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Leon Levin

Review of Stephen Weissman, CHAPLIN: A LIFE

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Priscilla Parkhurst Ferguson, Jane Mayo Roos, Robin Walz, and Tamara Chaplin Matheson

Priscilla Parkhurst Ferguson Paris: Capital of the World, trans. Arthur Goldhammer by Patrice Higonnet

Jane Mayo Roos Paris in Despair: Art and Everyday Life under Siege 1870-71 by Hollis Clayson

Robin Walz Genre, Myth, and Convention in the French Cinema, 1929-1939 by Colin Crisp

Tamara Chaplin Matheson The de Gaulle Presidency and the Media: Statism and Public Communications by Jean K. Chalaby

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Instrumentalising Media Memories

The Second World War According to Achtung Zelig! (2004)

Maaheen Ahmed

to the medium's popular, modern essence and, in particular, Spiegelman's Maus ; film, especially Charlie Chaplin's works, which tap into a network of media and cultural references related to the two aforementioned media memories. I will focus here

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Editorial

Comics and Transnational Exchanges

Lawrence Grove, Anne Magnussen, and Ann Miller

other comics including Art Spiegelman's Maus (referenced obliquely by the cats that stalk through the narrative) and Horst Rosenthal's Mickey au camp de Gurs , and evocations of films by Roberto Benigni and Charlie Chaplin. The resolute non-realism of

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Brian Bergen-Aurand

recently begun to take hold. As Adrienne Dengerink Chaplin (2005) writes: Although the body and its “objects”: saliva, urine, hair, nails, and so forth, now have a prominent place in contemporary art and art theory, they are still largely ignored in

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Todd Berliner

]) deliver aesthetic pleasure. It furthermore examines films (such as City Lights [Charles Chaplin, 1931], Psycho [Alfred Hitchcock, 1960], The Godfather [Francis Ford Coppola, 1972], and Goodfellas [Martin Scorsese, 1990]) that have earned aesthetic

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Michael K. Bess, David Lipset, Kudzai Matereke, Stève Bernardin, Katharine Bartsch, Harry Oosterhuis, Samuel Müller, Frank Schipper, Benjamin D’Harlingue, and Katherine Roeder

pliable and malleable as the world they inhabit. In his introduction to the book, cartoonist Chris Ware describes an array of possible dystopian influences that inform its outlook, from George Orwell and Aldous Huxley to Charlie Chaplin’s Modern Times

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Teachings of Tara

Sacred Place and Human Wellbeing in the Shimla Hills

Jonathan Miles-Watson

and the South Asian Tara ( Chaplin 1935 ) is a fairly late one that is based upon a false cognate ( Lévi-Strauss 1963: 208 ). The dominant view is that while one etymology is terrestrial ( Slavin 1996 ) the other is celestial ( Johnson 2009: 322 ). The

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Islam, Travel, and Learning

A Case Study on Indonesian Muslim Student Diasporas in Saudi Arabia

Sumanto Al Qurtuby

salaf al-shalih, which is the root of the word “Salafism” (see Chaplin 2014 ). Some describe themselves, or prefer to be called “Salafiyyah” not “Salafism,” since the latter has been associated with new reformist groups, mostly following Hanbali school

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

tension may be manifested in what he calls the “comic twinkle” and the “deliberate accident” (51–54). As an example of the latter, he demonstrates how, in The Circus (Charlie Chaplin, 1928), Charlie Chaplin’s flexible and imaginative execution make the