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Stephanie Russo

marginalized femininity that speaks to the experience of teenage girls struggling to find their place in a world that seems to both reward and punish them for their femininity. Taking on Natalie Dormer's performance of Boleyn in The Tudors as the definitive

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“Mind the Gap”

Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film

Jane Stadler

cases “it is the domain of representation, and especially the practice of narration, that constitutes the ‘environmental support’ created by the mind to drive its amplified performance” (188). If I understand this correctly, then it may not be so much

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Patrick Keating

dance, but her performance is interrupted by Tommy, planted in the audience and playing “All I Do Is Dream of You” on a ukulele. In the scene I want to discuss, Sadie attends a performance and expects to see Tommy; when Sadie sees another man singing in

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Karen Pearlman

expertise involves, does not mean that this expertise is somehow innate, or not a form of thinking. Developing and enacting high levels of skill require us not to cut intellect and emotion off from our embodied, grooved performances, but to achieve and then

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The Doll “InbeTween”

Online Doll Videos and the Intertextuality of Tween Girl Culture

Jessica E. Johnston

also been known to collect and play with these dolls. While the practice of playing with dolls past childhood is not new, recording and uploading these play performances to YouTube raise new considerations for scholars of girls’ media studies in

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Attitude or Age

Girlhood in Renaissance England

Reina Green

and, therefore, with social class. In the last section of this chapter, Higginbotham discusses female children as consumers of and participants in English drama, citing the royal performance of Robert White’s Cupid’s Banishment (1617) by the students

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Monica Reichenberg

Reading the Textbook Assessment and Usage Scale,” Teaching of Psychology 38, no. 1 (2011): 22–28; Eric Landrum, Regan Gurung, and Nathan Spann, “Assessments of Textbook Usage and the Relationship to Student Course Performance,” College Teaching , 60

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Murray Smith

, any strictly empirical inquiry—to this dimension. Psychologists might have discovered that the expressive qualities we attribute to music vary notably depending on whether we are watching (or, strictly speaking, “audio-viewing”) a performance of a

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Shaping Edits, Creating Fractals

A Cinematic Case Study

James E. Cutting and Karen Pearlman

composers from J. S. Bach to Scott Joplin. Similarly, Rankin and Large (2009) found them in piano performances of works by Bach, Beethoven, Chopin, and Gershwin. This latter variation is important here because music performance involves body movement

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Melenia Arouh

, 1925) by noting performance, props, and sets; and the creation of suspense in The Rope (Alfred Hitchcock, 1948) through mobile framing (2018, 204–205, 138–141). Depending on the type of exegesis required, an inclusive conception of “form” allows