Titlebook: Choreographing the Global in European Cinema and Theater; Katrin Sieg Book 2008 Palgrave Macmillan, a division of Nature America Inc. 2008

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instill

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meritorious

obsolete

Operation Media Storm,ons (UN) Security Council in order to prevent Saddam Hussein’s government from deploying the weapons of mass destruction it allegedly possessed and from sheltering and collaborating with Islamic terrorists—allegations that could not be conclusively substantiated and eventually proved to be false. UN

Density

Conclusion,d or marginalized women and feminists as well as those considered alien to the German nation. In my first book, conceptualized in the 1980s, I set out to re-evaluate the work of German women playwrights, impresarios, and performers as feminist interventions in the canon and in ostensibly gender-blin

Density

業(yè)余愛好者

,Preu?en als demokratische Republik,ns of community, engendering narratives and tropes of familial belonging, desire, and affinity. The cinematic culture industries are thus part and parcel of the political and economic transformations the films depict. The question I want to pursue through a series of exemplary readings in this chapt

時代

https://doi.org/10.1007/978-3-662-34502-3 metropole was accompanied by the first intellectual attempts at creating what anthropologist Mary Louise Pratt called planetary conceptual grids. Such conceptual grids, exemplified by the botanical and zoological classification systems of Enlightenment scientists like Blumenbach and Linné, enabled

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https://doi.org/10.1007/978-3-642-99066-3 this equation have been challenged: On the one hand, numerous scholars have offered trenchant criticisms of Jürgen Habermas’s idealized fiction of the bourgeois public sphere in . (see Calhoun 1992). On the other, British cultural studies has proposed a far-reaching reconsideration of consuming pra