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Titlebook: Rethinking the Romance Genre; Global Intimacies in Emily S. Davis Book 2013 Emily S. Davis 2013

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发表于 2025-3-21 19:40:44 | 显示全部楼层 |阅读模式
书目名称Rethinking the Romance Genre
副标题Global Intimacies in
编辑Emily S. Davis
视频video
图书封面Titlebook: Rethinking the Romance Genre; Global Intimacies in Emily S. Davis Book 2013 Emily S. Davis 2013
描述Rethinking the Romance Genre examines why the romance genre has proven such an irresistible form for contemporary writers and filmmakers as they approach global issues. In contemporary texts ranging from literary works, to films, to social media, romance facilitates a range of intimacies that offer new feminist models in the age of globalization.
出版日期Book 2013
版次1
doihttps://doi.org/10.1057/9781137371874
isbn_softcover978-1-349-47587-2
isbn_ebook978-1-137-37187-4
copyrightEmily S. Davis 2013
The information of publication is updating

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Emily S. Davisted president of the . (FIFA) from 1921 to 1954 it was under Rimet’s leadership that the game first became truly global, that a professional elite developed and that the first World Cups were held. Rimet also played a major role in securing FIFA’s autonomy from supervision by the . (IOC). In this co
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Emily S. Davisted president of the . (FIFA) from 1921 to 1954 it was under Rimet’s leadership that the game first became truly global, that a professional elite developed and that the first World Cups were held. Rimet also played a major role in securing FIFA’s autonomy from supervision by the . (IOC). In this co
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The Gothic Global: Capitalist Excesses, Postcolonial Returns,ing: the gothic. Jamaica Kincaid’s ., with its monstrous gothic (anti)heroine; Jessica Hagedorn’s ., with its imprisoned women and invisible workers; and Manjula Padmanabhan’s ., with its living organ banks for wealthy Western clients, all draw upon the gothic in new and innovative ways that demonst
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The Intimacies of Globalization: Bodies and Borders On-Screen,l economy. As in the previous chapter, sexuality here is a terrain of commodification, power struggle, exchange—in other words, desire and affect are conditioned by the cultural and economic parameters of globalization itself. What results in these television and film texts, I argue, are ambivalent
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