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to thank my aunts: Ruby Harris, Eulene Harris, and Marva Martin for their excellent comments and suggestions on this book and for pushing (and inspiring me) not only in school, but in life. I’d also like to thank Kimberly Felix, Robert MacEachern, and Eric Farkas for their support and reminding me that there is a world outside of academia. I am truly indebted to my parents, Cassandra and Glen Harris for supporting me in every endeavor I attempt, and this book was no different. I especially thank my mother, Cassandra Harris who consistently cheered me

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place where no one can be trusted, and where careless talk or false moves can lead to violent consequences. The (American) central characters invariably find it difficult to adjust to this environment, but normally end up trium- phant, while retaining their fundamental generosity of spirit. However this is only part of the story: the second section of this chapter suggests that Hollywood filmmakers were not especially in- terested in the Republic of Turkey or its politics, but rather used the exotic locations as a site for an exploration of contemporary

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noticed that it was marred by a “visionary” lack: “The book can be read with obvious, yet weari- some pleasure� […] You can easily recognize not only situations and settings, but also a rhythm, a tone and a psychology that are, by definition, contemporary� By this, the writer stays true, in his art, to the present� When he acquires a firmer grasp of the laws of perspective, his connection to the future could actually become a reality” (“Cronica” 4)� While the narratives of childhood (the past) were ignored by mainstream critics, the Kafkaesque atmosphere that was

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. This requires first of all that trade unions re-attach relations with the rank-and-file. In so doing they will be able to reactively respond to re-commodification while bringing them back in a process of active participation for the construction of a social democratic Europe. From a research perspective this requires both a wider range of theoretical resources to be brought to bear and a greater attentiveness to the interpenetrating levels of the empirical worlds that are subject to evaluation and explanation. More particu- larly, it requires a new research agenda

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I think that mainly the Nazis are responsible’ (András, Ózd, 21). In Sopron World War II is interpreted not only in a personal frame but rather as an event, which reconfigured the way we think about ourselves: ‘World War II completely changed the life of mankind. It gave a new perspective that such people are possible, such evil. And it was an incredible tragedy to experience it’ (András, Sopron, 20). The Holocaust is also interpreted in a different manner by young people living in Sopron. Unlike in Ózd, Hungar- ian responsibility is among the central

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readings of Ichiyō’s stories.42 This idea was also present in Victoria Vernon’s Daughters of the Moon which focused upon the political and social conditions determining women’s presence or ab- sence in the literary scene. In this respect, Vernon’s juxtaposition of perspective should permit the text to suggest another reading of that world, as the language of the passage subtly begins to build a particular structure of desire and defeat.” Victoria Vernon, Daughters of the Moon: Wish, Will, and Social Constraint in Fiction by Modern Japanese Women. Berkeley C. A

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, UNESCO, Paris. UNESCO (2010b) World Social Science Report 2010, UNESCO, Paris. USAID (2013) Online News on Agricultural Cooperatives in Georgia. Van Assche, K., and Djanibekov, N. (2012) Spatial planning as policy in- tegration: The need for an evolutionary perspective. Lessons from Uz- bekistan. Land Use Policy 29(1), 179–186. Van Assche, K. and Hornidge, A.-K. (2012) Knowledge in Rural Transi- tions – Formal and Informal Underpinnings of Land Governance in Khorezm, Center for Development Research, Bonn. Van Assche, K., Salukvadze, J. and Duineveld, M. (2012) Speed

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‘last Soviet generation’, hurried to embrace free market ideology. Life narratives of fer a long-term perspective on individuals’ lived experiences and symbolic worlds during and after socialism. They provide an insight into the complexity of social agents and their interactions with social processes based on their identification with a particular social group, the strength of the link between the ideology and the narrative of self, their beliefs, and other factors. 236 Mariana Markova The three life stories are united by varying degrees of resistance to free

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customizable, and the choice of one of the various possible characters might lead to very dif ferent game experiences. A monthly subscription (around twelve USD) is required of the player. The main goal proposed by the game is to improve that character by training it, and acquiring virtual equipment that will increase its power. Players can also fight creatures managed by the programme (Artificial Intelligence or AI), confront other players connected at the same time, or even sell virtual goods acquired during the game. A social world is therefore simulated. We used

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unfair to read Hrotsvit’s texts primarily through a gender lens, as Eva Cescutti insightfully comments (or complains), especially because contemporary literature composed by men is only viewed from a theological, poetic, rhetorical, or didactic perspective, not seen as the product of a ‘male’ writer.19 Again and again, Hrotsvit resorts to variants of the humility topos for herself, that is, to rhetorical strategies expressing what little skills she re- ally possesses and how much she would really be in need of help. Yet, she constantly refers to Christ as the