Simulacrum

in strong Chinese medical herbs, creating a stew that was ripe with aroma. From there, Bah Kut Teh caught on and become nation-wide phenomenon. Nowadays, there is even Chik Kut Teh, a chicken version of the Bak Kut Teh but it is considered a pale simulacrum of the original. Bah Kut Teh is usually eaten with a bowl of rice and drunk with tea as the dish is quite only. It is so good, that Chinese will drive from one state to the other to find a stall that serves it well. It is also widely available in

Set in the swallowing depression of the 1920’s, The Grapes of Wrath by John Steinbeck provides a hallowing, realistic view into the plight of the proletariat farmer and the exploitation that was all too common during the Great Depression by major corporations. Steinbeck’s literary work serves as a window into the world of the great depression by not only providing a narrative history of the era, but also giving faces to the nameless victims through the characters of Tom Joad, the lead protagonist

Harry Potter and the Deathly Hallows Part 2 Critical Analysis of the trailer By Lydia Turner Harry Potter and the Deathly Hallows Part 2 released in 2011 and directed by David Yates. Warner Bros distributed the film. It is based upon Harry Potter the Deathly Hallows written by J.K Rowling that was split in to two parts this film was the final film of the whole series, which consisted of eight films. The films target audience are people of the ages of 15 to 24 however younger and older audiences

An Analysis of George Bataille's The Story of the Eye ...awareness of the impossibility opens consciousness to all that is possible for it to think. In this gathering place, where violence is rife, at the boundary of that which escapes cohesion, he who reflects within cohesion realizes that there is no longer any room for him (Theory of Religion 10). When Georges Bataille first published The Story of the Eye in 1928, anonymously and "in a limited edition of 134 copies" (Lechte 118), he had

Postmodernism, Deconstructionism, and the Ethnographic Text Anthropology 575 Postmodernism      In the late 1960’s the social sciences (mainly anthropology and sociology) entered a crisis period in which traditional ways of conducting the study of the Other were re-examined in the context of their association with dominance-submission hierarchies and the objectification of the subjects of study. There was seen to be an association between Western imperialism’s

Photography's Discursive Spaces: Landscape/View Rosalind Krauss Art Journal, Vol. 42, No. 4, The Crisis in the Discipline. (Winter, 1982), pp. 311-319. Stable URL: http://links.jstor.org/sici?sici=0004-3249%28198224%2942%3A4%3C311%3APDSL%3E2.0.CO%3B2-8 Art Journal is currently published by College Art Association. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use

Hugvísindadeild Postmodernism and The Simpsons Intertextuality, Hyperreality and Critique of Metanarratives Ritgerð til B.A.-prófs Björn Erlingur Flóki Björnsson bjornfloki@gmail.com Kt. 110982-5779 Maí 2006 Abstract This essay offers a postmodernist reading of the popular television program The Simpsons, with special regard to the postmodern theories of intertexuality, hyperreality, and metanarratives. Before delving into The Simpsons, some major theoretical aspects of postmodernism in aesthetic

Globalisation or ‘Glocalisation’? Networks, Territories and Rescaling Erik Swyngedouw University of Oxford Abstract This paper argues that the alleged process of globalisation should be recast as a process of ‘glocalisation’. ‘Glocalisation’ refers to the twin process whereby, firstly, institutional/regulatory arrangements shift from the national scale both upwards to supra-national or global scales and downwards to the scale of the individual body or to local, urban or regional configurations and

The Critical Metamorphoses of Mary Shelley’s Frankenstein You must excuse a trif ling d eviation, From Mrs. Shelley’s marvellous narration — from th e musical Frankenstein; or, The Vamp ire’s Victim (1849) Like Coleridge’ s Ancient Mariner , who erupts into Mary Sh elley’s text as o ccasionally and inev itably as th e Monster into Victor Frankenstein’s lif e, Frankenstein; or, The Modern Prometh eus passes, like night, from land to land and w ith stang ely ad aptable powers of speech

Many individuals played an important role in the production of this thesis, and I would like to take this opportunity to note my heartfelt appreciation. First, I am indebted in particular to my entire family; most importantly, Mom; every path I have taken has been to make you proud, and I hope to fulfill your dreams through my shoes. I would also like to thank my sister Michelina, Joel, Dad, Nanny, Ken & Jarret, Uncle Ian & Aunt Kari, my guardian angel Thomas, Gran & my late Grampy–without your