on our own歌詞的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列免費下載的地點或者是各式教學

Feel Free: Essays

為了解決on our own歌詞的問題，作者Smith, Zadie 這樣論述：

 Zadie Smith散文集 　　在一鳴驚人的出道作《白牙》發表以來，將近二十年的寫作生涯，Zadie Smith不僅僅建立了傑出小說家的形象，也交出了相當出色的短文和評論作品。 　　本書是Zadie Smith最新出版的散文集，全書共分為五個部分：In the World、In the Audience、In the Gallery、On the Bookshelf、Feel Free，集結未曾發表的新作，以及經典作品如"Joy"、"Find Your Beach"等。其中收錄的舊作，發表時間主要在2010年到2017年間，看起來似乎有過時的危險，但她的文字絕對經得起考驗。Smith在

本書中，將她敏銳的觀察力和獨特的聲音，拓展到更廣泛的主題上，從英國脫歐到Jay-Z的歌詞，到作者自己的童年房間……她的散文內容涵蓋文學、藝術、電影、文化評論等，同時也呈現了個人的生活經歷。雖然自稱未曾受過專業的報導寫作訓練，但Smith犀利、真摯的文字，提供了對於現今文化、政治事件的深入剖析，她深刻而充滿人性的見解令人折服。(文/博客來編譯) Winner of the 2018 National Book Critics Circle Award for Criticism A New York Times Notable Book From Zadie Smith, one of

the most beloved authors of her generation, a new collection of essays Since she burst spectacularly into view with her debut novel almost two decades ago, Zadie Smith has established herself not just as one of the world's preeminent fiction writers, but also a brilliant and singular essayist. She

contributes regularly to The New Yorker and the New York Review of Books on a range of subjects, and each piece of hers is a literary event in its own right. Arranged into five sections--In the World, In the Audience, In the Gallery, On the Bookshelf, and Feel Free--this new collection poses ques

tions we immediately recognize. What is The Social Network--and Facebook itself--really about? "It's a cruel portrait of us: 500 million sentient people entrapped in the recent careless thoughts of a Harvard sophomore." Why do we love libraries? "Well-run libraries are filled with people because wha

t a good library offers cannot be easily found elsewhere: an indoor public space in which you do not have to buy anything in order to stay." What will we tell our granddaughters about our collective failure to address global warming? "So I might say to her, look: the thing you have to appreciate is

that we'd just been through a century of relativism and deconstruction, in which we were informed that most of our fondest-held principles were either uncertain or simple wishful thinking, and in many areas of our lives we had already been asked to accept that nothing is essential and everything cha

nges--and this had taken the fight out of us somewhat." Gathering in one place for the first time previously unpublished work, as well as already classic essays, such as, "Joy," and, "Find Your Beach," Feel Free offers a survey of important recent events in culture and politics, as well as Smith's

own life. Equally at home in the world of good books and bad politics, Brooklyn-born rappers and the work of Swiss novelists, she is by turns wry, heartfelt, indignant, and incisive--and never any less than perfect company. This is literary journalism at its zenith. Zadie Smith's new book, Grand

Union, is on sale 10/8/2019. Zadie Smith is the author of the novels White Teeth, The Autograph Man, On Beauty, NW and Swing Time, as well as a novella, The Embassy of Cambodia, and a collection of essays, Changing My Mind. She is also the editor of The Book of Other People. Zadie was elected a f

ellow of the Royal Society of Literature in 2002, and was listed as one of Granta’s 20 Best Young British Novelists in 2003 and again in 2013. White Teeth won multiple literary awards including the James Tait Black Memorial Prize, the Whitbread First Novel Award and the Guardian First Book Award. On

Beauty was shortlisted for the Man Booker Prize and won the Orange Prize for Fiction, and NW was shortlisted for the Baileys Women’s Prize for Fiction. Zadie Smith is currently a tenured professor of fiction at New York University and a Member of the American Academy of Arts and Letters.

on our own歌詞進入發燒排行的影片

中國古詩詞藝術歌曲的詮釋分析— 以岳飛〈滿江紅〉的五首創作歌曲為例

為了解決on our own歌詞的問題，作者王續 這樣論述：

中國古詩詞藝術歌曲，不僅是現代作曲家採用中國文學所創作的藝術作品，還體現了中國傳統文化本身的歷史和研究價值。漢語作為我們的第一語言，可以因此直接感受歌詞與音樂的含義與美感，同時亦能更深入地體會藝術歌曲的內涵與情感表達。如何更完整地詮釋與傳承中國古詩詞藝術歌曲是筆者選題的方向，本文以分析歌曲 〈滿江紅〉 藝術特點及演唱為研究對象，分為三個部分進行論述。第一部分探討古詩詞和歌曲的創作背景；第二部分從作品分和演唱分析去深入研討；第三部分則融入自身聲樂的學習心得作為總結。〈滿江紅〉是中國南宋時期著名抗金英雄岳飛所寫的一首詞，後經現代著名音樂學家楊蔭瀏編配和聲改編而成一首耳熟能詳的古詩詞中國藝術歌曲。

在研究 〈滿江紅〉 的過程中，筆者發現還有其他四首同名創作，分別由林聲翕、黃輔棠、周拿天和顧嘉輝所譜寫。本文將從五首曲子的共同性和特殊性來分析，用楊曲來代表楊蔭瀏所編的曲子，黃曲表示黃輔棠所作的曲子，林曲則指林聲翕所作的曲子，顧曲是顧嘉輝的所作的曲子，周曲代表周拿天所作的曲子。古詩詞藝術歌曲作為一種傳播媒介，將古詩詞用歌曲的方式呈現出來，經過再加工、再創造而形成的一種具有文學性的藝術體裁，傳達著中國文化特有的神韻。筆者亦是希望通過對五首歌曲的詮釋分析貢獻出自身的力量。

後殖民的賽伯格：哈洛威和史碧華克的批判書寫

為了解決on our own歌詞的問題，作者張君玫 這樣論述：

　　本書從界線、批判、抵抗這三條交互纏繞的向度去貫穿哈洛威和史碧華克的思想，分別就知識的基礎、倫理的可能以及行動的方向，去釐清共同生活的多重意義。 　　導論勾勒了本書的問題意識與具體計劃。第二章檢視兩位學者的批判意象，每一個批判意象都同時是行動的意向，涉及了界線協商、衝突、呈現與體現的多重權力鬥爭。第三章和第四章分別深入檢視兩位思想家的批判方法論，及其深層的世界圖像與行動意義。第五章結論則指出，在兩位思想家看似各有領域的思考軸線中，可以找到共通的實踐取向分別展現在她們差異的發言位置。 　　這個共同基礎是蘊藏在她們批判方法論中的對於強權與現狀的抵抗。這樣的抵抗表現在很多層

面，其中必然也涉及對界線的重新思考、跨越與打造，此為兩位思想家共同指出的當代倫理責任。同時，她們之間的差異所在依然重要，尤其是各自迥異的發言位置所揭示的故事、隱喻和矛盾。此外，在所有的閱讀計畫中，我們都必須去尋找並建構自己賴以生存、思考與行動的語言。 　　身為後殖民的賽伯格，島嶼破碎的主體性需要不斷的跨越與重構。 　　英文簡介：       　　This book discusses Donna Haraway’s  and Gayatri Spivak’s theories from three interweaving dimensions of boundary, critique

and resistance, and explores the meaning of living together in terms of the basis of knowledges, the possibility of ethics and the future of actions.        　　The introduction provides an outline of the book as a whole. The second chapter examines the critical images in Haraway’s and Spivak’s works.

These images imply particular intentions of action and the relevant power struggles about boundary negotiations, conflicts, representations and embodiments. Chapter 3 and 4 investigate respectively Haraway’s and Spivak’s methodologies of critique, and the underlying world images and their agential

significance. The conclusion chapter points out that these two thinkers share some common orientations based respectively on their different positions of enunciation.         　　Their common ground is the resistance to strong powers. The resistance is multifarious and inherent in their methodologies

of critique, and involves rethinking, and reconstitution of boundaries. Their works point to the same ethical responsibility we face in the contemporary global world. However, their differences are as important as their common goals. Each in her own particular existential position of enunciation rev

eals unique stories, metaphors and contradictions. Meanwhile, we have to construct our own discourses in every reading project. It is only through these discourses we can begin to understand our own worldly existence, and to think and act for ourselves.

華文原創音樂劇《默默》音樂創作理念與分析

為了解決on our own歌詞的問題，作者林意淨 這樣論述：

此論文為華文原創音樂劇《默默》音樂創作理念與分析報告，第一章為緒論，第一節說明筆者創作此劇的初衷以及構思之源起；第二節為此研究報告的方向與架構。第二章為劇本創作方法，第一節為文本之創作背景與取材，其一為發想，詳實說明之所以引發創作而採自的社會事件探討其中衍生的相關議題，其二為介紹此作的15分鐘的前身版本，詳述當下的創作背景所受到的限制如何進而影響呈現的方向、手法；第二節為劇本架構，其一為通篇故事大綱，其二為場次結構與曲目安排，說明每場次之主要功能情節以及曲目放置之理念；第三節為角色分析，單一角色以三位女主角為主，其餘為由哥隊分支出的各群體功能角色出現之功能說明，與其之間的相呼應對比的關係。第

三章正式進入到音樂之創作理念與分析的章節，第一節說明音樂劇中歌曲功能類型與舉例；第二節為詳述此此劇上半場曲目選粹之創作理念，以各首曲子為分界，每首曲子其一先分析歌詞設計理念，包括曲式安排、潛台詞、伏筆、語言手法等等，其二為音樂如何輔以完成的歌詞與曲式框架設計音樂，包括音樂主題動機、音樂風格的設計理念與參考曲目、如何以音樂語言凸顯出關鍵劇情、音符與唱詞音韻之設計。