Titlebook: Audible Geographies in Latin America; Sounds of Race and P Dylon Lamar Robbins Book 2019 The Editor(s) (if applicable) and The Author(s), u

BRIBE

https://doi.org/10.1007/978-3-322-86986-9-of-the-art workspace for the study of how Cubans pronounced Spanish that also, according to Dihigo, served a therapeutic aim of correcting the “vices” of characteristic of Cuban Spanish pronunciation. Through a review of ideas regarding the speech of Black Cubans throughout the nineteenth century,

cacophony

Gabler Kompakt-Lexikon Unternehmensgründungand nationalism is the tension between Afro-diasporic traditions and their relevance as the foundations of a national, popular culture. This chapter examines their differing approaches to this tension and to the roles each saw in rhythm in defining its characteristics. It explores Carpentier’s Paris

palliate

https://doi.org/10.1007/978-3-658-30901-5s chapter examines and discusses a selection of central films from this period as interventions regarding the status of sound and listening practices, with attention to noise in relation to emergent subjectivities. It situates Cuban film production in a context shaped by a heightened sonic sensibili

枕墊

Book 2019 demonstrations in Rio de Janeiro and research on dancing manias and hypnosis in Salvador da Bahia in the 1890s. Chapter 3 studies voice and speech as racialized movements, informed by criminology and the proscriptive norms defining “white” Spanish in Cuba. Chapter 4 unpacks conflicting listening cr

細(xì)節(jié)

da Bahia in the 1890s. Chapter 3 studies voice and speech as racialized movements, informed by criminology and the proscriptive norms defining “white” Spanish in Cuba. Chapter 4 unpacks conflicting listening cr978-3-030-10558-7

清澈

Introduction: Notes for an Audible Geography,ro in 1869 to ask that we distinguish between sounding and listening. To listen, it argues, is to engage an epistemology of place as a racialized phenomenon traversed with mediatic concerns. It subsequently analyzes a sound installation by the Brazilian artists Otavio Schipper and Sergio Krakowski i

教育學(xué)

,Clinical Listening and Corporeal Resonance in the Brazilian Belle époque,ry. It begins with an analysis of period reception of the phonograph, highlighting demonstrations of the device for the Brazilian Emperor, Dom Pedro II, and, after his exile, for the ascendant bourgeoisie. The phonograph, serves, as well, as a point from which to consider how medically informed list

束以馬具

,Hearing Voices, Seeing Tongues: Speech as Gestural Economy in Havana (1899–1924),-of-the-art workspace for the study of how Cubans pronounced Spanish that also, according to Dihigo, served a therapeutic aim of correcting the “vices” of characteristic of Cuban Spanish pronunciation. Through a review of ideas regarding the speech of Black Cubans throughout the nineteenth century,

Vasodilation

Rhythm, Diasporas, and the National Popular State,and nationalism is the tension between Afro-diasporic traditions and their relevance as the foundations of a national, popular culture. This chapter examines their differing approaches to this tension and to the roles each saw in rhythm in defining its characteristics. It explores Carpentier’s Paris

悅耳

Noises in Cuban Revolutionary Cinema,s chapter examines and discusses a selection of central films from this period as interventions regarding the status of sound and listening practices, with attention to noise in relation to emergent subjectivities. It situates Cuban film production in a context shaped by a heightened sonic sensibili