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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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In Latin Alive, Joseph Solodow tells the story of how Latin developed into modern French, Spanish, and Italian, and deeply affected English as well. Offering a gripping narrative of language change, Solodow charts Latin's course from classical times to the modern era, with focus on the first millennium of the Common Era. Though the Romance languages evolved directly from Latin, Solodow shows how every important feature of Latin's evolution is also reflected in English. His story includes scores of intriguing etymologies, along with many concrete examples of texts, studies, scholars, anecdotes, and historical events; observations on language; and more. Written with crystalline clarity, this is the first book to tell the story of the Romance languages for the general reader and to illustrate so amply Latin's many-sided survival in English as well. © Joseph B. Solodow 2010.
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