LEADER 02670nam 2200649 a 450 001 9910455222303321 005 20200520144314.0 010 $a1-282-48489-3 010 $a9786612484896 010 $a1-60473-496-5 035 $a(CKB)1000000000816878 035 $a(EBL)515565 035 $a(OCoLC)468776543 035 $a(SSID)ssj0000335488 035 $a(PQKBManifestationID)11229983 035 $a(PQKBTitleCode)TC0000335488 035 $a(PQKBWorkID)10273621 035 $a(PQKB)10993121 035 $a(MiAaPQ)EBC515565 035 $a(MdBmJHUP)muse13604 035 $a(Au-PeEL)EBL515565 035 $a(CaPaEBR)ebr10340761 035 $a(EXLCZ)991000000000816878 100 $a20020412d2003 ub 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt 182 $cc 183 $acr 200 14$aThe Cajuns$b[electronic resource] $eAmericanization of a people /$fShane K. Bernard 210 $aJackson $cUniversity Press of Mississippi$dc2003 215 $a1 online resource (221 p.) 300 $aEnlargement of author's thesis (Ph. D.)--University of Louisiana at Lafayette. 311 $a1-57806-523-2 320 $aIncludes bibliographical references (p. 151-182) and index. 327 $aCajuns during wartime -- Atomic-age Cajuns -- Cajuns and the 1960s -- From coonass to Cajun power -- Exploitation and revitalization. 330 $aHistory -- Southern Studies-->. The past sixty years have shaped and reshaped the group of French-speaking Louisiana people known as the Cajuns. During this period they have become much like other Americans and yet have remained strikingly distinct. The Cajuns: Americanization of a People explores these six decades and analyzes the forces that had an impact on Louisiana's Acadiana. In the 1940's, when America entered World War II, so too did the isolated Cajuns. Cajun soldiers fought alongside troops from Brooklyn and Berkeley and absorbed aspects of new cultures. In the 1950's as rock 'n' roll 606 $aCajuns$xHistory 606 $aCajuns$xCultural assimilation 606 $aCajuns$xEthnic identity 606 $aAmericanization 607 $aUnited States$xEthnic relations 607 $aLouisiana$xEthnic relations 608 $aElectronic books. 615 0$aCajuns$xHistory. 615 0$aCajuns$xCultural assimilation. 615 0$aCajuns$xEthnic identity. 615 0$aAmericanization. 676 $a305.84/10763 700 $aBernard$b Shane K$0887948 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910455222303321 996 $aThe Cajuns$92039228 997 $aUNINA LEADER 04947nam 2201093 450 001 9910796472703321 005 20200520144314.0 010 $a0-520-27965-4 010 $a0-520-96001-7 024 7 $a10.1525/9780520960015 035 $a(CKB)3800000000006959 035 $a(EBL)1732136 035 $a(OCoLC)895162109 035 $a(SSID)ssj0001367962 035 $a(PQKBManifestationID)12597571 035 $a(PQKBTitleCode)TC0001367962 035 $a(PQKBWorkID)11447565 035 $a(PQKB)10901226 035 $a(DE-B1597)520183 035 $a(OCoLC)1102798643 035 $a(DE-B1597)9780520960015 035 $a(Au-PeEL)EBL1732136 035 $a(CaPaEBR)ebr10984106 035 $a(CaONFJC)MIL661023 035 $a(MiAaPQ)EBC1732136 035 $a(EXLCZ)993800000000006959 100 $a20141124h20152015 uy 0 101 0 $aeng 135 $aur||#|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aFilm rhythm after sound $etechnology, music, and performance /$fLea Jacobs 210 1$aOakland, California :$cUniversity of California Press,$d2015. 210 4$dİ2015 215 $a1 online resource (281 p.) 300 $aDescription based upon print version of record. 311 $a1-322-29741-X 311 $a0-520-27964-6 320 $aIncludes bibliographical references, filmography and index. 327 $tFront matter --$tOnline Film Clips --$tAcknowledgments --$tContents --$t1. Introduction --$t2. A Lesson with Eisenstein --$t3. Mickey Mousing Reconsidered --$t4. Lubitsch and Mamoulian --$t5. Dialogue Timing and Performance in Hawks --$t6. Afterword --$tNotes --$tBibliography --$tFilmography --$tIndex 330 $aThe seemingly effortless integration of sound, movement, and editing in films of the late 1930's stands in vivid contrast to the awkwardness of the first talkies. Film Rhythm after Sound analyzes this evolution via close examination of important prototypes of early sound filmmaking, as well as contemporary discussions of rhythm, tempo, and pacing. Jacobs looks at the rhythmic dimensions of performance and sound in a diverse set of case studies: the Eisenstein-Prokofiev collaboration Ivan the Terrible, Disney's Silly Symphonies and early Mickey Mouse cartoons, musicals by Lubitsch and Mamoulian, and the impeccably timed dialogue in Hawks's films. Jacobs argues that the new range of sound technologies made possible a much tighter synchronization of music, speech, and movement than had been the norm with the live accompaniment of silent films. Filmmakers in the early years of the transition to sound experimented with different technical means of achieving synchronization and employed a variety of formal strategies for creating rhythmically unified scenes and sequences. Music often served as a blueprint for rhythm and pacing, as was the case in mickey mousing, the close integration of music and movement in animation. However, by the mid-1930s, filmmakers had also gained enough control over dialogue recording and editing to utilize dialogue to pace scenes independently of the music track. Jacobs's highly original study of early sound-film practices provides significant new contributions to the fields of film music and sound studies. 606 $aSound in motion pictures 606 $aMotion picture music 606 $aDialogue in motion pictures 606 $aMotion pictures$xProduction and direction 606 $aRhythm 610 $aanimated films. 610 $aanimation. 610 $acase studies. 610 $adialogue. 610 $adisneys silly symphonies. 610 $aeisenstein-prokofiev collaboration. 610 $afilm and television. 610 $afilm editing. 610 $afilm history. 610 $afilm music. 610 $afilm rhythm. 610 $afilm studies. 610 $afilm. 610 $afilmmaking. 610 $afirst talkies. 610 $aivan the terrible. 610 $amickey mouse cartoons. 610 $amovement in film. 610 $amovies. 610 $amusic track. 610 $amusicals. 610 $apacing. 610 $aperformance and sound. 610 $arhythm. 610 $asound film practices. 610 $asound in film. 610 $asound studies. 610 $asound technologies. 610 $asound. 610 $asynchronized sound. 610 $atechnology. 610 $atempo. 615 0$aSound in motion pictures. 615 0$aMotion picture music. 615 0$aDialogue in motion pictures. 615 0$aMotion pictures$xProduction and direction. 615 0$aRhythm. 676 $a791.43/6578 686 $aLR 53509$2rvk 700 $aJacobs$b Lea$0165930 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910796472703321 996 $aFilm rhythm after sound$93754241 997 $aUNINA LEADER 04018nam 2200841 450 001 9910825398003321 005 20211005030156.0 010 $a0-8232-5440-2 010 $a0-8232-6117-4 010 $a0-8232-5442-9 010 $a0-8232-5441-0 024 7 $a10.1515/9780823254415 035 $a(CKB)2670000000427387 035 $a(EBL)1578263 035 $a(SSID)ssj0000999830 035 $a(PQKBManifestationID)11566459 035 $a(PQKBTitleCode)TC0000999830 035 $a(PQKBWorkID)10943655 035 $a(PQKB)10610128 035 $a(StDuBDS)EDZ0000292571 035 $a(MiAaPQ)EBC3239853 035 $a(OCoLC)862135599 035 $a(MdBmJHUP)muse27555 035 $a(DE-B1597)555194 035 $a(DE-B1597)9780823254415 035 $a(MiAaPQ)EBC1578263 035 $a(Au-PeEL)EBL3239853 035 $a(CaPaEBR)ebr10769548 035 $a(OCoLC)915134863 035 $a(MiAaPQ)EBC4703324 035 $a(Au-PeEL)EBL4703324 035 $a(CaONFJC)MIL818202 035 $a(OCoLC)868397275 035 $a(EXLCZ)992670000000427387 100 $a20130717d2013 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe architecture of concepts $ethe historical formation of human rights /$fPeter de Bolla 210 1$aNew York :$cFordham University Press,$d2013. 215 $a1 online resource (309 p.) 300 $aDescription based upon print version of record. 311 $a0-8232-5439-9 311 $a0-8232-5438-0 320 $aIncludes bibliographical references and index. 327 $aMachine generated contents note: -- Acknowledgments -- Introduction -- 1. On Concepts as Cultural Entities -- 2. ". the fundamental rights and liberties of mankind.": The Architecture of the Rights of Mankind -- 3. ". there are, thank God, natural, inherent and inseparable rights as men.": The Architecture of American Rights -- 4. ". the rights of man were but imperfectly understood at the revolution": The Architecture of Rights of Man -- 5. The Futures of Human Rights -- Index. 330 $aThe Architecture of Concepts proposes a radically new way of understanding the history of ideas. Taking as its example human rights, it develops a distinctive kind of conceptual analysis that enables us to see with precision how the concept of human rights was formed in the eighteenth century.The first chapter outlines an innovative account of concepts as cultural entities. The second develops an original methodology for recovering the historical formation of the concept of human rights based on data extracted from digital archives. This enables us to track the construction of conceptual architectures over time.Having established the architecture of the concept of human rights, the book then examines two key moments in its historical formation: the First Continental Congress in 1775 and the publication of Tom Paine?s Rights of Man in 1792. Arguing that we have yet to fully understand or appreciate the consequences of the eighteenth-century invention of the concept ?rights of man,? the final chapter addresses our problematic contemporary attempts to leverage human rights as the most efficacious way of achieving universal equality. 606 $aCivil rights$xHistory 606 $aHuman rights$xHistory 606 $aLiberty 610 $aAdams. 610 $aJefferson. 610 $aThomas Paine. 610 $aconcepts. 610 $adigital humanities. 610 $afounding of America. 610 $ahuman rights. 610 $arights. 615 0$aCivil rights$xHistory. 615 0$aHuman rights$xHistory. 615 0$aLiberty. 676 $a323 686 $aLIT000000$aPOL004000$2bisacsh 700 $aDe Bolla$b Peter$f1957-$0447173 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910825398003321 996 $aThe architecture of concepts$94112676 997 $aUNINA