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1. |
Record Nr. |
UNINA9910961820903321 |
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Autore |
Vue Pao Lee <1980-> |
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Titolo |
Assimilation and the gendered color line : Hmong case studies of hip-hop and import racing / / Pao Lee Vue |
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Pubbl/distr/stampa |
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El Paso, : LFB Scholarly Pub., 2012 |
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ISBN |
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9781593326254 |
9781593326258 |
1593326254 |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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Collana |
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Disciplina |
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Soggetti |
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Assimilation (Sociology) - United States |
Sex discrimination - United States |
Hmong Americans |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Bibliographic Level Mode of Issuance: Monograph |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Intro -- CONTENTS -- Acknowledgements -- Chapter One: Introduction -- Chapter Two: Getting In -- The Case of Hmong Import Racing -- Chapter Three: Styling and Profiling -- Chapter Four: Becoming Asian and Deviant -- The Case of Hmong Hip-Hop -- Chapter Five: Going to Class and the Hmong Hip-Hop "Tool Kit" -- Chapter Six: "Keeping it Real" and "Blackened" Identities -- Chapter Seven: Conclusion -- Appendix: Interview Guide -- References -- Index. |
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Sommario/riassunto |
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Vue explores and analyzes segmented assimilation on the ground using Hmong case studies of hip-hop and import racing. His work sheds light on how second generation children are positioning themselves within the U.S. racial order. Findings indicate that the color line, though blurred, is still very strong in the U.S. and structures how children of immigrants adjust to American life. Through their encounters with exclusion, racism, and even agents of social control, Hmong male participants engage in resistance and create identity by using their cultural "tool kits," including the popular practices of hip-hop and import racing. |
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2. |
Record Nr. |
UNINA9910970210203321 |
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Autore |
Helbo Andre |
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Titolo |
Theory of performing arts / / by Andre Helbo |
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Pubbl/distr/stampa |
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Amsterdam ; ; Philadelphia, : Benjamins, 1987 |
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ISBN |
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1-283-35892-1 |
9786613358929 |
90-272-7900-4 |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (161 p.) |
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Collana |
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Disciplina |
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Soggetti |
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Performing arts - Semiotics |
Performing arts - Philosophy |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliography: p. 147-153. |
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Nota di contenuto |
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THEORY OF PERFORMING ARTS; Editorial page; Title page; Copyright page; Table of contents; Foreword; I. CRITICAL THEORY AND PERFORMING ARTS; 1. A general socio-semiotic model; 1. The discourse of social sciences; 1.1. The negative image of semiotics; 1.2. Actualization - Natural language (langue) and speech (parole); 1.3. Language and society; 1.4. The relational structure; 1.5. Enunciation; 2. Methodology. Spectacular discourse; 2.1. The polysemy of convention; 2.2. Arbitrariness and observation; 2.3. The possible world; 2.4. Persusasive and interpretative doing; 2.5. Modalities |
2.6. Specific rhetorics Note of the translator; Notes; 2. Towards a theatre semiotics; Notes; 3. Theatrology and literary studies; 1. What is theatrology?; 2. Theatrical production; 2.1. Identification; 2.2. Differentiation; 2.3. Text and performance; 3. Theatrical reception; 4. Montage; Notes; II. FUNDAMENTAL CONTROVERSIES; 1. Research methodology; 1. General survey; 2. Semiotics of theater; 3. Relationships to other scientific disciplines; 4. The scientific quest; Note; 2. Communication and cognition; 1. The validity of the rubrics; 2. The relevance of the concept of stimulation |
3. Relevance of the concept of communication Notes; 3. Pragmatics and discourse; 1. A double delegation process; 2. Enunciation instances; 3. |
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Ponendo tollens; Notes; 4. The code, irrelevant concept?; 1. The icon; 2. The index; 3. The signal; 4. The symbol; 5. Stereotypes; Notes; III. NEW PERSPECTIVES AND NEW INSTRUMENTS; 1. The visual paradigm and the scene; 1. Process of an encounter; 2. Semiology of the image; 3. Visual semiotics; 4. The theatrical text; 4.1. Plastic materiality; 4.2. On the relationship premanifested-linguistics-iconics; 4.3. On the verbalization of the figurated |
4.4. On codes Notes; 2. Readable and visible dimensions. Opera and theater.; 1. Definitions. Why is opera theory relevant to theatrology?; 2. Theater; 3. Opera; 4. The emancipated image; 5. Enunciated historicity; 6. A poetics; 3. Reception and relation; 1. Mask, otherness; 2. The theatrical object; 3. System of the game; 4. Approach of the theatrical game; Notes; 4. Constructing coherence; 1. Methodological premises; 2. The spectacular text; 3. The components of the spectacular text; 4. Pragmatic study of the spectacular text; 5. Contextual study of the spectacular text; 6. Text and coherence |
7. Conclusion 5. The spectacular paradigm; Notes; References |
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Sommario/riassunto |
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n recent years, the post structuralist theories seem to have created a split in theatrological research. But, as AndreĢ Helbo analyses in this book , a dialectic theory of the semiotic and the symbolic exchange bring to light a specific paradigm. From his wide experience as a semiotician and a theatrologist, the author has developed an analysis for the theory of spectacle. Focusing his study on a critical theory of the performing arts, and examining the fundamental controversies, he then offers new perspectives and new instruments of analysis: the social aspects, readability/visibility, coheren |
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