Sound, Music, Affect

2013 ◽  
Keyword(s):  
Case Studies ◽  
Media Studies ◽  
Final Section ◽  
Cultural Theory ◽  
Affect Theory ◽  
Sound Studies ◽  
Literary Studies ◽  
Affect Studies ◽  
The Third ◽  
Affective Experiences

Sound, Music, Affect features brand new essays that bring together the burgeoning developments in sound studies and affect studies. The first section sets out key methodological and theoretical concerns, focussing on the relationships between affective models and sound. The second section deals with particular musical case studies, exploring how reference to affect theory might change or reshape some of the ways we are able to make sense of musical materials. The third section examines the politics and practice of sonic disruption: from the notion of noise as 'prophecy', to the appropriation of 'bad vibes' for pleasurable aesthetic and affective experiences. And the final section engages with some of the ways in which affect can help us understand the politics of chill, relaxation and intimacy as sonic encounters. The result is a rich and multifaceted consideration of sound, music and the affective, from scholars with backgrounds in cultural theory, history, literary studies, media studies, architecture, philosophy and musicology.

scholarly journals The Turn to Affect and Emotion in Media Studies

2018 ◽  
Vol 6 (3) ◽  
pp. 1-4 ◽  
Author(s):  
Margreth Lünenborg ◽  
Tanja Maier
Keyword(s):  
Social Sciences ◽  
Social Science ◽  
Media Studies ◽  
Driving Forces ◽  
Affect Theory ◽  
Affect Studies ◽  
The Social ◽  
Central Interest ◽  
Contemporary Media ◽  
Media And Communication

This editorial delivers an introduction to the thematic <em>Media and Communication </em>issue on “The Turn to Affect and Emotion in Media Studies”. The social and cultural formation of affect and emotion has been of central interest to social science-based emotion research as well as to affect studies, which are mainly grounded in cultural studies. Media and communication scholars, in turn, have especially focused on how emotion and affect are produced by media, the way they are communicated through media, and the forms of emotion audiences develop during the use of media. Distinguishing theoretical lines of emotion theory in social sciences and diverse traditions of affect theory, we reflect on the need to engage more deeply with affect and emotion as driving forces in contemporary media and society. This thematic issue aims to add to ongoing affect studies research and to existing emotion research within media studies. A special emphasis will be placed on exploring structures of difference and power produced in and by media in relation to affect and emotion.

scholarly journals Making a Living: How Middle-Class Couples in Warsaw Start and Practice a Household

2018 ◽  
Vol 62 (4) ◽  
pp. 91-111
Author(s):  
Marta Olcoń-Kubicka ◽  
Mateusz Halawa
Keyword(s):  
Middle Class ◽  
Case Studies ◽  
Final Section ◽  
Good Life ◽  
Moral Order ◽  
The Good Life ◽  
Domestic Life ◽  
The Third ◽  
Relational Work ◽  
At Home

This article is a study of the domestic monetary and financial life of young middle-class couples in Warsaw, Poland, and its suburbs. We use ethnographic evidence presented as case studies to illuminate the practices in which our interlocutors actively appropriate, mobilize, and transform money and finance to pursue moral visions of the good life. The article focuses on the household understood in processual terms of ongoing negotiations between moral and market dimensions. The first section is focused on the ways in which young couples perform relational work aimed at achieving or maintaining moral order. Couples match the diverse possible uses of money at home to their changing notions of the kind of couple they are or wish to become. The second section proceeds from the observation of a widening gap between rising middle-class aspirations and economic possibilities in contemporary Poland and explores the practices of negotiating various forms of assistance from parental households. The third and final section argues that the incursion of technologies into domestic life means that artifacts like software or digital banking increasingly materialize and mediate morality and thus actively contribute to the shaping of the household as a project of a good life.

The Oxford Handbook of Cinematic Listening

2021 ◽  
Keyword(s):  
Case Studies ◽  
Sound Studies ◽  
Literary Studies ◽  
Theoretical Frameworks ◽  
Moving Image ◽  
Central Topic ◽  
History Of ◽  
Original Case ◽  
To Receive ◽  
The Relationship

It has long been suggested that films have changed the way we listen, but cinema’s contribution to broader listening cultures has only recently started to receive serious academic attention. Taking this issue as its central topic, The Oxford Handbook of Cinematic Listening explores—from philosophical, archival, empirical, and analytical perspectives—the genealogies of cinema’s audiovisual practices, the relationship between film aesthetics and listening protocols, and the extension of cinematic modes of listening into other media and everyday situations. Featuring scholars from musicology, film and literary studies, ethnomusicology and sound studies, media and communications, and psychology, this Handbook aims to foster new ways of thinking about the intersection between the history of listening and the history of the moving image. It offers a wealth of original case studies and novel perspectives that show how cinematic listening is constantly being redefined in relation to shifting historical, spatial, textual, and theoretical frameworks.

scholarly journals How and Why to Do Things with Eighteenth-Century Manuscripts

2021 ◽  
Author(s):  
Michelle Levy ◽  
Betty A. Schellenberg
Keyword(s):  
Eighteenth Century ◽  
Open Access ◽  
Case Studies ◽  
Final Section ◽  
Book History ◽  
Literary Culture ◽  
Literary Studies ◽  
Numerous Case ◽  
Manuscript Study

This Element examines eighteenth-century manuscript forms, their functions in the literary landscape of their time, and the challenges and practices of manuscript study today. Drawing on both literary studies and book history, Levy and Schellenberg offer a guide to the principal forms of literary activity carried out in handwritten manuscripts produced in the first era of print dominance, 1730-1820. After an opening survey of sociable literary culture and its manuscript forms, numerous case studies explore what can be learned from three manuscript types: the verse miscellany, the familiar correspondence, and manuscripts of literary works that were printed. A final section considers issues of manuscript remediation up to the present, focusing particularly on digital remediation. The Element concludes with a brief case study of the movement of Phillis Wheatley's poems between manuscript and print. This title is also available as Open Access on Cambridge Core.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

NEW TECHNOLOGIES AND PRACTICES FOR WASTE MINIMIZATION IN THE CHEMICAL AND PETROCHEMICAL INDUSTRIES : FINDINGS OF THE SALVADOR, BRAZIL, 1993 CONFERENCE

1994 ◽  
Vol 30 (3) ◽  
pp. 1-9
Author(s):  
Francisco Fontes Lima ◽  
Francisco Alves Pereira
Keyword(s):  
Waste Management ◽  
Environmental Protection ◽  
Case Studies ◽  
New Technologies ◽  
Waste Minimization ◽  
Source Control ◽  
International Conference ◽  
The Third ◽  
Control Programmes ◽  
Petrochemical Industries

This paper describes the findings of the “Third International Conference on Waste Management in the Chemical and Petrochemical Industries,” held in Salvador, Brazil, October 20-23, 1993. A summary of the 74 technical papers, divided into six major categories, is presented together with comments on the more stringent legislation concerning source control programmes. Case studies of two large chemical complexes that have been developing successful waste minimization programmes are described in detail: CETREL-Environmental Protection Company in Camaçari, Brazil, and BASF AG in Ludwigshafen, Germany.

Presentation

2014 ◽  
Vol 2 (3) ◽  
Author(s):  
Redacción CEIICH
Keyword(s):  
Cultural History ◽  
Social Reality ◽  
Point Of View ◽  
The Body ◽  
Literary Studies ◽  
The Third ◽  
The Social ◽  
Feminist Theories ◽  
History Of

<p class="p1">The third number of <span class="s1"><strong>INTER</strong></span><span class="s2"><strong>disciplina </strong></span>underscores this generic reference of <em>Bodies </em>as an approach to a key issue in the understanding of social reality from a humanistic perspective, and to understand, from the social point of view, the contributions of the research in philosophy of the body, cultural history of the anatomy, as well as the approximations queer, feminist theories and the psychoanalytical, and literary studies.</p>

Conclusion

2018 ◽  
Author(s):  
John West
Keyword(s):  
Eighteenth Century ◽  
Case Studies ◽  
Literary History ◽  
The Political ◽  
The Third ◽  
Religious Differences

Literary history often positions Dryden as the precursor to the great Tory satirists of the eighteenth century, like Pope and Swift. Yet a surprising number of Whig writers expressed deep admiration for Dryden, despite their political and religious differences. They were particularly drawn to the enthusiastic dimensions of his writing. After a short reading of Dryden’s poem to his younger Whig contemporary William Congreve, this concluding chapter presents three case studies of Whig writers who used Dryden to develop their own ideas of enthusiastic literature. These three writers are Elizabeth Singer Rowe, John Dennis, and the Third Earl of Shaftesbury. These case studies are used to critique the political polarizations of seventeenth- and eighteenth-century literary history and to stress instead how literary friendship crossed political allegiances, and how writers of differing ideological positions competed to control mutually appealing ideas and vocabularies.

GA: Armani’s Giorgio Armani

2018 ◽  
Author(s):  
Paul Brooker ◽  
Margaret Hayward
Keyword(s):  
Final Section ◽  
The Body ◽  
Body Shop ◽  
The Third ◽  
Haute Couture ◽  
Fashion Designer ◽  
The Body Shop ◽  
The Uk ◽  
Career Woman

The Armani high-fashion example illustrates the importance of adaptive rational methods in his founding and developing of an iconic high-fashion firm. Armani adapted stylistically to fashion’s new times in the 1970–80s by creating a new style catering for the career woman. His stylistic adaptation is compared with that of another famous Italian fashion designer, Versace, who instead modernized haute couture fashion and created a succession of glamourous styles. Both leaders exploited the same opportunity but in different ways. The third section compares these leaders’ legacies in the 1990s–2000s and assesses from a long-term perspective how capably they had used adaptive rational methods. The final section shifts the focus from fashion to the cosmetics industry and from Italy to the UK. Anita Roddick used adaptive rational methods to establish The Body Shop corporation in the 1970s–80s. However, she then abandoned rational methods with dire results for her corporation in the 1990s.

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