LEADER 00866nam0-2200301---450- 001 990008334200403321 005 20060525113356.0 035 $a000833420 035 $aFED01000833420 035 $a(Aleph)000833420FED01 035 $a000833420 100 $a20060524d1972----km-y0itay50------ba 101 1 $aita$crus 102 $aIT 105 $ay-------001yy 200 1 $a<>villaggio della nuova vita$eromanzo$fAndréj Platonov$gtraduzione di Maria Olsùfieva 210 $aMilano$cA. 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Why Immerse? -- $tII. Choosing a Subject and Gaining Access -- $tIII. Once Inside -- $tIV . Undercover: Moving beyond Stunt -- $tV. Writing It -- $tVI. Aftermath -- $tAcknowledgments -- $tAnnotated Bibliography -- $tIndex 330 $aOver three and a half decades, Ted Conover has ridden the rails with hoboes, crossed the border with Mexican immigrants, guarded prisoners in Sing Sing, and inspected meat for the USDA. His books and articles chronicling these experiences, including the award-winning Newjack: Guarding Sing Sing, have made him one of the premier practitioners of immersion reporting. In immersion reporting?a literary cousin to ethnography, travel writing, and memoir?the writer fully steps into a new world or culture, participating in its trials, rites, and rituals as a member of the group. The end results of these firsthand experiences are familiar to us from bestsellers such as Nickel and Dimed and Behind the Beautiful Forevers. But in a world of wary strangers, where does one begin? Conover distills decades of knowledge into an accessible resource aimed at writers of all levels. He covers how to ?get into? a community, how to conduct oneself once inside, and how to shape and structure the stories that emerge. Conover is also forthright about the ethics and consequences of immersion reporting, preparing writers for the surprises that often surface when their piece becomes public. Throughout, Conover shares anecdotes from his own experiences as well as from other well-known writers in this genre, including Alex Kotlowitz, Anne Fadiman, and Sebastian Junger. It?s a deep-in-the-trenches book that all aspiring immersion writers should have in hand as they take that first leap into another world. 410 0$aChicago guides to writing, editing, and publishing. 606 $aReportage literature$xAuthorship 606 $aParticipant observation 606 $aInvestigative reporting 606 $aCreative nonfiction 610 $aethics. 610 $aethnography. 610 $afirst person. 610 $apersonal experience. 610 $astructure. 610 $aundercover reporting. 615 0$aReportage literature$xAuthorship. 615 0$aParticipant observation. 615 0$aInvestigative reporting. 615 0$aCreative nonfiction. 676 $a808.02 700 $aConover$b Ted$0957037 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910136700003321 996 $aImmersion$92167728 997 $aUNINA LEADER 03300 am 2200733 n 450 001 9910496007103321 005 20210208 010 $a2-900956-23-4 024 7 $a10.4000/books.cedej.1922 035 $a(CKB)4100000011923655 035 $a(FrMaCLE)OB-cedej-1922 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/87289 035 $a(PPN)255905998 035 $a(EXLCZ)994100000011923655 100 $a20210512j|||||||| ||| 0 101 0 $afre 135 $auu||||||m|||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aMusique arabe $eLe Congrès du Caire de 1932 /$fPhilippe Vigreux 210 $aLe Caire $cCEDEJ - Égypte/Soudan$d2021 215 $a1 online resource (440 p.) 225 1 $aRecherches et témoignages 330 $a1932. La musique arabe est à un tournant crucial de son histoire. Au Maghreb, le répertoire classique n?offre plus qu?un souffle indigent. L?Égypte, tournant le dos à un « classicisme » de fraîche date, explore des voix nouvelles. Seul l?Irak, faiblement pénétré des influences extérieures, préserve une authenticité. Le Congrès historique est un appel au secours (tourné en partie vers l?Occident). S?il ne parviendra pas à inverser le cours naturel de l?histoire, il nous laisse un ensemble documentaire de toute première importance. C?est ce legs que le colloque réuni au Caire du 25 au 28 mai 1989 s?est fixé pour but d?étudier : ses qualités, ses faiblesses, l?impact des techniques et des idéologiques. La première partie de ce livre rassemble les textes issus de cette réflexion pluridisciplinaire. En seconde partie, une analyse de la presse égyptienne d?époque jette un regard neuf sur les tensions sous-jacentes aux débats et complète la documentation jusqu?ici disponible. Sans oublier l?effort accompli dans le domaine de l?organologie ni ceux et celles qui, en Égypte, ont prêté leurs voix aux enregistrements. 606 $aMusic 606 $aLe Caire 606 $amusique 606 $acongrès 606 $aarabe 606 $a1932 610 $aLe Caire 610 $amusique 610 $acongrès 610 $aarabe 610 $a1932 615 4$aMusic 615 4$aLe Caire 615 4$amusique 615 4$acongrès 615 4$aarabe 615 4$a1932 700 $aAl-Mallah$b Issâm$01324655 701 $aAl-shawan Castelo-Branco$b Salwa$01324656 701 $aBelleface$b Jean-François$01324657 701 $aBouzar-Kasabdji$b Nadya$01324658 701 $aElsner$b Jürgen$01324659 701 $aFathallah$b Linda$01324660 701 $aGuettat$b Mahmoud$0644850 701 $aJihad Racy$b Ali$01324661 701 $aKamel$b Mahmûd$0652627 701 $aMecheri-Saada$b Nadia$01324662 701 $aNeubauer$b Eckhard$081741 701 $aQassim Hassan$b Sheherazade$01324663 701 $aRoy$b Martha$01324664 701 $aSimon$b Artur$01324665 701 $aVatin$b Jean-Claude$0244837 701 $aVigreux$b Philippe$01324666 701 $aVigreux$b Philippe$01324666 801 0$bFR-FrMaCLE 906 $aBOOK 912 $a9910496007103321 996 $aMusique arabe$93036237 997 $aUNINA