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Errant males and the divided woman : melodrama and sexual difference in the Hindi social film of the 1950sVasudevan, Ravi January 1991 (has links)
No description available.
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A nation at ease with itself? : images of Britain and the Anglo-Britishness debate 1979-1994Jones, Steven Lawrence January 1995 (has links)
No description available.
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'An infinite variety of arguments' : the Bridgewater Treatises and British natural theology in the 1830sTopham, Jonathan Richard January 1993 (has links)
No description available.
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The discourse of Carioca Samba in the Vargas era (1930-1945) : the work of Ataulfo Alves, Noel Rosa and Ari BarrosoJesse, Lisa January 1995 (has links)
No description available.
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Captain Swing and rural popular consciousness : nineteenth-century southern English social history in contextJones, Peter Daniel January 2002 (has links)
No description available.
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Writing and literacy in nineteenth century England : some uses and meaningsHoward, Ursula January 1993 (has links)
No description available.
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Representation and the British working class : contest and continuityKirk, John Anthony January 1995 (has links)
No description available.
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Popular music making in Manchester (1950-1995)Lee, Christopher Paul January 1996 (has links)
No description available.
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Folklore, folkdevil, folklaw : football and the regulation of its consumptionOsborn, Guy January 2002 (has links)
No description available.
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Over the rainbow : the Wizard of Oz as a secular mythNathanson, Paul, 1947- January 1989 (has links)
Formal and cultural analyses of The Wizard of Oz (Victor Fleming, 1939) indicate that Dorothy's passage from Kansas, through Oz and back to Kansas symbolically recapitulates paradigmatic stories of both America (the nation's passage from utopian origin, through history, to utopian destiny) and Christianity (the cosmic passage from paradisian origin, through history, to paradisian destiny). In order to "go home" (the explicit theme), Dorothy must "grow up" (the implicit theme); this link is also paralleled symbolically at both national and cosmic levels. Resonating profoundly with the collective ethos, this movie has come to function in a modern (ostensibly secular) society the way myths function in traditional (overtly religious) societies. I conclude that popular movies may be effective replacements for the mythic aspect of traditional religion and that modern societies may appear to be more secular (hostile or indifferent to religion) than they actually are.
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