Category的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列包括價格和評價等資訊懶人包

American Manhood: A Concise History of Masculinity in U.s. History and Culture

為了解決Category的問題，作者Carroll, Bret 這樣論述：

While the concepts of manhood and masculinity have assumed an established place in gender and historical studies and masculinity is the subject of wide popular interest and discussion, there is currently no up-to-date, comprehensive historical overview of the subject. American Manhood will introd

uce readers to the dynamic interplay between the perceptions and experiences we call "masculinity" and major social, cultural, political, and economic developments in our history. Its central argument will be that Americans of different racial, class, ethnic, and regional groups have historically us

ed concepts of masculine identity to gender relations of power and national belonging in ways that attempt either to entrench or to stake their claims to positions of authority and legitimacy in American life. Gender, the book assumes and will demonstrate, provides a crucial analytic category for un

derstanding U.S. history. The book will cover the period from roughly the early seventeenth century to the present. It will utilize a combination of chronological and topical approaches to present a state-of-the-art narrative, reflective of current historical scholarship, to a broad general audience

. The anticipated audience will bring to their reading a familiarity with recent popular discussions of masculinity; American Manhood will use accessible prose to reveal to them the enormous complexity, diversity, and historical rootedness of the topic - to deepen readers' understanding of a subject

they thought they knew.

Category進入發燒排行的影片

關於沈浸自己，我說的其實是

為了解決Category的問題，作者陳冠中 這樣論述：

此書面報告書寫從個人迷戀於「音」出發，回溯「音」愛好者的身份過渡到 以「音」作為創作思考的歷程，爬梳「音」與聲音藝術間之外的研究，進而追究 「音」作為主體之下，去聲音藝術化的「音」，如何勾勒出「音」的主體性。在 此「音」主體性的建構過程，必需同時進行解構主體性化，也就是說當「音」有 了結構性的系統，「音」也就不在是「音」了。以「音」作為書寫(創作)的對 象，本身就極為弔詭，「音」是無法明確地被定義的，當本文試圖接近「音」主體 性的過程，以及「音」作為創作的思考對象，便是「音」趨向消逝死亡的時刻， 「音」始終面對自身的抵抗性，不得不提醒筆者在整個書寫過程(創作

過程)，需 要摧毀書寫結構(作品的形式內容)。以上的文字原寫於西元二零二一年三月十八日， 改寫於西元二零二一年十一月三十日，這些文字以「先將來時」的時態預言著未來， 我在西元二零二一年九月二十三日決定摧毀書寫結構的這一個動作。「只好做壞自己」，是經過疫情之後，重新梳理自我與創作的關係，原先關於「音」 的章節書寫，只保留了「噪動史」的部分放在後記裡面。書寫主軸將重新定位在新作 上面。《代號:劇場的原始積累》因疫情取消公開展演，在無法繼續往下推動進展之 下，取而代之的是，奠基在「只要不睡覺，就會有時間了」這一句話為核心發展的作 品，保留了「無線電」聲音技術作為發展，但這個作品並不是要直接以劇場的

形式去 回應有關劇場的勞動問題，《非得要錯過些什麼》透過與表演者的共創，試圖從「活」 的身體擾動展覽的界線，製造出非在場的真實。

National Geographic Readers: Animal Tails (L1/Co-Reader)

為了解決Category的問題，作者Davidson, Rose 這樣論述：

Why do animals have tails? Parents and kids together will discover unique animals and learn all the cool ways their tails help them move, communicate, and keep safe. This Level 1 Co-Reader takes readers around the world to meet some kid-favorite and new creatures whose tails have remarkable abili

ties. Learn how dolphins use their powerful fins to swim up the Amazon River, why a pangolin uses its scaly tail to curl into a ball, and how a mom and baby spider monkey swing from tree to tree with a fluffy long tail! Each page will dazzle and delight with new and familiar creatures and amazing fa

cts. Fun activity pages allow parents and kids to engage with the content even more while also building their vocabulary. National Geographic Kids Readers have been a hit in the beginning reader category, and this book builds upon that success with a different approach--parents and children reading

together. With the same combination of careful text, brilliant photographs, and fun approach to high-interest subjects that has proved to be a winning formula with kids, National Geographic Co-readers provide one page of adult read-aloud and one page of kid read-aloud text on each spread, building t

oward a collaborative reading experience. So come along for a tale of animal tails and learn what makes them so special!

許常惠《留傘調變奏與主題》作品44 之樂曲分析與演奏詮釋

為了解決Category的問題，作者簡昱恕 這樣論述：

許常惠(1929-2001)為臺灣現代音樂創作的先驅，臺灣民族音樂採集的領航人，是當代臺灣最有影響力的音樂家之一。音樂創作類型包含歌劇、舞劇、清唱劇、管絃樂曲、協奏曲、獨奏曲等。許常惠在學術方面的研究成果也極為豐富，從西洋音樂理論到臺灣傳統音樂皆有專著，代表性著作如《臺灣音樂史初稿》及《民族音樂學導論》等；其對傳統音樂的社會文化價值研究極具開創性視野及見解，能積極促進社會對傳統音樂的重視，並帶動一股風潮。本篇書面報告研究以臺灣當代作曲家許常惠於1991年發表的小提琴無伴奏獨奏曲作品《留傘調變奏與主題》(Variations and Theme on the Folk Tune of “Cat

ching Umbrella”)為主要研究對象。全文共分四章進行論述，首先，闡述研究此曲的動機與目的、範圍及方法。其次，就各方文獻記載研究作曲家生平。其三，解析創作背景，從風格與素材開始，進一步去認識作品的創作脈絡，針對曲式做架構分析，探討演奏的詮釋方法。最後對全文做總結。透過本文的探析，理解該作品之音樂創作思維，提出合宜之演奏詮釋建議，期望能提供未來相關研究者做為參考。