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Emplacing Smells

Spatialities and Materialities of ‘Gypsiness’

Andreea Racleș and Ana Ivasiuc

ubiquity of the racist stereotype that the ‘Gypsy’ has a particular, unpleasant smell. On one hand, we aim to cover this striking gap in the literature on the racialisation of the Roma and connect with larger debates in sensorial anthropology and material

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Özlem Özmen

’s daughters Gail and Rachel as stereotypical representations of ‘the Ghetto Girl’ used in traditional Yiddish dramatic works to represent the younger generations of Jewish girls that aspire to become like the modern American women. 7 The representation of the

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Redefining Censorship

Lessons Learned from Teaching The Merchant of Venice in Israel

Esther B. Schupak

Because of its potential for fostering antisemitic stereotypes, The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States since the 1930s. 1 However, censorship is no longer fashionable. It is

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Tehmina Pirzada

violence. Instead, she chooses peace, love, logic, and reason as viable tactics to overcome her enemies. These tactics are particularly significant because they not only subvert the platitudinous stereotype about the Muslim community, especially Muslim men

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Indoktrination oder Innovation?

Der Unterrichtsfilm als neues Lehrmedium im Nationalsozialismus

Verena Niethammer

wiederkehrenden visuellen Stereotype, wie das vorgestellte Motiv der tätigen Hände. Sie sind mit gesellschaftlichen Idealbildern und Erziehungswerten verbunden und zeigen Kontinuitäten zu frühen Denkweisen. Daher können aber müssen diese nicht an sich in

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Terms of Silence

Weaknesses in Corporate and Law Enforcement Responses to Cyberviolence against Girls

Suzanne Dunn, Julie S. Lalonde, and Jane Bailey

2015 ). When girls either assert their rights or express themselves outside the bounds of stereotypically white heterosexual femininity online ( Regan and Sweet 2015 ), their expression is often policed by other users ( Senft and Baym 2015 ; Steeves

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Abin Chakraborty

remarkable evidence of cultural mobility during the Renaissance that often contradicts orientalist stereotypes of a latter era by creating fluid spaces of self-fashioning. Despite Coryat’s occasional assertions about the greatness of England and the

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Adia Mendelson-Maoz and Liat Steir-Livny

This article discusses the place of Hebrew and Jewish images and stereotypes in the works of the Israeli-Arab Hebrew writer Sayed Kashua. When describing his Arab protagonists, Kashua portrays both the stereotype of the oppressed Diaspora Jew, who is trying to blend in and hide his identity, and the stereotype of the Israeli Jew, the image that many of Kashua's protagonists aspire to imitate. The article argues that adopting those images and stereotypes has a dual function. On the one hand, it can be understood as an attempt to imitate and internalize the majority's gaze, creating a sense of brotherhood and familiarity with Jewish-Israeli readers. On the other hand, the same images and stereotypes can be understood as having a major subversive thrust that ridicules the Jewish-Israeli identity and its perception of the Israeli-Arab and criticizes the Israelization process among Palestinian citizens of Israel. This subversive dimension, typical of Kashua's sarcastic style, becomes sharper in his more recent works.

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Deproblematizing The Merchant of Venice

Text, and Pretexts for Changing Subtext

Roger Wooster

antisemitic riots inspired by the Lopez treason plot of 1594. Fiedler posits that Shakespeare was encouraged by public opinion to create Shylock in Merchant ‘against … his own deepest instincts’. 8 He argues that the play embodies ‘stereotypes and myths

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Ka-Kin Cheuk

despite the Indians’ image of untrustworthiness, and the perception that dealing with them requires a great investment of time and effort, there are many Chinese suppliers willing to do business with them. Negative stereotypes of traders who do business in