Titlebook: Affective Intensities in Extreme Music Scenes; Cases from Australia Rosemary Overell Book 2014 Palgrave Macmillan, a division of Macmillan

Filament

書目名稱Affective Intensities in Extreme Music Scenes影響因子(影響力)




書目名稱Affective Intensities in Extreme Music Scenes影響因子(影響力)學(xué)科排名




書目名稱Affective Intensities in Extreme Music Scenes網(wǎng)絡(luò)公開度




書目名稱Affective Intensities in Extreme Music Scenes網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Affective Intensities in Extreme Music Scenes被引頻次




書目名稱Affective Intensities in Extreme Music Scenes被引頻次學(xué)科排名




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書目名稱Affective Intensities in Extreme Music Scenes讀者反饋




書目名稱Affective Intensities in Extreme Music Scenes讀者反饋學(xué)科排名

Substance-Abuse

https://doi.org/10.1057/9780230801516belonging, generated by the affective intensity of grindcore music and brutal sociality. In this chapter, I look at the relatively recent interaction between both cities and how scene members negotiate brutal belonging in spaces away from home.

Project

聽覺

Idiots and Wankers: Grindcore Sociality, belonging for scene members. However, with this belonging comes a process of designating those who do not belong in the scene. Here, I will discuss scene members’ experiences of belonging to the grindcore scene and how this works in relation to other scenes and, in Japan’s case, dominant modes of national belonging.

HARP

ineptitude

Conclusion, grindcore objects and visible grindcore practices work primarily on a representational level. Scene members’ experience of belonging at a live grindcore performance, however, is more than representational. It is primarily affective — it constitutes the experience of brutal belonging.

bifurcate

易于

真

高射炮

Conclusion, shared knowledges and significations, social practices and the experience of being in a live grindcore performance — as a fan or a musician. Material grindcore objects and visible grindcore practices work primarily on a representational level. Scene members’ experience of belonging at a live grindc