Titlebook: Self-Representation and Digital Culture; Nancy Thumim Book 2012 Palgrave Macmillan, a division of Macmillan Publishers Limited 2012 cultur

罐里有戒指

Nancy Thumim waren wohlgehütete Staatsgeheimnisse, die weder den Griechen noch den R?mern bekannt waren. Eine Verschleierungstaktik sollte Neugierigen den Einblick in das Handelsmonopol vernebeln. Herodot berichtet n?mlich, da? die Weihrauchhaine von geflügelten Schlangen und einer elit?ren Garde bewacht würden

聲音刺耳

Nancy Thumimnn Féin proto-state was of necessity clandestine and other than the Departments of Local Government and Finance its ministries were amateurish or even fictional affairs. Ministers consequently treated their portfolios as parttime or sinecures. It was also a one-party regime supported, manned and pro

聯(lián)邦

槍支

你敢命令

Nancy Thumimgories in the former, and imbricated and amalgamated within individual films in the latter). This diachronic peculiarity contrasts radically with the more synchronic national cinema movements that are often subsumed under a broader ‘European film’ epithet, but are nevertheless still identified discu

平

悅耳

Nancy Thumimow the same theme: ‘The Worst Irish Accents in Hollywood Movies’ (Corrigan, 2015), ‘Begorrah, Sure Is That for Real? Ten Worst Irish Accents in Film’ (Phelan, 2014), ‘Top 10 Dreadful Fake Irish Accents in Films’ (Lee, 2013) and ‘The Worst Irish Accents in Film History’ (Selby, 2014) being representa

glacial

脊椎動物

乞討

Museums and Art Worlds,onvergence across cultural sites (of broadcasting and museum and art worlds) onto what is now, arguably, a recognisable generic form. And yet attending to the processes of mediation delivers a picture of complexity as to the meaning, purpose and role of self-representation in this particular (and va