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Books on the topic 'Serious Leisure Perspective'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Stebbins, Robert A. The Serious Leisure Perspective. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48036-3.

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2

Serious leisure: A perspective for our time. New Brunswick, N.J: Transaction Publishers, 2007.

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Serious leisure: A perspective for our time. New Brunswick: Transaction Publishers, 2015.

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4

Elkington, Sam. The Serious Leisure Perspective. Routledge, 2014. http://dx.doi.org/10.4324/9781315816364.

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5

Stebbins, Robert, and Sam Elkington. Serious Leisure Perspective: An Introduction. Taylor & Francis Group, 2014.

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6

Serious Leisure Perspective: An Introduction. Taylor & Francis Group, 2014.

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7

Sachsman, David B. Serious Leisure: A Perspective for Our Time. Taylor & Francis Group, 2017.

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8

Stebbins, Robert A. Serious Leisure: A Perspective for Our Time. Taylor & Francis Group, 2017.

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9

Sachsman, David B. Serious Leisure: A Perspective for Our Time. Taylor & Francis Group, 2017.

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10

Sachsman, David B., and Robert A. Stebbins. Serious Leisure: A Perspective for Our Time. Taylor & Francis Group, 2017.

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11

Stebbins, Robert. Serious Leisure: A Perspective for Our Time. Transaction Publishers, 2006.

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12

Sachsman, David B., and Robert A. Stebbins. Serious Leisure: A Perspective for Our Time. Taylor & Francis Group, 2017.

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13

Stebbins, Robert A. Serious Leisure: A Perspective for Our Time. Taylor & Francis Group, 2017.

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14

Sachsman, David B., and Robert A. Stebbins. Serious Leisure: A Perspective for Our Time. Taylor & Francis Group, 2017.

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Stebbins, Robert A. Serious Leisure: A Perspective for Our Time. Taylor & Francis Group, 2017.

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Stebbins, Robert A. Serious Leisure: A Perspective for Our Time. Taylor & Francis Group, 2017.

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17

Mantie, Roger, and Gareth Dylan Smith, eds. The Oxford Handbook of Music Making and Leisure. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.001.0001.

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Music has been a vital part of leisure activity across time and cultures. Contemporary commodification, commercialization, and consumerism, however, have created a chasm between conceptualizations of music making and numerous realities in our world. From a broad range of perspectives and approaches, this handbook explores avocational involvement with music (i.e., amateur, recreation) as an integral part of the human condition. The chapters in The Oxford Handbook of Music Making and Leisure present a myriad of ways for reconsidering—refocusing attention on—the rich, exciting, and emotionally charged ways in which people of all ages make time for making music through music learning and participation. The contexts discussed are broadly Western, including a diversity of voices from scholars across fields and disciplines, framing complex and multifaceted phenomena that may be helpfully, enlighteningly, and perhaps provocatively framed as music making and leisure. The book is structured in four parts: (I) Relationships to and with Music; (II) Involvement and Meaning; (III) Scenes, Spaces, and Places; and (IV) On the Diversity of Music Making and Leisure. This volume may be viewed as an attempt to reclaim music making and leisure as a serious concern for, among others, policy makers, scholars, and educators, who perhaps risk eliding some or even most of the ways in which music, so central to community and belonging, is integrated into the everyday lives of people. As such, this handbook looks beyond the obvious (of course music making is leisure!), asking readers to consider anew, “What might we see when we think of music making as leisure?”

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18

Adams, Jade Broughton. F. Scott Fitzgerald's Short Fiction. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474424684.001.0001.

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F. Scott Fitzgerald is remembered primarily as a novelist, but he wrote nearly two hundred short stories for popular magazines such as the widely-read Saturday Evening Post. These stories are vividly infused with the new popular culture of the 1910s, 1920s, and 1930s, from jazz and blues music to motion pictures and performing arts. This book demonstrates how popular culture had a deep impact on Fitzgerald’s work, not just in terms of evoking period detail, but by confirming Fitzgerald as an experimental writer whose popular short stories reflect the serious modernist concerns occupying writers such as Ernest Hemingway, James Joyce, Sherwood Anderson, Dorothy Parker, and Langston Hughes. This book explores how popular culture impacted on F. Scott Fitzgerald’s literary aesthetics on both thematic and formal levels, to a greater extent than previously recognised. Encompassing spheres of both American studies and cultural studies, this book offers a revisionist perspective on Fitzgerald’s short fiction of the interwar period, which is often overlooked in favour of the novels, especially The Great Gatsby. By exploring Fitzgerald’s fascination with leisure, specifically the intertwined cultural spheres of dance, music, theatre, and film, this book argues that he innovatively imported practices borrowed from other popular cultural media into his short stories, deploying disruptive techniques of ambiguity and parody that sit in tension with reader expectations of his lyrical style and the commercial publication contexts of his stories.

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