Associazione ESSPER
periodici italiani di economia, scienze sociali e storia
periodici italiani di economia, scienze sociali e storia
Textus - 2018
Risultato della ricerca: (34 titoli )
| Brexit: Before and After, a Corpus-assisted Study of the Referendum Campaigns and the Immediate Aftermath |
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| Crossing Boundaries: Investigating 'Fair' in British Parliamentary Debates on Im/migration |
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| Foreword |
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| lntroduction. From 'Post-Democracy' to 'Post-Truth' in Political Language |
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| Posting for Consensus, Sharing Consensus. The Case of Migrants on Facebook, Ideological Views and Echo Chambers |
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| Preamble. Of Research as Political Practice and of Changing Language as Political lntervention |
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| The Press War in the Post-Truth Era: A Corpus-Assisted CDA of the Discourse of US Political Analysts on Trump's Figure and Policy |
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| The rigid club rules: discourse-historical perspectives on British and Italian Eurocriticism |
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| "She's just this sort of bigoted woman": The Mediatisation of a Political Gaffe in British Broadsheet Newspapers |
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| "I think that maybe I wouldn't be here if it wasn't for Twitter". Donald Trump's Populist Style on Twitter. |
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| Adapting 'Real-life' Material: Metatheatrical Configurations of Authorship and Ownership of Story in Contemporary British Verbatim Theatre |
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| Collage and Decollage: A Multi-Media Approach to Black and Asian British Identity |
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| Dissonant Fabulation: Subverting Online Genres to Effect Socio-Cognitive Dissonance |
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| Drama on the Move: Intermedial Dialogue in Caryl Churchill's Love and Information |
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| From George Orwell to David Bowie: Performing Dystopian Narratives in the Diamond Dogs Album and Show |
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| Hybridised Genres: Accessing Spaces Conventional Biography Cannot Reach |
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| Introduction: Performing Narrative across Media |
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| Montage Epic in John Akomfrah's Vertigo Sea: The Politics and Aesthetics of Multiscreen Narrative |
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| Of Trees and Flipbooks: Multimedia Wounded Passages in William Kentridge's Second-hand Reading |
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| Performing Rituals of Self-Narration: Benjamin Zephaniah's Storytelling |
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| 'Talking Pictures': Digital Storytelling and Performance in Heritage Communication |
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| Tim Crouch's 'Transplant': ENGLAND's Performing Narrative in Art Galleries |
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| What is Your Story Now? Life Narrative under Threat in Douglas Coupland's 'Extreme Present' |
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| Beyond the Balcony Scene: Retelling Romeo and Juliet on Italian Television |
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| The Boundaries of Citation and Allusion: Shakespeare in Davide Ferrario's Tutta colpa di Giuda (2008), Alfredo Peyretti's Moana (2009), and Connie Macatuno's Rome and Juliet (2006) |
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| Che Cosa Sono le Nuvole?: Filmic Appropriation and the Rediscovery of Material Reality |
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| Introduction: A Dance Routine Set in a Library |
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| "Like a cook, placing the dishes": Performance of "Eating" Practices in Titus Andronicus |
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| "O O O O that Shakespeherian Rap": Reimagining Othello through Contemporary Popular Music |
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| Rosalind and Celia as the Victorians Liked Them: Womanly Heroines in the Forest of Arden |
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| Shakespeare, a Basketball Court and Felicità. Collettivo Teatro Metropopolare in La Dogaia Prison, Prato |
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| Shakespeare and the Edwardian Turn of Mind: Textual Poaching and Mis-citation |
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| Sonnet 18 |
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| When the Lovers Meet Prospero. Jeremy Sams's The Enchanted Island, a Shakespearean Pastiche |
Textus - 2018