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Women, Work and Clothing in eighteenth-century Spain
0 references·5 citing·14 second hop
Women, Work and Clothing in eighteenth-century Spain (2011)Women, Work and Clothing in eighteenth-ce…The Spanish cut: tailoring men’s fashion and national identity in nineteenth-century Spain (2020)The Spanish cut: tailoring me…El cuerpo cantante en las tonadillas a solo para Miguel Garrido (2020)El cuerpo cantante en las ton…Singing and street cries from eighteenth-century naranjera to twentieth-century violetera: aural paradigms of gender, poverty and affect (2019)Singing and street cries from…Celestinas y majas en la obra de Goya, Alenza y Lucas Velázquez (2015)Celestinas y majas en la obra…La tonadilla a la Barcelona del darrer terç del Set-cents més enllà de la Casa de Comèdies (2014)La tonadilla a la Barcelona d…The Tonadilla in Performance (2013)La tonadilla escénica en Venezuela o el proceso de criollización de un género hispano (2017)Goya in the Twilight of Enlightenment (1992)Gender and modernization in the Spanish realist novel (2001)Tragicomedia de Calisto y Melibea (2009)Linguistic Anthropology: A Reader (2002)Acoustic Territories: Sound Culture and Everyday Life (2010)The Sound Studies Reader (2012)A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries (1983)The Secular Commedia: Comic Mimesis in Late Eighteenth-Century Music (2014)The Tonadilla in Performance: Lyric Comedy in Enlightenment Spain (2015)The Gender of Modernity (1995)The Fashioned Body: Fashion, Dress and Modern Social Theory (2000)Nation and Narration (2013)
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Cited by

  • 2019Singing and street cries from eighteenth-century naranjera to twentieth-century violetera: aural paradigms of gender, poverty and affect17 cited
  • 2014La tonadilla a la Barcelona del darrer terç del Set-cents més enllà de la Casa de Comèdies3 cited
  • 2020The Spanish cut: tailoring men’s fashion and national identity in nineteenth-century Spain2 cited
  • 2020El cuerpo cantante en las tonadillas a solo para Miguel Garrido2 cited
  • 2015Celestinas y majas en la obra de Goya, Alenza y Lucas Velázquez1 cited

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