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30-Day Journey with Jane Austen最新文献

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Day 8 第八天
Pub Date : 2020-05-05 DOI: 10.2307/j.ctvp2n58v.11
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引用次数: 0
Day 16 16天
Pub Date : 2020-05-05 DOI: 10.2307/j.ctvp2n58v.19
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引用次数: 0
Day 13 天13
Pub Date : 2020-05-05 DOI: 10.2307/j.ctvp2n58v.16
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引用次数: 0
Day 27 27天
Pub Date : 2020-05-05 DOI: 10.2307/j.ctvp2n58v.30
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引用次数: 0
Day 20 20天
Pub Date : 2020-05-05 DOI: 10.2307/j.ctvp2n58v.23
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引用次数: 0
Day 29 29天
Pub Date : 2020-05-05 DOI: 10.2307/j.ctvp2n58v.32
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引用次数: 0
Back Matter 回到问题
Pub Date : 2020-05-05 DOI: 10.2307/j.ctvp2n58v.35
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引用次数: 0
Day 19 天19
Pub Date : 2020-05-05 DOI: 10.2307/j.ctvp2n58v.22
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引用次数: 0
Day 15 一天15
Pub Date : 2020-05-05 DOI: 10.2307/j.ctvp2n58v.18
Kelly Zona
Chelsea developed as the haven for artists fleeing SoHo after 1995. The reasons for this move are more complex than what is seen at face value. Artists are commonly agents of gentrification, and as the SoHo arts district revitalized, rent began to increase. Few artists actually owned their spaces and were forced out, unable to pay rent. But it was not only rent that was affected. The success of the art district increased the value of the artworks as well. At this point, local art scenes were no longer thought of as “curious bohemias” but as integral parts of the economy (Molotch, 518).
1995年后,切尔西成为逃离SoHo的艺术家们的天堂。这一举动的原因比表面上看到的要复杂得多。艺术家通常是中产阶级化的推动者,随着SoHo艺术区的复兴,租金开始上涨。很少有艺术家真正拥有自己的空间,他们被迫离开,无法支付租金。但受到影响的不仅仅是房租。艺术区的成功也提高了艺术品的价值。在这一点上,当地的艺术场景不再被认为是“好奇的波西米亚人”,而是作为经济的组成部分(Molotch, 518)。
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引用次数: 0
Day 6 一天6
Pub Date : 2020-05-05 DOI: 10.2307/j.ctvp2n58v.9
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引用次数: 0
期刊
30-Day Journey with Jane Austen
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