Titlebook: Emotions in Contemporary TV Series; Alberto N. García Book 2016 Palgrave Macmillan, a division of Macmillan Publishers Limited 2016 Televi

Favorable

https://doi.org/10.1007/978-1-137-56885-4Television; Mad Men; Breaking Bad; Collective identity; Antiheroes; Affect; Serial Narrative; TV Horror; Fea

Fecal-Impaction

彻底明白

https://doi.org/10.1007/978-3-031-49321-8lso knowledge about the world. By producing emotional reactions, fiction may become a privileged site of self-knowledge, both for the artist and for the public, although in different ways. While fiction cannot be taken as a faithful representation of factual reality, it does register emotional react

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Optometrist

NATO and Peace Maintenance in Africa,‘Full Measures’ (3.13), the moral and emotional complexity of the story is encapsulated in a seemingly incidental scene. We see Walter White in his living room, giving little Holly a bottle of milk. A close-up shows how the baby grabs at his glasses, and in this moment of paternal tenderness, the wr

STENT

vibrant

tly stronger than previous iterations of women on American television (Paul Harris). These are women who have jobs and, more importantly, drive the narrative forward. In many ways, these dramas seem to suggest that at least some demands of the second feminist movement have been taken into account. I

脊椎动物

aplomb

ostrish

W. John Morgan,Alexandre Guilherme coined during the 1930s, whereas the epithet ‘Nordic’ is open to interpretation. Presumably it is bound to the Nordic region, but in which ways — geographically, culturally or socially? Which role can be ascribed to the apparent differences between the Nordic countries (for example, climate, landsc