-29 02:44 作者: Mingle 時(shí)間: 2025-3-29 04:38
icate narratives of transmission and cultural memory, as these are reshaped by technological developments. It addresses, more specifically, the sensory and affective experience procured by filmed dance/music circulating within transnational music and dance circuits connecting artists and fans from f作者: Conducive 時(shí)間: 2025-3-29 09:24 作者: FOLD 時(shí)間: 2025-3-29 12:51
Tap Dance and Cultural Memory: Shuffling with My Dancestorsuffles.” Bufalino’s comment characterises a concept I call dancestry. Similar to following bloodlines through ancestry, dancestry traces movement legacies through dancers’ bodies. Drawing together social-habit memory (Connerton, .. New York, NY: Cambridge University Press, 1989), the repertoire (Tay作者: SNEER 時(shí)間: 2025-3-29 19:15 作者: AVOID 時(shí)間: 2025-3-29 23:19 作者: Middle-Ear 時(shí)間: 2025-3-30 00:17
Parading the Past, Taming the New: From Ragtime to Rock and RollPaul Ricoeur’s terms) to make seemingly transgressive social dance styles socially acceptable to a broad, commercial audience. Ricoeur’s concerns, described in . (2004), led me to consider the process by which popular dances, cast as risqué or immoral, are tempered by calls to past styles of dance t作者: Flatter 時(shí)間: 2025-3-30 06:24 作者: 過(guò)度 時(shí)間: 2025-3-30 12:07 作者: Mumble 時(shí)間: 2025-3-30 14:47 作者: 尖酸一點(diǎn) 時(shí)間: 2025-3-30 16:36
Csángó Space and Time in the Hungarian , Revivale) revival. The táncház folk-dance movement developed in 1970s Hungary as a form of embodied ethnonational resistance to the Communist regime. The rediscovered dance repertoires largely came from the Hungarian minority groups living in territory ceded from Hungary after World War I. The Csángó are o作者: 圖表證明 時(shí)間: 2025-3-30 21:58 作者: 面包屑 時(shí)間: 2025-3-31 02:12
Archive and Memory in Cuban Dances: The Performance of Memory and the Dancing Body as sed by the political and ideological use of the dancing body as a vehicle for cultural memory in Cuba. Different types of archives regarding Cuban dances are examined: the “classical” archives preserved in the Havanese libraries and documentation centres produced under Fidel Castro’s government; the作者: 火海 時(shí)間: 2025-3-31 08:56
