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Perennial Fashion—Jazz
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Perennial Fashion—Jazz (2020)Perennial Fashion—JazzPunk, Fashion and Aesthetic Cosmopolitanism (2019)Punk, Fashion and Aesthetic C…Suffer the Little Vixens: Sex and Realist Terror in “Jazz Age” America (2015)Suffer the Little Vixens: Sex…Sound Work: Music as Labor and the 1940s Recording Bans of the American Federation of Musicians (2013)Sound Work: Music as Labor an…De-Nationalization and Re-Nationalization of Culture: The Globalization of K-Pop (2013)De-Nationalization and Re-Nat…Transformative Learning Through Aesthetic Experience (2010)Transformative Learning Throu…The pan-Africanism we have: Nollywood's invention of Africa (2007)The pan-Africanism we have: N…Mass Culture, Commodification, and the Consolidation of the Afro-Peruvian Festejo (2006)Mass Culture, Commodification…The Work of Art in the Postcolonial Imagination (2000)The Work of Art in the Postco…The Aura of Authenticity (2000)The Aura of AuthenticityTemp work: Music and the cultural shaping of time (2000)Temp work: Music and the cult…All that Jazz again: Adorno's sociology of music (1991)All that Jazz again: Adorno's…Adorno on Jazz: Vienna versus the vernacular (1988)Adorno on Jazz: Vienna versus…The Feminization of American Culture (1977)Noise... The Political Economy of Music (1988)The Gender of Modernity (1995)The New Edith Wharton Studies (2019)Jazz: Its Evolution and Essence (1956)Main Currents of Marxism (1976)The Melancholy Science (1978)Adorno e o jazz (2012)The History of Sexuality (1976)The Postmodern Condition: A Report on Knowledge (1984)The Location of Culture (2012)African Cinemas: Decolonizing the Gaze (2003)Political critique in Nigerian video films (2006)‘Tradition and colour at its best’: ‘tradition’ and ‘heritage’ in Ghanaian video-movies1 (2010)African Heritage Design (2012)Nollywood Consensus: Modeling a Development Pathway for Africa (2013)Minima Moralia: Reflections from Damaged Life (1951)Decolonising the Mind: The Politics of Language in African Literature (1987)(Un)Veiling Feminism (2000)The Wretched of the Earth (2000)Women between Community and State (2000)SECULARISM AND LAICISM IN TURKEY (2008)The field of Cultural Production (2002)The Archive and the Repertoire: Performing Cultural Memory in the Americas (2003)Emergent Sound: Labor, Materiality, and Nonrepresentational Music (2016)A Brief History of Neoliberalism (2020)The New Grove Dictionary of Music and Musicians (1981)On Deconstruction. Theory and Criticism after Structuralism (1984)Noise: The Political Economy of Music (1986)Rereading the encyclopedias of Jazz: Analyses of data on the tastes of readers, critics, and musicians from 1955 to 1970 (1993)The consequences of modernity (1990)Provincializing Europe: Postcolonial Thought and Historical Difference (2001)Frames of Mind: The Theory of Multiple Intelligences (1984)Transformative Dimensions of Adult Learning (1991)Fiction, empathy and lifelong learning (2012)Learning with Adults (2012)Arts-based Pedagogy in Management Education: Personal Reflections (2023)Art as Experience (1934) (2026)Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place. (1996)Adorno, Theodor W. (2006)The Work of Art in the Age of Mechanical Reproduction (2007)
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Cited by

  • 2000The Aura of Authenticity85 cited
  • 2010Transformative Learning Through Aesthetic Experience68 cited
  • 2007The pan-Africanism we have: Nollywood's invention of Africa38 cited
  • 2015Suffer the Little Vixens: Sex and Realist Terror in “Jazz Age” America23 cited
  • 2013Sound Work: Music as Labor and the 1940s Recording Bans of the American Federation of Musicians17 cited
  • 2006Mass Culture, Commodification, and the Consolidation of the Afro-Peruvian Festejo14 cited
  • 1988Adorno on Jazz: Vienna versus the vernacular8 cited
  • 2013De-Nationalization and Re-Nationalization of Culture: The Globalization of K-Pop7 cited
  • 2000The Work of Art in the Postcolonial Imagination6 cited
  • 1991All that Jazz again: Adorno's sociology of music4 cited
  • 2000Temp work: Music and the cultural shaping of time2 cited
  • 2019Punk, Fashion and Aesthetic Cosmopolitanism1 cited

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