يعرض 1 - 16 نتائج من 16 نتيجة بحث عن '"alternative masculinity"', وقت الاستعلام: 0.47s تنقيح النتائج
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    Dissertation/ Thesis

    المؤلفون: 林益睿, Lin, Yi-Rui

    المساهمون: 高國魁

    وصف الملف: 2534106 bytes; application/pdf

    Relation: 王秀雲,2019,〈「不男不女」,台灣「長髮」男性的治理及其性別政治,1960s-1970s〉。《台灣社會研究季刊》112:99-146。\n王怡晴,2012,《台灣搖滾樂迷的認同與展演:以2000年後的英搖、金屬樂迷為例》。嘉義:國立中正大學心理學系碩士論文。\n何東洪,2013,〈獨立音樂認同的所在:「地下社會」的生與死〉。《思想》24:123-137。\n孫杰,2021,《向音樂場景的聖地朝拜:從儀式觀點檢視獨立音樂祭的集體認同》。新竹:陽明交通大學。\n陳之昊,2014,《社群網站時代的次文化社群:台灣獨立音樂圈的社會與文化資本》。新竹:國立交通大學傳播研究所碩士論文。\n陳向明,2002,《社會科學質的研究》。台北:五南出版。\n陳蘭蘭,2015,〈文化工業批判理論及其歷史局限性〉。《淮北職業技術學院學報》14(1):63-64。\n黃俊銘,2019,〈音樂如何社會?從阿多諾(Adorno)到德諾拉(DeNora):閱讀《音樂社會學導論》、《日常生活中的音樂》〉。《中華傳播學刊》36:275-288。\n黃瑞祺,1997,〈現代或後現代-紀登斯論現代性〉。《東吳社會學報》6:287-311。\n楊久穎,2001,《女搖滾》。台北:果實出版。\n葉靜宜,2011,〈誰在學男人?:陽剛女性的陽剛展演與生存策略〉。《文化研究月報》123:3-24。\n劉暢之,2020,〈與父權「遊戲」:大陸女性「金屬黨」的聆聽與認同〉。《傳播與社會學刊》51:107-139。\n鄭凱同,2005,〈主流與獨立的再思考:文化價值、音樂產業與文化政策的思辨與探討〉。台北:淡江大學大眾傳播學系傳播碩士論文。\n盧文超,2018,〈從藝術社會學到新藝術社會學──提亞・德諾拉音樂思想的轉變〉。《文藝研究》12:91-101。\n戴尹宣,2021,《共聽的情感實作:臺灣當代女同志獨立音樂聆聽經驗》。台北:國立台灣大學音樂學研究所碩士論文。\n謝光萍,2006,《誰在那裡聽自己的歌──台北live house樂迷與音樂場景》。台北:國立台灣大學新聞研究所碩士論文。\nAdorno, Theodor W., 2002, “On Popular Music.” Pp. 437-469 in Essays on Music. Berkeley, California: University of California Press.\nAhmed, Sara, 2004, The Cultural Politics of Emotion. Edinburgh: Edinburgh University Press.\nBannister, Matthew, 2006, White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. USA: Ashgate Publishing Company.\nBarnes, Ash and White, Rob, 2019, “Violence in the mosh pit: assault within the Australian punk scene.” Current Issues in Criminal Justice 31(1): 40-59.\nButler, Judith著,宋素鳳譯, 2009,《性別麻煩:女性主義與身份的顛覆》(Gender Trouble: Feminism and the Subversion of Identity)。上海:上海三聯書店。\nBloustien, Gerry, 2004, “Buffy Night at the Seven Stars: A ‘Subcultural’ Happening at the ‘Global’ Level.” Pp. 148-161 in After Subculture: Critical Studies in Contemporary Youth Culture, edited by Andy Bennett and Keith Kahn-Harris. NY: PALGRAVE MACMILLAN.\nDavies, Kathleen, 2006, Indie Rock Subculture: Hamilton as Microcosm. Unpublished doctoral dissertation, Department of Master of Arts, McMaster University, Hamilton, Ontario.\nDeNora, Tia, 2004, Musical in Everyday Life. Cambridge: Cambridge University Press.\nDriver, Christopher, 2011, “Embodying hardcore: rethinking ‘subcultural’ authenticities.” Journal of Youth Studies 14: 975-990.\nDurkheim, Emile and Karen E. Fields, trans., 1995, The Elementary Forms of Religious Life. NY: The Free Press.\nFeatherstone, Mike著,趙偉妏譯,2009,《消費文化與後現代主義》(Consumer Culture and Postmodernism)。國立編譯館、韋伯文化。\nFrith, Simon, 1993, Sound and Vision: The Music Video Reader. London: Routledge.\nFrith, Simon and Angela McRobbie, 2005, “Rock and Sexuality.” Pp. 317-332 in On Record, edited by Simon Frith and Andrew Goodwin. London: Routledge.\nGiddens, Anthony, 1991, Modernity and Self-Identity: Self and Society in the Late Age. UK: Polity Press.\nHardt, Michael, 2007, The Affective Turn: Theorizing the Social. Durham and London, NC: Duke University Press.\nHibbett, Ryan, 2005, “What Is Indie Rock?” Popular Music and Society 28: 55-77.\nHofman, Ana, 2015, “The Affective Turn in Ethnomusicology.” Musicology 18: 35-55.\nHouston, Taylor M., 2012, “The Homosocial Construction of Alternative Masculinities: Men in Indie Rock Bands.” The Journal of Men’s Studies 20(2): 158-175.\nKeith Kahn-Harris, 2004, “Unspectacular Subculture? Transgression and Mundanity in the Global Extreme Metal Scene.” Pp. 107-118 in After Subculture: Critical Studies in Contemporary Youth Culture, edited by Andy Bennett and Keith Kahn-Harris. NY: PALGRAVE MACMILLAN.\nKolb, Jaffer, 2017, “Working Queer.” Log 41: 63-66.\nKruse, Holly, 1993, “Subcultural Identity in Alternative Music Culture.” Popular Music 12(1): 33-41.\nLau, Tori J., 2005, “Jump!”: Aggression, dance and gender roles – a reading of mosh pit culture. Unpublished doctoral dissertation, Department of Musicology, University of Oslo, Norway: Oslo.\nLefebvre, Henri, 1971, Everyday Life in the Modern World. London: Allen Lane.\nMartin, Peter J., 2004, “Culture, Subculture, and Social Organization.” Pp. 21-35 in After Subculture: Critical Studies in Contemporary Youth Culture, edited by Andy Bennett and Keith Kahn-Harris. NY: PALGRAVE MACMILLAN.\nMaffesoli, Michel, 1996, The Time of the Tribes: The Decline of Individualism in Mass Society. London: SAGE.\nMassumi, Brian, 2002, “Parables for the Virtual: Movement, Affects, Sensation.” Durham, NC: Duke University Press.\nMcCann, Hannah, 2016, “Epistemology of the Subject: Queer Theory’s Challenge to Feminist Sociology.” Women’s Studies Quarterly 44(3): 224-243.\nMulvey, Laure, 1989, Visual and Other Pleasures. NY: PALGRAVE MACMILLAN.\nRamirez, Michael, 2007, Music, Gender, and Coming of Age in The Lives of Indie Rock Performers. Ph.D, Georgia University, Athens.\nRiches, Gabrielle, Brett Lashua and Karl Spracklen, 2014, “Female, Mosher, Transgressor: A ‘Moshography’ of Transgressive Practices within the Leeds Extreme Metal Scene.” Journal of the International Association for the Study of Popular Music 4(1): 87-100.\nOverell, Rosemary, 2011, “[I] hate girls and emo[tion]s: Negotiating masculinity in grindcore music.” Popular Music History 6(1): 198-223.\nSweetman, Paul, 2004, “Tourists and Travellers? ‘Subcultures’, Reflexive Identities and Neo-Tribal Sociality.” Pp. 79-93 in After Subculture: Critical Studies in Contemporary Youth Culture, edited by Andy Bennett and Keith Kahn-Harris. NY: PALGRAVE MACMILLAN.\nWeinreich, Peter, 2003, Analysing Identity: Cross-Cultural, Societal and Clinical Contexts. London: Routledge.\nWalton, Kendall L., 2015, In Other Shoes: Music, Metaphor, Empathy, Existence. NY: Oxford University Press.\nYoung, Iris, 2011, Justice and the Politics of Difference. New Jersey: Princeton University Press.; G0108254014; https://nccur.lib.nccu.edu.tw//handle/140.119/144061; https://nccur.lib.nccu.edu.tw/bitstream/140.119/144061/1/401401.pdf

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