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Libros sobre el tema "Cross-cultural aesthetics and concepts"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 7 de febrero de 2022

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1

Thomas, David C. Cross-cultural management: Essential concepts. 2a ed. Thousand Oaks: Sage Publications, 2008.

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2

Caging the lion: Cross-cultural fictions. New York: P. Lang, 1993.

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3

Association, Information Resources Management. Cross-cultural interaction: Concepts, methodologies, tools, and applications. Hershey, PA: Information Science Reference, 2014.

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4

Concepts of nature: A Chinese-European cross-cultural perspective. Leiden, The Netherlands: Brill, 2010.

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5

Ekstrand, Gudrun. Developing the emic and etic concepts for cross-cultural comparisons. Malmö, Sweden: Dept. of Educational and Psychological Research, School of Education, 1986.

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6

Man, Eva Kit Wah. Cross-Cultural Reflections on Chinese Aesthetics, Gender, Embodiment and Learning. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0210-1.

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7

M, Andrews Margaret, ed. Transcultural concepts in nursing care. Glenview, Ill: Scott, Foresman, 1989.

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8

Beauty in context: Towards an anthropological approach to aesthetics. Leiden: E.J. Brill, 1996.

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9

Manhood in the making: Cultural concepts of masculinity. New Haven, Conn: Yale University Press, 1990.

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10

Fleer, Marilyn. Early learning and development: Cultural-historical concepts in play. Melbourne: Cambridge University Press, 2010.

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11

Early learning and development: Cultural-historical concepts in play. Melbourne: Cambridge University Press, 2010.

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12

Estetyka pośród kultur. Kraków: Towarzystwo Autorów i Wydawców Prac Naukowych Universitas, 2012.

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13

R, McFarland Marilyn, ed. Transcultural nursing: Concepts, theories, research and practice. 3a ed. New York: McGraw-Hill, Medical Pub. Division, 2002.

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14

Managing across cultures: Concepts, policies and practices. Los Angeles: Sage, 2011.

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15

Beyond memory: Silence and the aesthetics of remembrance. New York: Routledge, 2016.

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16

Culture du loisir, art et esthétique. Paris, France: Éditions You Feng, Libraire & éditeur, 2010.

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17

Grundzüge einer Ethnologie der Ästhetik. Frankfurt: Campus, 1986.

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18

Coombs-Ficke, Susan. Introduction to senior enterprise development: International concepts and U.S. application. Washington, D.C: American Association for International Aging, 1990.

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19

S, Boyle Joyceen, ed. Transcultural concepts in nursing care. 3a ed. Philadelphia: Lippincott, 1999.

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20

Andrews, Margaret M. Transcultural concepts in nursing care. 5a ed. Philadelphia: Lippincott Williams & Wilkins, 2008.

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21

S, Boyle Joyceen, ed. Transcultural concepts in nursing care. 2a ed. Philadelphia: Lippincott, 1995.

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22

Transcultural nursing: Concepts, theories, research & practices. 2a ed. New York: McGraw-Hill, Inc., 1995.

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23

1973-, Kraus Katrin, ed. Reworking vocational education: Policies, practices, and concepts. New York: Lang, 2009.

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24

Kua wen hua shi ye: Zhuan xing qi de wen hua yu mei xue pi pan = Cross-cultural perspectives : a critque of culture and aesthetics at the turning period. Beijing: Zhongguo wen lian chu ban she, 2003.

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25

Haug, Frances. Listen, copy, remember: Do the children really understand math concepts? : a study carried out in three countries. Regina: Research Centre, Saskatchewan School Trustees Association Research Centre, 1988.

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26

Tuning in to a different song: Using a music bridge to cross cultural differences. Pietermaritzburg: Cluster Publications, 2007.

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27

Kua wen hua mei xue: Chao yue Zhong xi er yuan lun mo shi = Cross-Cultural Aesthetics : Beyond the Model of Sino-Western Dualism. Changchun Shi: Changchun chu ban she, 2011.

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28

Recherches d'esthétique transculturelle. Paris: L'Harmattan, 2013.

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29

Wolny, Ryszard, Andrzej Ciuk y Stankomir Nicieja. Evil and ugliness across literatures and cultures. Opole: Uniwersytet Opolski, 2013.

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30

Balanzategui, Jessica. The Uncanny Child in Transnational Cinema. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462986510.

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The Uncanny Child in Transnational Cinema illustrates how global horror film depictions of children re-conceptualised childhood at the turn of the twenty-first century. By analysing an influential body of transnational horror films, largely stemming from Spain, Japan, and the US, Jessica Balanzategui shows how millennial uncanny child characters resist embodying growth and futurity, unravelling concepts to which the child's symbolic function is typically bound. The book proposes that complex cultural and industrial shifts at the turn of the millennium resulted in these potent cinematic renegotiations of the concept of childhood. By demonstrating both the culturally specific and globally resonant properties of these frightening visions of children who refuse to grow up, the book outlines the conceptual and aesthetic mechanisms by which long entrenched ideologies of futurity, national progress, and teleological history started to waver at the turn of the twenty-first century.
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31

1972-, Yuzer T. Volkan y Kurubacak Gulsun 1964-, eds. Transformative learning and online education: Aesthetics, dimensions and concepts. Hershey PA: Information Science Reference, 2010.

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32

Cross-Cultural Management: Essential Concepts. SAGE Publications, Inc, 2017.

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33

Cross-Cultural Management: Essential Concepts. SAGE Publications, Incorporated, 2014.

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34

Cross-Cultural Management: Essential Concepts. Sage Publications, Inc, 2008.

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35

O, Norales Francisca, ed. Cross-cultural communication: Concepts, cases and challenges. Youngstown, New York: Cambria Press., 2006.

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36

Francisca, O. Norales. Cross-Cultural Communication: Concepts, Cases and Challenges. Cambria Press, 2006.

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37

1937-, Berendt Erich Adalbert, ed. Metaphors for learning: Cross-cultural perspectives. Amsterdam: John Benjamins Publishing, 2008.

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38

Cross-Cultural Behaviour in Tourism: Concepts and analysis. Butterworth-Heinemann, 2003.

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39

Reed, Christopher Robert. Cultural and Aesthetic Expressions. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036231.003.0008.

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This chapter discusses the cultural undergirding that made the Jazz Age what it was. The performing arts—which included instrumental music, choral music, and individual vocal presentations—dominated creative performance in Chicago. Mastery of the voice heard in sopranos, tenors, baritones, and basses accompanied widespread mastery of the piano. As a result, highly skilled musicians abounded. In the second decade of the century, ragtime, blues, and jazz emerged. Black groups performed throughout the city in concert halls such as the downtown district's Orchestra Hall and Auditorium Theater, in South Side churches, and in the private homes of wealthy whites on the North Side.
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40

J, Cheal David, ed. Family: Critical concepts in sociology. New York: Routledge, 2003.

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41

Cheyne, Peter, Andy Hamilton y Max Paddison, eds. The Philosophy of Rhythm. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199347773.001.0001.

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Spanning all cultures, rhythm is the basic pulse that animates poetry and music. The recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience—particularly in sociology, cultural and media theory, and literary studies—has yet to explore this fundamental category. Discussion of rhythm tends to be confined within the discrete conceptual domains and technical vocabularies of musicology and prosody. With its original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, this volume opens up wider—and plural—perspectives. It examines formal affinities between the historically interconnected fields of music, dance, and poetry, addressing key concepts such as embodiment, movement, pulse, and performance. Questions considered include: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? What is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? This collection provides a unique overview of a neglected aspect of aesthetic experience, and will appeal across disciplinary boundaries. It examines formal affinities between the historically interconnected fields of music, dance, and poetry, addressing key concepts such as embodiment, movement, pulse, and performance. The book is conceived throughout to appeal to a cross-disciplinary readership.
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42

Jonsson, Herbert, Lovisa Berg, Chatarina Edfeldt y Bo G. Jansson, eds. Narratives Crossing Borders: The Dynamics of Cultural Interaction. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbj.

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Which is the identity of a traveler who is constantly on the move between cultures and languages? What happens with stories when they are transmitted from one place to another, when they are retold, remade, translated and re-translated? What happens with the scholars themselves, when they try to grapple with the kaleidoscopic diversity of human expression in a constantly changing world? These and related questions are, if not given a definite answer, explored in the chapters of this anthology. Its overall topic, narratives that pass over national, language and ethnical borders include studies about transcultural novels, poetry, drama and the narratives of journalism. There is a broad geographic diversity, not only in the anthology as a whole, but also in each of the single contributions. This in turn demand a multitude of theoretical and methodological approaches, which cover a spectrum of concepts from such different sources as post-colonial studies, linguistics, religion, aesthetics, art and media studies, often going beyond the well-known Western frameworks. The works of authors like Miriam Toews, Yoko Tawada, Javier Moreno, Leila Abouela, Marguerite Duras, Kyoko Mori, Francesca Duranti, Donato Ndongo-Bidyogo, Rībi Hideo, and François Cheng are studied from a variety of perspectives. Other chapters deal with code-switching in West-african novels, border-crossing in the Japanese noh drama, translational anthologies of Italian literature, urban legends on the US-Mexico border, migration in German children's books, and war trauma in poetry. Most of the chapters are case studies, and may thus be of interest, not only for specialists, but also for the general reader.
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43

Ibarra, Enrique Ajuria. Cross-border Implications: Transnational Haunting, Gender and the Persistent Look of The Eye. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0010.

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The Eye (Gin Gwai, 2002) and its two sequels (2004, 2005) deal with pan-Asian film production, gender, and identity. The films seem to embrace a transnational outlook that that fits a shared Southeast Asian cinematic and cultural agenda. Instead, they disclose tensions about Hong Kong’s identity, its relationship with other countries in the region, and its mixture of Western and Eastern traditions (Knee, 2009). As horror films, The Eye series feature transpositional hauntings framed by a visual preference for understanding reality and the supernatural that is complicated by the ghostly perceptions of their female protagonists. Thus, the issues explored in this film series rely on a haunting that presents textual manifestations of transposition, imposition, and alienation that further evidence its complicated pan-Asian look. This chapter examines the films’ privilege of vision as catalyst of a transnational, Asian Gothic horror aesthetic that addresses concepts of identity, gender, and subjectivity.
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44

Man, Eva Kit Wah. Cross-Cultural Reflections on Chinese Aesthetics, Gender, Embodiment and Learning. Springer, 2020.

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45

Wilson, Paul. Dynamicity in Emotion Concepts. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2012.

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46

Dynamicity in Emotion Concepts. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2012.

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47

Estetyka transkulturowa. Krakow: Towarzystwo Autorow i Wydawcow Prac Naukowych "Universitas", 2004.

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48

Krystyna, Wilkoszewska, ed. Estetyka transkulturowa. Kraków: Tow. Autorów i Wydawców Prac Nauk. "Universitas", 2004.

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49

Bolden, Tony. Groove Theory. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830524.001.0001.

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Tony Bolden presents an innovative history of funk music focused on the performers, regarding them as intellectuals who fashioned a new aesthetic. Utilizing musicology, literary studies, performance studies, and African American intellectual history, Bolden explores what it means for music, or any cultural artifact, to be funky. Multitudes of African American musicians and dancers created aesthetic frameworks with artistic principles and cultural politics that proved transformative. Bolden approaches the study of funk and black musicians by examining aesthetics, poetics, cultural history, and intellectual history. The study traces the concept of funk from early blues culture to a metamorphosis into a full-fledged artistic framework and a named musical genre in the 1970s, and thereby Bolden presents an alternative reading of the blues tradition. Funk artists, like their blues relatives, tended to contest and contextualize racialized notions of blackness, sexualized notions of gender, and bourgeois notions of artistic value. Funk artists displayed contempt for the status quo and conveyed alternative stylistic concepts and social perspectives through multimedia expression. Bolden argues that on this road to cultural recognition, funk accentuated many of the qualities of black expression that had been stigmatized throughout much of American history.
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50

Shusterman, Richard. Aesthetics and Postmodernism. Editado por Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0047.

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This article focuses on the philosophical issues, themes, and theories of postmodernism and how they impact on the field of aesthetics. But it begins with a brief historical overview of how postmodernism evolved in the past half-century from a specific artistic style concept to a notion of very general social and cultural significance. It then explores the nasty tangle of ambiguities and tensions in the concept of postmodernism and goes on to survey its major philosophical theories. It concludes by considering what consequences postmodernism should have for aesthetic theory and what a postmodern aesthetic would be like.
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