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11 For two of the many critiques of this position , see Acland ( 5 , 12 ) and Cubitt ( 61-63 ) . ... Their positions interestingly repeat the juxtaposition in lyric theory between “ fictional ” and “ ritual ” lyric consumption ( see ...
11 For two of the many critiques of this position , see Acland ( 5 , 12 ) and Cubitt ( 61-63 ) . ... Their positions interestingly repeat the juxtaposition in lyric theory between “ fictional ” and “ ritual ” lyric consumption ( see ...
Seite 47
It comes at the end of the show after all the time each of the two men has spent distinguishing his position from the other's ( in often virulent and violent ways ) and trying to show how his position is dramatically pertinent to the ...
It comes at the end of the show after all the time each of the two men has spent distinguishing his position from the other's ( in often virulent and violent ways ) and trying to show how his position is dramatically pertinent to the ...
Seite 112
This position is untenable given that the work grew out of her childhood ( and adult ) fascination with dressing - up . Sherman's sense of identity must have been interwoven , to some extent , with the costumes she donned at social ...
This position is untenable given that the work grew out of her childhood ( and adult ) fascination with dressing - up . Sherman's sense of identity must have been interwoven , to some extent , with the costumes she donned at social ...
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Inhalt
Introduction | 3 |
Professors | 28 |
Feminist Theory Goes to Hollywood | 50 |
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