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"This book explores the work of five influential pro-BDS (Boycott, Divestment, and Sanctions) queer academic activists-Sarah Schulman, Jasbir Puar, Angela Davis, Dean Spade, and Judith Butler-each of whom exemplify different ideological and critical practices around anti-Zionism"--
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A.D. 1034 The king and queen took hawks out that day, and their retinue trailed along hills and swales, watching as Duncan and then Suthen lifted gauntleted arms and opened their fists. The hunting…
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In our postmodern visual culture, the idea of spectacle conjures images of excess. In defining spectatorship, we emphasize the visual, drawing physical eyewitnesses toward the spectacular moment itself and into the reification of that moment on the film screen. However, recent Hollywood cinema has challenged the notion that all spectacle must take place within the realm of the visual, as many films strive to reach spectators aurally, via their soundtracks. In particular, popular song has been used in many commercially successful films to re-create each spectator's relationship with his or her past. Films with best-selling pop soundtracks, such as The Wedding Singer and Romy and Michelle's High School Reunion, among others, have financially exploited the spectator's attention to familiar song within comedic narratives, prompting viewers to purchase collections of songs they may already own, motivated by nostalgia and pleasant rearrangements of these songs within light, entertaining narratives. In other cases, “retro” films such as 54 and The Last Days of Disco have attempted to capitalize on the popularity of musical trends, such as disco, to revisit what the “scene” meant to its patrons, as well as what disco might mean commercially to new generations. But rarely do the songs in this type of film serve as anything but collective backdrop or the means by which a filmmaker might establish setting, particularly in terms of a decade. They merely reconfigure radio programming, reorder Top 40 hits for a theatrical space. © 2001 Taylor & Francis Group, LLC.
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This article, extracted from a larger study, is attentive to the national folk culture of African-American communities - especially rumor and legend - in a number of city centers. The study begins with Washington, D.C., as a representative model to examine the role of complexion-related lore in black neighborhoods, organizations, and institutions, and then extends outward to other urban areas. Complexion lore, the article argues, functioned as a sophisticated negotiation of racism, wherein black residents complicated American urban principles of inclusion and exclusion by integrating color notions into institutional oral history. Copyright © 2005 by the Board of Trustees of the University of Illinois.
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Using sample student analyses of online paper mill Web sites, student survey responses, and existing scholarship on plagiarism, authorship, and intellectual property, this article examines how the consumerist rhetoric of the online paper mills construes academic writing as a commodity for sale, and why such rhetoric appeals to students in first-year composition, whose cultural disconnect from the academic system of authorship increasingly leads them to patronize these sites.
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