LEADER 03352nam 2200577 a 450 001 9910452237003321 005 20200520144314.0 010 $a1-84150-671-0 035 $a(CKB)2550000000103228 035 $a(EBL)922471 035 $a(OCoLC)794328924 035 $a(SSID)ssj0000676884 035 $a(PQKBManifestationID)11437249 035 $a(PQKBTitleCode)TC0000676884 035 $a(PQKBWorkID)10685341 035 $a(PQKB)10859327 035 $a(MiAaPQ)EBC922471 035 $a(Au-PeEL)EBL922471 035 $a(CaPaEBR)ebr10565427 035 $a(CaONFJC)MIL884723 035 $a(EXLCZ)992550000000103228 100 $a20120612d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBrit wits$b[electronic resource] $ea history of British rock humor /$fby Iain Ellis 210 $aBristol [England] $cIntellect$d2012 215 $a1 online resource (216 p.) 300 $aDescription based upon print version of record. 311 $a1-84150-565-X 320 $aIncludes bibliographical references. 327 $aFront Cover; Half Title; Title; Copyright; CONTENTS; INTRODUCTION: BRITISH, ROCK, HUMOR; MANIFESTATIONS ACROSS THE NATION; HOME IS WHERE THE HUMOR IS; COORDINATES AND DETERMINANTS; THE INS AND OUTS; 1. STARTING POINTS; Chapter 1: MUSIC HALL COMEDY; George Formby; Chapter 2: THE FIFTIES; AMERICAN DREAMING; Lonnie Donegan; Chapter 3: THE SIXTIES; ACCENT-UATIONS; The Beatles; The Kinks; WACKY WHIMSY; Pink Floyd; Bonzo Dog Doo-Dah Band; CH-CH-CH-CH-CHANGES; David Bowie, Part One; Chapter 4: THE SEVENTIES; GLAM BAM!; David Bowie, Part Two; Roxy Music; GOIN' DOWN TH' PUBS; Ian Dury 327 $aNEVER MIND THE BOLLOCKS, HERE'S BRITISH PUNKSex Pistols; The Slits; PUNK POETRY; John Cooper Clarke; THE NUTTY SOUND; Madness; Chapter 5: THE EIGHTIES; NEW ROMANTICS; ABC; NEW TRADITIONALISTS; The Smiths; Billy Bragg; POP GO THE SCOTS; The Proclaimers; MANC LADS; The Macc Lads; Happy Mondays; Chapter 6: THE NINETIES; GIRL POWER!; Spice Girls; COOL BRITANNIA; Blur; Pulp; TECHNO-SHOCK THERAPY; The KLF; Chapter 7: THE NAUGHTIES; 2-STEPPIN' OUT; The Streets; LONDON'S ANTI-DIVAS; Lily Allen; BRITPOP'S UP AGAIN; Arctic Monkeys; Art Brut; WELSH WITS; Chapter 8: CLOSING POINTS ...; NOTES; Back Cover 330 $aHumor, as much as any other trait, defines British cultural identity. It is "crucial in the English sense of nation," argues humor scholar Andy Medhurst; "To be properly English you must have a sense of humor," opines historian Antony Easthope. Author Zadie Smith perceives British humor as a national coping mechanism, stating, "You don't have to be funny to live here, but it helps." Sex Pistols frontman Johnny Rotten concurs, commenting, "There's a sense of comedy in the English that even in your grimmest moments you laugh"". 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Anthropometry, human behavior, and communication $e13th International Conference, DHM 2022, held as part of the 24th HCI International Conference, HCII 2022, Virtual event, June 26-July 1, 2022, Proceedings. Part I /$fVincent G. Duffy (editor) 210 1$aCham, Switzerland :$cSpringer,$d[2022] 210 4$dİ2022 215 $a1 online resource (377 pages) 225 1 $aLecture notes in computer science ;$v13319 300 $aDescription based upon print version of record. 311 08$aPrint version: Duffy, Vincent G. Digital Human Modeling and Applications in Health, Safety, Ergonomics and Risk Management. 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Following recent developments in museology, museum policies and practices have tended to prioritize community engagement over a traditional focus on collecting and preserving museal objects. At many museal institutions, a shift from a focus on objects to a focus on audiences has taken place. Artistic practices in the visual arts, music, and theater are also increasingly taking on participatory forms. The world of cultural heritage has seen an upsurge in participatory governance models favoring the expertise of local communities over that of trained professionals. While museal institutions, artists, and policy makers consider participation as a tool for implementing diversity policy, a solution to social disjunction, and a form of cultural activism, such participation has also sparked a debate on definitions, and on issues concerning the distribution of authority, power, expertise, agency, and representation. While new forms of audience and community engagement and corresponding models for ?co-creation? are flourishing, fundamental but paralyzing critique abounds and the formulation of ethical frameworks and practical guidelines, not to mention theoretical reflection and critical assessment of practices, are lagging. This book offers a space for critically reflecting on participatory practices with the aim of asking and answering the question: How can we learn to better participate? To do so, it focuses on the emergence of new norms and forms of collaboration as participation, and on actual lessons learned from participatory practices. If collaboration is the interdependent formulation of problems and entails the common definition of a shared problem space, how can we best learn to collaborate across disciplinary borders and what exactly can be learned from such collaboration? 410 0$aStudies in Art, Heritage, Law and the Market,$x2524-7433 ;$v5 606 $aInternational law 606 $aLaw$xPhilosophy 606 $aLaw$xHistory 606 $aHuman rights 606 $aCultural property 606 $aCultural property$xProtection 606 $aCulture$xStudy and teaching 606 $aSources and Subjects of International Law, International Organizations 606 $aTheories of Law, Philosophy of Law, Legal History 606 $aHuman Rights 606 $aCultural Heritage 606 $aCultural Resource Management 606 $aVisual Culture 615 0$aInternational law. 615 0$aLaw$xPhilosophy. 615 0$aLaw$xHistory. 615 0$aHuman rights. 615 0$aCultural property. 615 0$aCultural property$xProtection. 615 0$aCulture$xStudy and teaching. 615 14$aSources and Subjects of International Law, International Organizations. 615 24$aTheories of Law, Philosophy of Law, Legal History. 615 24$aHuman Rights. 615 24$aCultural Heritage. 615 24$aCultural Resource Management. 615 24$aVisual Culture. 676 $a306 676 $a363.69 702 $aRausch$b Christoph 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910590090203321 996 $aParticipatory practices in art and cultural heritage$93363991 997 $aUNINA