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Scott Gunther

This article examines the political style and rhetoric of the Manif pour tous (MPT), the main organization opposing same-sex marriage in France, from summer 2013 to the present. It exposes how the MPT’s style and rhetoric differ from those of their American counterparts, and what this tells us about the different strategies of political movements in France and the United States generally. It is based on an analysis of the language used by activists whom I interviewed in 2014 and 2015 and on a discourse analysis of the MPT’s website, Facebook page, Twitter feed, and press releases since 2013. This analysis of the distinctive features of the MPT brings to light underlying concerns about French identity in the face of globalization. In other words, for the MPT and its members, what is at stake is not just same-sex marriage but the very definition of Frenchness.

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Instead of a Novel

Sophia Yablonska's Travelogues in the History of Modern Ukrainian Literature

Olena Haleta

-Soviet version of the history of literature, which also includes Ukrainain literature, is still influenced by the socialist realist model dominated by the idea that the novel is the central literary genre and that it develops one overarching “master plot” (not

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Mirko M. Hall

“We aim to please with constant unease!” 1 The post-punk genre of neofolk or apocalyptic folk—with its melancholy lyrics, acoustic melodies, and martial beats—has been an enduring feature of the dark alternative music scene of the past thirty years

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Groped and Gutted

Hollywood's Hegemonic Reimagining of Counterculture

Samantha Eddy

It all unravels in the same ritualistic fashion—promiscuous coeds, prudish leads, and a serial killer with a chip on his shoulder. The slasher genre is known for its franchise-focused approach to cinema; it has a bad reputation for being

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A Transtextual Hermeneutic Journey

Horst Rosenthal's Mickey au camp de Gurs (1942)

Yaakova Sacerdoti

that is referred to, although the latter is not necessarily cited or even named. 15 Genette defines architextuality as ‘the literariness of literature’, that is, the assignment of a text to a particular literary genre. 16 Hypertextuality is the level

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Thomas Luk

become so globalized that Alexander C.Y. Huang recently cites Inga-Stina Ewbank’s observation that ‘rewritings of Shakespeare have evolved from “an interesting and harmless occupation for a marginalised group of scholars two decades ago to a genre that

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Kata Szita, Paul Taberham, and Grant Tavinor

stories, the role of interaction differentiates video games from other, traditional narrative genres, such as film and literature. He argues that this interactive quality leads to players’ selective attention to certain narrative elements. But in contrast

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Mimesis and Conspiracy

Bureaucracy, New Media and the Infrastructural Forms of Doubt

Michael Vine and Matthew Carey

digitally mediated chemtrails conspiracism, one genre of public culture has proved an especially virulent vector of this proliferation – the blog – which sutures together a wide variety of texts and media to produce an awkward, pulsing and frequently

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Todd Berliner

(rhyming patterns, coherence, theme and variation, progress toward resolution, available historical information, genre considerations, etc.). She has, in short, offered reasons for appreciating the film's narrative design. So I would argue that her

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Laura T. Di Summa-Knoop

empathic responses but from what has been referred to as the mood of a film. Is naturalist analysis able to fully capture and do justice to the role of moods in film, elusive and diffused as they are? Value Judgments, Particular Works, and Genre In “Feeling