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서울대학교 서어서문학과 폴 스니드 교수는 파벨라 중 가장 큰 지역인 호시냐(Rocinha)에서 생활하면서 가장 가까운 곳에서 ‘관찰’했다. 그리고 『Machine Gun Voices』에서 “브라질의 펑크 음악 발리 펑크로 분석한 빈민가 주민의 삶” 그 관찰 결과를 민족지학적으로 분석해냈다.
Routledge International Handbook of Critical Gang Studies is rooted in the instability, inequality and liquidity of the post-industrial era. It understands the gang as a complex and contradictory phenomenon; a socio-historical agent that reflects, responds to and creates a certain structured environment in spaces which are always in flux. International in scope and drawing on a range of sociological, criminological and anthropological traditions, it looks beyond pathological, ahistorical and non-transformative approaches, and considers other important factors that produce the phenomenon, whether the historically entrenched racialized power structure and segregation in Chicago; the unconstrained state-abandoned development of favelas in Brazil; or the colonization, displacement and dependency of people in Central America. This handbook reflects and defines the new theoretical and empirical traditions of critical gang studies. It offers a variety of perspectives, including: A view of gangs that takes into consideration the global context and appearance of the "gang" in its various forms and stages of development; An appreciation of the gang as a socio-cultural formation; A race-ethnic and class analysis of the gang that problematizes domain assumptions such as the "underclass"; Gender variations of the gang phenomenon with a particular emphasis on their intersectional properties; Relations between gangs and the political economy that address the dominant mode of production and exchange; Treatments that demonstrate the historically contingent nature of gangs and their changes across time; The contradictory impact of gang repressive policies, institutions and practices as part of a broader discussion on the nature of the state in specific societies; and Critical methodologies on gangs that involve discussions of visual and textual representations and the problematics of data collection and analysis. Authoritative, multi-disciplinary and international, this book will be of interest to criminologists, sociologists and anthropologists alike, particularly those engaged with critical criminology/sociology, youth crime, delinquency and global social inequality. The Handbook will also be of interest to policy makers and those in the peacebuilding field.
Bringing together scholars from a range of disciplines, this book explores the analysis of crime-related language. Drawing on ideas from stylistics, pragmatics, cognitive linguistics, metaphor theory, critical discourse analysis, multimodality, corpus linguistics, and intertextuality, it compares and contrasts the linguistic representation of crime across a range of genres, both fictitious (crime novels, and crime in TV, film and music), and in real life (crime reporting, prison discourse, and statements used in courts). It touches on current political topics like #BlackLivesMatter, human (child) trafficking, and the genocide of the Kurds among others, making it essential reading for linguists, criminologists and those with a general interest in crime-related topics alike. Covering a variety of text genres and methodological approaches, and united by the aim of deciphering how crime is portrayed ideologically, this book is the next step in developing research at the intersection of linguistics, criminology, literature and media studies.
Relocating Popular Music uses the lens of colonialism and tourism to analyse types of music movements, such as transporting music from one place or historical period to another, hybridising it with a different style and furnishing it with new meaning. It discusses music in relation to music video, film, graphic arts, fashion and architecture.
Moving Otherwise examines how contemporary dance practices in Buenos Aires, Argentina enacted politics within climates of political and economic violence from the mid-1960s to the mid-2010s. From the repression of military dictatorships to the precarity of economic crises, contemporary dancers and audiences consistently responded to and reimagined the everyday choreographies that have accompanied Argentina's volatile political history. The titular concept, "moving otherwise" names how both concert dance and its off-stage practice and consumption offer alternatives to and modes to critique the patterns of movement and bodily comportment that shape everyday life in contexts marked by violence. Drawing on archival research based in institutional and private collections, over fifty interviews with dancers and choreographers, and the author's embodied experiences as a collaborator and performer with active groups, the book analyzes how a wide range of practices moved otherwise, including concert works, community dance initiatives, and the everyday labor that animates dance. It demonstrates how these diverse practices represent, resist, and remember violence and engender new forms of social mobilization on and off the theatrical stage. As the first book length critical study of Argentine contemporary dance, it introduces a breadth of choreographers to an English speaking audience, including Ana Kamien, Susana Zimmermann, Estela Maris, Alejandro Cervera, Renate Schottelius, Susana Tambutti, Silvia Hodgers, and Silvia Vladimivsky. It also considers previously undocumented aspects of Argentine dance history, including crossings between contemporary dancers and 1970s leftist political militancy, Argentine dance labor movements, political protest, and the prominence of tango themes in contemporary dance works that address the memory of political violence. Contemporary dance, the book demonstrates, has a rich and diverse history of political engagement in Argentina.
This book contributes to the ongoing discussion of the place of contemporary Galician writer Blanca Andreu’s work within the 1980s post-“novísimo” movement, as part of a larger resurgence of the Surrealist in Spanish poetry and its possible placement in the more recent mystical poetry of Spain. It provides a detailed textual analysis of her poetry, and in doing so reveals not only that her work encompasses notions of the surreal and the mystical but also, although Andreu has so far written entirely in Castilian (Spanish), that her poetry utilizes a variety of traditional Galician and Portuguese symbols and images. In this way her work challenges the boundaries between what we as readers may accept as a solely Castilian, Galician, or Spanish poetic. It bases its transtheoretical framework on findings from such fields as Galician studies, Iberian studies, mysticism studies, paradigm shift studies, and regional studies over the past two decades. Ultimately, this comprehensive and unique study shows how Andreu’s multifaceted transnational work may pertain to, and expand, our knowledge of each of these areas of focus.
Abstracts of dissertations available on microfilm or as xerographic reproductions.
This text explores how Afro-Brazilians define their Africanness through Candomblé and Quilombo models, and construct paradigms of blackness with influences from US-based perspectives, through the vectors of public rituals, carnival, drama, poetry, and hip hop.
Relocating Popular Music uses the lens of colonialism and tourism to analyse types of music movements, such as transporting music from one place or historical period to another, hybridising it with a different style and furnishing it with new meaning. It discusses music in relation to music video, film, graphic arts, fashion and architecture.