Titlebook: Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990; Jon Stratton Book 2022 The Editor(s) (if applicable) and The Author(s

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书目名称Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990影响因子(影响力)




书目名称Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990影响因子(影响力)学科排名




书目名称Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990网络公开度




书目名称Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990网络公开度学科排名




书目名称Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990被引频次




书目名称Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990被引频次学科排名




书目名称Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990年度引用




书目名称Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990年度引用学科排名




书目名称Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990读者反馈




书目名称Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990读者反馈学科排名

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自传

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978-3-031-09014-1The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl

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Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990978-3-031-09012-7Series ISSN 2730-9517 Series E-ISSN 2730-9525

浮雕宝石

2730-9517 lar music, fashion and dancing in Britain to the developmentThis book explores dancing from the 1960s to the 1980s; though this period covers only twenty years, the changes during it were seismic. Nevertheless continuities can be found, and those are what this book examines. In dancing, it answers h

玷污

2730-9517 m the beat groups to electronic dance music. In terms of youth, it answers how we moved from youth culture to club culture. 978-3-031-09014-1978-3-031-09012-7Series ISSN 2730-9517 Series E-ISSN 2730-9525

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凹槽

Introduction: Those Dancing Years, noting that it developed at different times in America, France, the country about which Debord was writing, and Britain. Daniel Boorstin’s work on the increasing importance of the image and pseudo-events in American life is discussed in its similarities and differences to Debord’s concept of the society of the spectacle.

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