LEADER 01490cam0-22004931i-450 001 990001808000403321 005 20210301093648.0 010 $a88-467-0027-9 035 $a000180800 035 $aFED01000180800 035 $a(Aleph)000180800FED01 035 $a000180800 100 $a20030910d1997----km-y0itay50------ba 101 0 $aita 102 $aIT 105 $aa-------001yy 200 1 $aNatura e immagine$eil manoscritto di Francesco Redi sugli insetti delle galle$fWalter Bernardi, Guido Pagliano, Luciano Santini, Franco Strumia, Lucia Tongiorgi Tomasi, Paolo Tongiorgi 210 $aPisa$cETS$d1997 215 $a251 p.$cill.$d30 cm 610 0 $aGalle 610 0 $aInsetti 610 0 $aCecidologia 610 0 $aRedi, Francesco$aOpere di entomologia$aManoscritti 676 $a581.2$v20$zita 676 $a595.7$v20$zita 676 $a632.2$v20$zita 676 $a595.7092$v23$zita 702 1$aBernardi,$bWalter$f<1948- > 702 1$aPagliano,$bGuido 702 1$aRedi,$bFrancesco$f<1626-1698> 702 1$aSantini,$bLuciano 702 1$aStrumia,$bFranco 702 1$aTongiorgi Tomasi,$bLucia 702 1$aToongiorgi,$bPaolo 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990001808000403321 952 $a61 IX D.4/22$b6622 (10/12/97)$fDAGEN 952 $a60 595.709 BERW 1997$b6542$fFAGBC 959 $aDAGEN 959 $aFAGBC 996 $aNatura e immagine$9406432 997 $aUNINA DB $aING01 LEADER 03091nam 2200661 450 001 9910449957803321 005 20200520144314.0 010 $a1-280-45300-1 010 $a0-19-535529-6 010 $a0-19-518599-4 035 $a(CKB)1000000000028829 035 $a(EBL)241269 035 $a(OCoLC)475955896 035 $a(SSID)ssj0001150699 035 $a(PQKBManifestationID)12529621 035 $a(PQKBTitleCode)TC0001150699 035 $a(PQKBWorkID)11188694 035 $a(PQKB)11187359 035 $a(SSID)ssj0000275481 035 $a(PQKBManifestationID)11210178 035 $a(PQKBTitleCode)TC0000275481 035 $a(PQKBWorkID)10223101 035 $a(PQKB)11525534 035 $a(MiAaPQ)EBC241269 035 $a(MiAaPQ)EBC4701132 035 $a(Au-PeEL)EBL4701132 035 $a(CaPaEBR)ebr11273072 035 $a(CaONFJC)MIL45300 035 $a(OCoLC)58995191 035 $a(EXLCZ)991000000000028829 100 $a20161011h20012001 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aWrong's what I do best $ehard country music and contemporary culture /$fBarbara Ching 210 1$aOxford, [England] ;$aNew York, New York :$cOxford University Press,$d2001. 210 4$dİ2001 215 $a1 online resource (199 p.) 300 $aDescription based upon print version of record. 311 $a0-19-516942-5 311 $a0-19-510835-3 320 $aIncludes bibliographical references and index. 327 $aContents; Introduction: Learning the hard way; 1 "Country 'til I die": Contemporary hard country and the incurable unease of class distinction; 2 The Possum, the Hag, and the Rhinestone Cowboy: The burlesque abjection of the white male; 3 The hard act to follow: Hank Williams and the legacy of hard country stardom; 4 Drawing hard lines: Buck Owens, Dwight Yoakam, and the Bakersfield Sound; 5 Dying hard: Hard country at the finish line?; Notes; Works Cited; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; R; S; T; U; V; W; Y 330 $aThis is the first study of ""hard"" country music as well as the first comprehensive application of contemporary cultural theory to country music. Barbara Ching begins by defining the features that make certain country songs and artists ""hard."" She compares hard country music to ""high"" American culture, arguing that hard country deliberately focuses on its low position in the American cultural hierarchy, comically singing of failures to live up to American standards of affluence, while mainstream country music focuses on nostalgia, romance, and patriotism of regular folk. With chapters on 606 $aCountry music$xHistory and criticism 608 $aElectronic books. 615 0$aCountry music$xHistory and criticism. 676 $a781.642 700 $aChing$b Barbara$f1958-$0847181 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910449957803321 996 $aWrong's what I do best$91892497 997 $aUNINA