The theoretical context.

Author(s):  
Alan L. Berman ◽  
David A. Jobes ◽  
Morton M. Silverman
Keyword(s):  
2005 ◽  
Vol 2 (1) ◽  
pp. 37-51 ◽  
Author(s):  
DANIEL M. GRIMLEY

Björk’s collaboration with the director Lars von Trier on the film Dancer in the Dark was marked by well-publicized personal and aesthetic differences. Their work nevertheless shares an intense preoccupation with the nature and quality of sound. Björk’s soundtrack systematically explores the boundaries between music and noise, and the title of von Trier’s film itself presupposes a heightened attention to aural detail. This paper proposes a theoretical context for understanding Björk’s music in the light of her work with von Trier. Whereas Björk’s soundtrack responds to the visual and narrative stimuli of von Trier’s film, the use of sound in her album Vespertine thematicizes more familiar Björk subjects: the relationship between music, landscape and the natural world, and Björk’s own (constructed) sense of Nordic musical identity. By placing Vespertine alongside Björk’s music for Dancer in the Dark, the sense of ‘hyperreality’ that defines both also emerges as a primary characteristic of her work.


2011 ◽  
Vol 22 (1) ◽  
pp. 119-141 ◽  
Author(s):  
Cheryl L. Walker ◽  
Bruce M. Shore ◽  
Lisa R. French

2018 ◽  
Vol 4 (s2) ◽  
Author(s):  
Jason Shaw ◽  
Shigeto Kawahara

AbstractMany papers in this special issue grew out of the talks given at the Symposium “The role of predictability in shaping human language sound patterns,” held at Western Sydney University (Dec. 10–11, 2016). Some papers were submitted in response to an open call; others were invited contributions. This introduction aims to contextualize the papers in the special issue within a broader theoretical context, focusing on what it means for phonological theory to incorporate gradient predictability, what questions arise as a consequence, and how the papers in this issue address these questions.


Author(s):  
Cheong Kin Man

The paper aims to discuss the role that visual anthropology and subaltern cultural medias play among the considered indigenous peoples in the Chinese speaking world, and particularly in the four cross-Strait territories of China, Taiwan, Hong Kong and Macao. This paper suggests a semantic and historic analysis of the terms of indigenous, while retracing the arrival of these western concepts in Greater China as well as the manipulations and translations along history which are subjects of the present research. The western discipline of visual anthropology, together with cultural medias find their equivalences in these Chinese speaking territories, and are used for multiple purposes, which are not always clear. An analysis of their presence and use in these four territories by their respective administrations or by the indigenous themselves may allow us also to have a more precise understanding of the ties that each of these governments maintains with its constitutionally and potentially indigenous peoples. Finally, it will be stressed the fact that the reappropriated western labeling of the indigenous may not necessarily work in the specific theoretical context of the Chinese speaking world while attention should be paid to potentially subaltern groups in individual cases.


Author(s):  
Ruth Patrick

This chapter outlines the rationale behind conducting repeat interviews with out-of-work benefit claimants in an effort to better understand lived experiences of welfare reform. It introduces readers to the political and theoretical context, and highlights the value in employing social citizenship as a theoretical lens in order to tease out citizenship from above and below. The recent context of welfare reform in the UK is also introduced, highlighting the extent to which successive rounds of welfare reform have cumulatively reworked the relationship between the citizen and the state. The research on which this book is based is detailed, and the value in working through and across time by taking a qualitative longitudinal approach highlighted.


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