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Acknowledgements | |
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Introduction | |
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The Work Of Representation | |
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Representation, Meaning and Language | |
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Making meaning, representing things | |
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Language and representation | |
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Sharing the codes | |
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Theories of representation | |
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The language of traffic lights | |
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Summary | |
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Saussure's Legacy | |
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The social part of language | |
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Critique of Saussure's model | |
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Summary | |
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From Language to Culture: Linguistics to semiotics | |
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Myth today | |
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Discourse, Power and the Subject | |
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From language to discourse | |
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Historicizing discourse: discursive practices | |
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From discourse to power/knowledge | |
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Summary: Foucault and representation | |
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Charcot and the performance of hysteria | |
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Where is 'the Subject'? | |
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How to make sense of Velasquez' Las Meninas | |
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The subject of/in representation | |
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Conclusion: Representation, meaning and language reconsidered | |
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References | |
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Readings for Chapter One | |
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Norman Bryson, 'Language, reflection and still life' | |
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Roland Barthes, 'The world of wrestling' | |
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Roland Barthes, 'Myth today' | |
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Roland Barthes, 'Rhetoric of the image' | |
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Ernesto Laclau and Chantal Mouffe, New Reflections on the Revolution of Our Time | |
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Elaine Showalter, 'The performance of hysteria' | |
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recording reality: documentary film and Television | |
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Introduction | |
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What do we Mean by 'Documentary'? | |
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Non-fiction texts | |
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Defining documentary | |
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Types of Documentary | |
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Categorizing documentary | |
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Alternative categories | |
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Ethical documentary filmmaking | |
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Dramatization and the Documentary | |
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Scripting and re-enactment in the documentary | |
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Docudrama | |
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Documentary - An historic genre? | |
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'Postdocumentary'? | |
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Docusoaps | |
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Reality TV | |
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Natural History Documentaries | |
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Documenting animal life | |
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Conclusion | |
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References | |
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Readings for Chapter Two | |
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Bill Nichols, 'The qualities of voice' | |
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John Corner, 'Performing the real: documentary diversions' | |
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Derek Bous�, 'Historia fabulosus' | |
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The Poetics and the Politics of Exhibiting Other Cultures | |
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Introduction | |
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Establishing Definitions, Negotiating Meanings, Discerning Objects | |
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Introduction | |
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What is a 'museum'? | |
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What is an 'ethnographic museum'? | |
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Objects and meanings | |
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The uses of text | |
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Questions of context | |
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Summary | |
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Fashioning Cultures: The poetics of exhibiting | |
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Introduction | |
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Introducing Paradise | |
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Paradise regained | |
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Structuring Paradise | |
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Paradise: the exhibit as artefact | |
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The myths of Paradise | |
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Summary | |
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Captivating Cultures: The politics of exhibiting | |
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Introduction | |
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Knowledge and power | |
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Displaying others | |
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Museums and the construction of culture | |
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Colonial spectacles | |
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Summary | |
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Devising New Models: Museums and their futures | |
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Introduction | |
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Anthropology and colonial knowledge | |
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The writing of anthropological knowledge | |
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Collections as partial truths | |
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Museums and contact zones | |
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Art, artefact and ownership | |
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Conclusion | |
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References | |
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Acknowledgements | |
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Readings for Chapter Three | |
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John Tradescant the younger, extracts from Musaeum Tradescantianum | |
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Elizabeth A. Lawrence, 'His very silence speaks: the horse who survived Custer's Last Stand' | |
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Michael O'Hanlon, Paradise: portraying the New Guinea Highlands | |
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James Clifford, 'Paradise' | |
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Annie E. Coombes, 'Material culture at the crossroads of knowledge: the case of the Benin "bronzes'" | |
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John Picton, 'To see or not to see! That is the question' | |
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The Spectacle Of The 'Other' | |
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Introduction | |
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Heroes or villains? | |
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Why does' difference' matter? | |
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Racializing the 'Other' | |
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Commodity racism: Empire and the domestic world | |
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Meanwhile, down on the plantation … | |
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Signifying racial 'difference' | |
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Staging Racial 'Difference': 'And the melody lingered on …' | |
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Heavenly bodies | |
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Stereotyping as a Signifying Practice | |
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Representation, difference and power | |
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Power and fantasy | |
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Fetishism and disavowal | |
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Contesting a Racialized Regime of Representation | |
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Reversing the stereotypes | |
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Positive and negative images | |
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Through the eye of representation | |
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Conclusion | |
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References | |
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Readings for Chapter Four | |
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Anne McClintock, 'Soap and commodity spectacle' | |
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Richard Dyer, 'Africa' | |
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Sander Gilman, 'The deep structure of stereotypes' | |
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Kobena Mercer, 'Reading racial fetishism' | |
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Exhibiting Masculinity | |
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Introduction | |
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Conceptualizing Masculinity | |
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Plural masculinities | |
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Thinking relationally | |
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Invented categories | |
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Summary | |
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Discourse and Representation | |
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Discourse, power/knowledge and the subject | |
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Visual Codes of Masculinity | |
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'Street style' | |
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'Italian American' | |
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'Conservative Englishness' | |
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Summary | |
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Spectatorship and Subjectivization | |
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Psychoanalysis and subjectivity | |
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Spectatorship | |
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The spectacle of masculinity | |
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The problem with psychoanalysis and film theory | |
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Techniques of the self | |
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Consumption and Spectatorship | |
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Sites of representation | |
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Just looking | |
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Spectatorship, consumption and the 'new man' | |
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Conclusion | |
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References | |
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Readings for Chapter Five | |
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Steve Neale, 'Masculinity as spectacle' | |
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Sean Nixon, 'Technologies of looking: retailing and the visual' | |
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Genre and Gender: The Case of Soap Opera | |
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Introduction | |
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Representation and Media Fictions | |
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Fiction and everyday life | |
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Fiction as entertainment | |
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But is it good for you? | |
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Mass Culture and Gendered Culture | |
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Women's culture and men's culture | |
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Images of women vs real women | |
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Entertainment as a capitalist industry | |
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Dominant ideology, hegemony and cultural negotiation | |
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The gendering of cultural forms: high culture vs mass culture | |
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Genre, Representation and Soap Opera | |
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The genre system | |
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The genre product | |
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Genre and mass-produced fiction | |
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Genre as standardization and differentiation | |
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The genre product as text | |
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Genres and binary differences | |
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Genre boundaries | |
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Signification and reference | |
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Cultural verisimilitude, generic verisimilitude and realism | |
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Media production and struggles for hegemony | |
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Summary | |
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Genres for Women: The case of soap opera | |
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Genre, soap opera and gender | |
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The invention of soap opera | |
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Women's culture | |
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Soap opera as women's genre | |
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Soap opera's binary oppositions | |
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Serial form and gender representation | |
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Soap opera's address to the female audience | |
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Talk vs action | |
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Soap opera's serial world | |
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Textual address and the construction of subjects | |
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The ideal spectator | |
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Female reading competence | |
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Cultural competence and the implied reader of the text | |
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The social audience | |
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Conclusion | |
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Soap opera: a woman's form no more? | |
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Dissolving genre boundaries and gendered negotiations | |
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References | |
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Readings for Chapter Six | |
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Tania Modleski, 'The search for tomorrow in today's soap operas' | |
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Charlotte Brunsdon, 'Crossroads: notes on soap opera' | |
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Su Holmes and Deborah Jermyn, 'Why not Wife Swap?' | |
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Index | |