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omnipotent fashion to those outside that clinical context. Indeed, psychotherapists have also voiced concern about academics “taking the signifier of psychotherapy,” applying its concepts out of context and misusing it for their own ends.6 However, as Bainbridge et al. (2007) argue, from Freud onwards, “Psychoanalysis has always wandered outside the consulting room” and Freud’s interest in history, culture and the affective experiences of everyday life are well documented. Yet, as it is also well known, Freud and post-Freudian writers have focused mainly on the

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point of ‘hashtagging’ it for himself (and his buddies, including many of the women in the films). In his book, Shadows of Doubt: Negotiations of Masculinity in American Genre Films, Barry Keith Grant finds that both masculinity and genre in film function similarly, in that, “…masculinity in American cinema, indeed, like all cultural categories of identity, has never been monolithic or stable; rather it is an always shifting concept.”13 It is precisely this shifting nature in relation to strict codes that dictates how and when genre and masculinity slowly morph

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, La Maga succeeds in conjuring the feeling of home wherever she is while her counterparts are too occupied by the feeling that they need to learn from books to actually orient themselves.9 Rayuela connects quotations from the Western canon with texts from Latin American writers, both respected poets such as Octavio Paz, and others considered less ‘literary’ such as César Bruto.10 These fragments are linked to the narrative plot by the hypertextual form of the book. In Rayuela Cortázar thereby depicts identity as consisting of the relation between the self and

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Spanish publishing houses is that which has 6 See Martín Matas (2006) for a more in-depth analysis of the 1997 translation. 96 Susanne M. Cadera and Patricia Martín-Matas its prestige consolidated by the Anglo-American market through prizes, and thus becomes part of what can be called ‘World African Literature’ (e.g. Achebe or Adichie). Internal aspects of Things Fall Apart and its translations into Spanish As mentioned before, through a comparative analysis of different transla- tion strategies we can identify changes in the different versions that can affect the

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North America for many years have, however, only recently emerged in New Zea- land. This book explores the powerful economic pressures shaping sport and popular culture in New Zealand; pressures that are rapidly incorporating the All Blacks into the new global cultural economy. These types of devel- opments can be seen on a number of levels, including most significantly the landmark 1995 broadcasting deal between the South Africa, Australia and New Zealand Rugby Unions (SANZAR) and News Corporation, and the emergence of transnational sport corporation, Adidas

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people than just a small example of their art. Actually, it is the only section where there are paintings on canvas or contemporary art, as if it did not exist in Africa, Asia or America. The place of Aboriginal art is very special. In the other parts of the museum, nothing is contemporary. Furthermore the items in the other sections have been used: either for ceremonies or for everyday life but here most of the items exhibited are just works of art. One has actually been used and it has been used by the Australian government: one of PL_Imagi_Austr_Ch24

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Race is not a Social Construction’ Transition 73 (1998), 122–43, 130. 61 Parrish, Ralph Ellison and the Genius of America, 65. 62 Dean Franco, ‘Race, Recognition, and Responsibility in The Human Stain’, in Debra Shostak, ed., Philip Roth – American Pastoral, The Human Stain, The Plot against America (London: Continuum, 2011), 65–79, 66. Eth(n)ical Betrayal 163 and authenticity is fundamental. In his comparison between Ralph Ellison and Philip Roth, Timothy Parrish highlights the way these writers put the existence of cultural authenticity in doubt, concluding

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Torino was chosen for this study. Firstly, the plethora of racial terms in the ST provides ample material for analysis. There are fourteen dif ferent epithets for people of Asian origin alone, while insults to African Americans, the Irish, Italians, Poles, Jews, and Hispanics bring the total to over fifty direct utterances and numerous other pejorative allusions to race and ethnic origin. Secondly, Clint Eastwood is a respected actor, an accomplished film director, and a guaranteed box of fice hit; his presence in front of and behind the camera assures access

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and butch are also about expe- rience, identity and subjectivity. Women who perform femme and butch often report that it is who they are, rather than simply something that they do. Femme and butch have been discussed by Munt as “desire practices” and this is certainly evident in many of the texts examined. Butch-femme performances have often been regarded as a tool for the oppression of les- bian sexuality and it has been argued that the gender roles of butch and femme reinforce and perpetuate heteronormative stereotyping in terms of gender and sexuality

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, were strolling through the stalls of the market, which extended throughout the centre of Galatina. These stalls were sell­ ing a wide range of goods, including a large variety of foodstuffs; clothes; toys; household goods; CDs of music; and carvings and knick­knacks from parts of Africa which were being sold by migrant stall­holders. There were also some items and stalls related to pizzica and tarantism within the space of the Piazza San Pietro. Several elder women were selling the coloured ribbons (le zacareddhe) which are worn by pizzica musicians and dancers