Double Life Research Articles

Psychic Extinctness

What we write about, calling it ext for short if we like, when we write about extinction, and what we mean when we refer by choice or otherwise to an extinction drive that is not coterminous with death and the Freudian Todestrieb, this will be explored here, starting from Sarah Wood's trigger warning (does the contraction of ext implore against the inappropriate and impossible longueurs of any extinction criticism to come?), in the analytic reveries of Michael Eigen, in The Double Life of Veronique by Krzysztof Kieślowski, in Bionian mathematical symbols and arrows, in the grainy, painful, colour, torque, tautness, magical heaviness and imagistic forms of psychicness and extinctness themselves, and this as a way of wondering if these disturbances in the history of the concept of death which we will mark also give rise to a new generics, an edietics of the ext as the name of a universal component in experience that would be common to any form of humanity, on this or other Earths, in this or other Universes … perhaps to come.

A portal to transnational communication: problematizing identity politics in Ha Jin’s A Map of Betrayal

ABSTRACT Based on the real story of Larry Wu-Tai Chin, the alleged spy who purloined information while working for the CIA and sold classified documents to China, A Map of Betrayal problematises the monophonic dominance of keywords of national identity. As the two interspersing narratives of the spy Gary and his daughter Lilian complicate the double life of a spy and an immigrant, this novel investigates the contradictions of patriotism as religion or rationality, citizenship as empowerment or restriction, and the motherland as the initiating point of entrenchment or activism. At the core of the paradox is a challenge to the possibility of transnational and transcultural communication between China and the United States. This paper reads the duality of loyalty and betrayal that encapsulates the US–China relationship in the heat of the Cold War. While A Map of Betrayal functions as a proxy to reflect the Sino-American relationship during and after the Cold War, discussions of identity politics would be incomplete without examining the mobility of transnationality and the flexibility of belonging in their rightful position at the gateway between two countries. Gary and Lilian’s positions as portals that facilitate transcultural and transnational communication are not only essential to inquiries into loyalty, citizenship and patriotism, but are also helpful in clarifying similar concerns in Asian-American studies.

The double life cycle of Lepidapion argentatum, a promising candidate for the biological control of French Broom.

ABSTRACTLepidapion argentatum (Gerstaecker) (Brentidae) is a weevil from the Mediterranean region collected and recorded from French broom (Genista monspessulana) (L.) LAS Johnson (Fabaceae), a major invasive plant in the USA. We studied feeding and oviposition of L. argentatum under laboratory conditions. Overwintering adults can oviposit in either seed-pods or stem tips of French broom. Larvae in seed-pods consume seeds whereas those in stems develop inside a gall. The development time of L. argentatum in stem galls ranged from 34 to 40 days at mean 23.67 ± 2.43°C. The double ability of L. argentatum to develop in stems and pods appears not to have been recorded in Coleoptera and rare in other phytophagous insects. Our finding increases its potential value as a biocontrol agent against French broom.

Cost-effectiveness of pembrolizumab in combination with chemotherapy versus chemotherapy and pembrolizumab monotherapy in the first-line treatment of squamous non-small-cell lung cancer in the US

Objective: To describe the cost-effectiveness of pembrolizumab plus chemotherapy (carboplatin and paclitaxel or nab-paclitaxel; P + C) in metastatic, squamous, non-small-cell lung cancer (NSCLC) patients in the US.Methods: A model comparing P + C versus C alone is developed utilizing partitioned survival analysis. Primary clinical efficacy, treatment utilization, health utility and safety data are derived from the KEYNOTE-407 trial and projected over 20 years. Costs for drugs and non-drug disease management are also incorporated. Additionally, the cost-effectiveness of P + C vs. pembrolizumab monotherapy (P) is evaluated via an indirect treatment comparison, for patient subgroups with PD-L1 Tumor Proportion Score (TPS) ≥ 50% and 1–49%.Results: Overall, P + C is projected to increase life expectancy by 1.95 years vs. C (3.86 versus 1.91). The resultant ICER is $86,293/QALY. In patients with PD-L1 ≥ 50%, 1–49% and <1 the corresponding incremental cost-effectiveness ratios (ICERs) are $99,777/QALY, $85,986/QALY and $87,507/QALY, respectively. Versus P, in the PD-L1 ≥ 50% subgroup, P + C appears cost saving; however, this result should be interpreted with caution as there is considerable uncertainty in the relative efficacy of these comparators.Conclusions: Across all eligible patients, the addition of pembrolizumab to chemotherapy is projected to approximately double life expectancy, yielding an extension to a point not previously seen in metastatic squamous NSCLC. Overall, and within all relevant PD-L1 subgroups, use of P + C yields an ICER below $100,000/QALY, and can be a cost-effective first-line treatment for eligible metastatic squamous NSCLC patients for whom chemotherapy is currently administered. In the PD-L1 ≥ 50% subgroup, additional follow-up within trials of pembrolizumab plus chemotherapy and pembrolizumab monotherapy are needed to better define cost-effectiveness between these comparators.

A Companion to Ancient Epigram by Christer Henriksén

198 PHOENIX that involve giants, and the author combines his preferred methods and interpretative interests (intertextuality, narratology, geopoetics, metapoetics, etc.) with great aplomb. Amongst other things, he argues that in the PH comparisons and similes involving giants are confined to the characterization of heroes and heroines of the older generation, and that they often highlight narrative turning points. An example of this phenomenon is the Aloadae simile at PH 1.515–522, which is intertextually indebted to Il. 5.385–391 and which, through the association of the Aloadae with Mount Pelion, serves to equate Achilles (whose parents got married at the same place, and whose famous ash-spear was made from wood therefrom) with a hybrid giant. Hence this simile “contributes to the reinforcement of Achilles’ ambivalence” (“trägt zur Verstärkung der Ambivalenz des Achilleus bei,” 206). This chapter offers many fine and detailed close readings of several passages from the PH, and it is a significant contribution to the study of the PH for two reasons: first, it considerably advances our understanding of how Quintus uses comparisons and similes, and secondly, it also provides us with new insights into the Hesiodic side of the PH. No scholar has ever looked systematically at the “Hesiodicity” of this epic, although the famous sphragis at PH 12.306–313 acknowledges Hesiod as an intertextual model on an equal footing with Homer. Thus Bärtschi’s chapter constitutes an important step towards such as study—a study that still needs to be written. Bärtschi writes for the most part in a clear and lucid academic style, and the book has been well copy-edited; only a handful of typos remain. The same generally positive verdict goes for the translations of the Greek text passages discussed; I only noticed occasional minor infelicities (e.g., ken . . . Änajen at Hes. Theog. 837: this aorist is ingressive, thus it should have been translated as “hätte die Herrschaft errungen” [vel sim.], not as “hätte geherrscht,” 50). To summarize, this is an excellent study with a clear focus, a high level of methodological reflection and philological accuracy, rigorous close readings of text passages, and plausible results. Therefore it deserves a broad, international readership. For those who like conclusions with puns, one could say: the author’s efforts were gigantic, and the outcome is epic. University of Oslo Silvio BÈ ar A Companion to Ancient Epigram. Edited by Christer Henriks en. Hoboken, NJ: Wiley Blackwell (Blackwell Companions to the Ancient World). 2019. Pp. 736. The aim of this edited volume is to provide a comprehensive overview of Greek and Latin epigram, from its inscriptional beginnings to the end of antiquity, as well as of the genre’s reception in Byzantium and in the Western literary tradition. The task is formidable, since epigram not only has the longest history of all Western literary genres, but is also a poetic form which can accommodate a stupendous variety of voices, sentiments, registers, and topics—from the sigh of a despondent lover to the tribute to a defiant act of heroism that resounds in eternity. Furthermore, ever since the first Greek inscriptional epigrams were compiled into single- or multi-author book collections (such as the elusive Sylloge Simonidea and Philochorus’ Attic Epigrams), the epigram has led a double life, as a literary form which invites sequential reading, and as an inscription on an object which demands to be interpreted in its material context and, in some cases, in the context of other epigrams on the same object or in the vicinity. The genre poses some of the most complex and vigorously discussed questions in classics: the origins of literacy, BOOK REVIEWS/COMPTES RENDUS 199 the early impact of Homeric epics, the role of the inscribed text in ritual performance, the modes of reading and viewing, the relationship of performative and book poetry, the materiality of text, the origin and composition of the poetic book, the status of the author, and the evolution of the poetic “I,” among many others. To further complicate the picture, the study of epigram is constantly reinvigorated by sensational papyrological discoveries and the steady publication of new poems on stone. Hardly any other field in...

How Russia Learned to Write: Literature and the Imperial Table of Ranks by Irina Reyfman

Reviewed by: How Russia Learned to Write: Literature and the Imperial Table of Ranks by Irina Reyfman Kathleen Scollins Irina Reyfman, How Russia Learned to Write: Literature and the Imperial Table of Ranks. Madison: University of Wisconsin Press, 2016. ix + 237 pp. ISBN 978-0-299-30830-8. Irina Reyfman's How Russia Learned to Write: Literature and the Imperial Table of Ranks is more illuminating, lucid, and lively—even entertaining—than a detailed study of the Russian state service, and its complex interrelationship with issues of authorship, has any right to be. Reyfman's work situates over a century of Russian writers, from Sumarokov to Fet, within a context unfamiliar to most twenty-first-century readers: the service hierarchy, governed by the Table of Ranks. For two centuries, from its establishment under Peter I in 1722 until the revolution of 1917, the Table of Ranks organized the three spheres of state service (civil, military, and court) into fourteen classes. During that time, most literature in Russia was produced by members of the nobility who, until 1762, were legally required to serve the state; even after the abolition of compulsory service, most nobles continued to participate, in order to derive the social and financial status conferred by rank. Noble writers were not exempt from the system of state service—indeed, the competition between state and literary careers delayed the professionalization of letters in the Russian context until the 1830s, which in turn discouraged writers from abandoning the service in pursuit of their authorial ambitions. As a result, Russian authors of the 18th and 19th centuries developed a range of strategies—corresponding to their various means, circumstances, and temperaments—for balancing their obligations to state and muse. Reyfman's work chronicles the endeavors of Russian writers to reconcile these two identities, addressing such questions as: how did service affect their self-image as writers, and how did their writing affect their position within the state hierarchy? How did they combine their public careers and literary activities, and how did this double life manifest in their literary works? Her study examines the lives and literary output of over twenty authors, focusing particular attention on Pushkin, Gogol, and Dostoevsky. Her method is to reconstruct the service biography of each author before turning attention to his literary works, in order to analyze the representation of service, rank, and status. Reyfman records the attitudes and output of these writers, beginning in the mid-eighteenth century with Sumarokov, considered by some to be Russia's first professional writer, and ending in the late-nineteenth century, by which time authors were largely free to fashion their identities and fictions independent of state service. Even then, however, the Table of Ranks continued to exert a powerful force over the lives and works of those writers who did serve. As Reyfman [End Page 229] writes, "it begins with Sumarokov's anxiety over his service rank and ends with Fet's almost insane obsession with it" (187). As the importance of a service career diminished over the course of the nineteenth century, the relationship between state obligations and literary aspirations evolved, along with textual representations of state service. Descriptions of service in literary works reflected the insecurities of individual writers as well as a more general progression: while eighteenth-century authors largely ignored the topic in their works, by the early decades of the following century writers were engaging with it enthusiastically and personally, developing it into an indispensable literary theme by mid-century: "from a fact of life state service changed into a topic of biographical significance and then into a literary topos" (17). Writers' efforts to negotiate the imperatives of their service career and literary ambitions were complicated by such phenomena as the patronage system, limited readership, and a cultural aversion to the notion of writing for profit. Reyfman provides a broad and thorough introduction to the development of the literary profession, with literacy rates, educational reforms, and the growth and commercialization of the book market emerging as major themes. Her study builds on the earlier work of scholars like William Mills Todd III and Yuri Lotman, marking a valuable contribution to the growing body of scholarship on...

Fadia Faqir The Cry of the Dove (2007): Identity Wandering between Tradition and Modernity

It is widely known that Western invasion brought new ideologies over colonized countries, from eradicating its traditions to impressive news reforms. Thus, the colonized country becomes torn between former traditions and newly modern perspectives. In this respect, the focus of this research paper will fall over as it witnessed Western imposition over its society that tried, in its turn, to maintain a traditional lifestyle, while there were attempts for change. Hence, the researcher attempts to shed light on Jordan-as it sways between traditions and imposed reforms- through the literary work of Fadia Ahmed Faqir, whose main motivation resides in the strong messages she conveys in her novel The Cry of the Dove. Thus, the concern of this paper is how far carrying a double identity affects people’s sense of belonging? In this respect, the article introduces a hint of the author’s life embodied in the protagonist Salma, who carries a swaying identity torn between tradition and modernity through her adventures. Salma moves forward and backward through time, then she- the protagonist-wins a voice in a foreign country and adopts a new standard of living, releasing herself from the cultural boundaries of Jordan. Salma is naive but loses her original identity while she had an opportunity to be a wife, with her husband who travels to provide for his family. But she flies to Britain rejecting the double life she leads between her traditional and modern habits. As this paper submits, the addressees should depict the impact of living a double identity adopted by a traditional character living in an imposed body and culture.

Minding the Gap: Bias, Soft Structures, and the Double Life of Social Norms

AbstractWe argue that work on norms provides a way to move beyond debates between proponents of individualist and structuralist approaches to bias, oppression, and injustice. We briefly map out the geography of that debate before presenting Charlotte Witt's view, showing how her position, and the normative ascriptivism at its heart, seamlessly connects individuals to the social reality they inhabit. We then describe recent empirical work on the psychology of norms and locate the notions of informal institutions and soft structures with respect to it. Finally, we argue that the empirical resources enrich Witt's ascriptivism, and that the resulting picture shows theorists need not, indeed should not, choose between either the individualist or structuralist camp.

‘Estrangement’ in aesthetics and beyond: Russian formalism and phenomenological method

We investigate the parallelism between aesthetic experience and the practice of phenomenology using Viktor Shklovsky’s theory of “estrangement” (ostranenie). In his letter to Hugo von Hofmannsthal, Husserl claims that aesthetic and phenomenological experiences are similar; in the perception of a work of art we change our attitude in order to concentrate on how the things appear to us instead of what they are. A work of art “forces us into” the aesthetic attitude in the same way as the phenomenological epoche drives us into the phenomenological one. The change of attitudes is a condition of possibility of aesthetic and/or phenomenological experience. Estrangement is an artistic device that breaks the routinized forms of perception: one sees the thing as new and does not just “recognize” it automatically. Shklovsky insists that it is possible if one experiences or feels the form of the work of art—in an affective and even sensuous way. We claim that this is similar to the phenomenological seeing, or intuition, which, according to Husserl, should be devoid of all understanding. Phenomenological epoche can also be described as a philosophical technique that aims to arrest the “ready-made,” “taken for granted,” “pre-given” meanings in order to access a new meaning which is not yet stabilized, the “meaning-in-formation.” It is not enough to turn from what appears to how it appears; one has to oscillate between these conflicting attitudes, or rather to keep them both at the same time thus gaining a kind of a 3D-vision of meaning in its becoming. This double life in two different attitudes (or, following a Husserlian metaphor, “double bookkeeping”) can be clarified in terms of Roman Jakobson’s theory of antinomic coexistence between the poetic and communicative functions of language. The notion of “double life in two attitudes” uncovers the role that ostranenie can play in the philosophical transformation of the subject based on variety and essential mobility of the affective components involved. Proposing a phenomenological interpretation of a passage from Samuel Beckett we show how the radicalization of ostranenie can lead even to “meta-estrangement”: to estrangement of the everyday “lack of estrangement.” We conclude with a remark on the productivity of this form of estrangement in the phenomenological context.

“Joking, kidding, teasing”: Slippery categories for cross-cultural comparison but key words for understanding Anglo conversational humor

Abstract Terms like to joke (and joking) and to tease (and teasing) have a curious double life in contrastive and interactional pragmatics and related fields. Occasionally they are studied as metapragmatic terms of ordinary English, along with related expressions such as kidding. More commonly they are used as scientific or technical categories, both for research into English and for cross-linguistic and cross-cultural comparison. Related English adjectives, such as jocular and mock, are also much-used in a growing lexicon of compound terms, such as jocular abuse, mock abuse, jocular mockery, and the like. Against this background, the present paper has three main aims. In the first part, it is argued that the meanings of the verbs to joke and to tease (and related nouns) are much more English-specific than is commonly recognized. They are not precisely cross-translatable even into European languages such as French and German. Adopting such terms as baseline categories for cross-cultural comparison therefore risks introducing an Anglocentric bias into our theoretical vocabulary. Nor can the problem be easily solved, it is argued, by attributing technical meanings to the terms. Detailed analysis of the everyday meanings of words like joking and teasing, on the other hand, can yield insights into the ethnopragmatics of Anglo conversational humor. This task is undertaken in the second part of the paper. The important English verb to kid and the common conversational formulas just kidding and only joking are also examined. The semantic methodology used is the Natural Semantic Metalanguage (NSM) approach, which depends on paraphrase into simple, cross-translatable words. Building on the NSM analyses, the third part of the paper considers whether it is possible to construct a typological framework for conversational humor based on cross-translatable terminology.

Issues in the future, living in a double life between a Satoyama and Cosmopolitan

Issues in the future, living in a double life between a Satoyama and Cosmopolitan

Siting re-assemblage: Queen Elizabeth Olympic Park

Focusing on Queen Elizabeth Olympic Park as a dramatic case, this essay reimagines landscape as an assemblage practice in the context of assemblage thinking in the visual arts, contemporary social theory, and urban geography. The essay shows landscape to be both a productive object of assemblage analysis and a new resource for the analytic itself, contributing to an assemblage epistemology by foregrounding the need to think across extremes of scale (from the microbiological to the macroeconomic); to apprehend not just horizontal but also vertical composition; to consider the vitality of matter as the empirically given; and to recognize assemblage in time, as a perpetual process of re-assemblage. A complex physical and technological re-assembly project in different modes, the Park has a double life_as the primary site of the XXX Olympiad and Paralympics and, post-Olympics, as a long-term socioeconomic catalyst for East London. But to succeed as a catalyst, the re-assemblage must sustain enough centrifugal, de-territorializing force to effect new socio-material assemblies.

The Films of MM Serra: Art(core) and the Explicit Body

The Films of MM Serra:Art(core) and the Explicit Body MM Serra (bio) Click for larger view View full resolution Figure 1. Mary Magdalene 2017 [End Page 134] "Mary Magdalene" is separate from you, but comes from you. It is a brilliant, explosive, fierce, and passionate gem, the kind that catches light but can also cut. As I said last night, the woman's body is there to contain and resist; she fights the frame and ideology all at the same time, forcing us to think about how images of the body both seduce and confuse us at every turn. The film does not offer easy answers but rather stirs us to move through the world so much more aware. A film about touching that no one can touch. —Lynne Sachs1 I, MM Serra, have since 1982 created over twenty-four short experimental documentary films. Over the last four decades, through my creation of films such as Turner (1987), L'Amour Fou (1992), Darling International (1999, co-directed with Jenn Reeves), Chop Off (2009), Bitch-Beauty (2011), Enduring Ornament (2015, co-directed with Josh Lewis), and Mary Magdalene (2017), I have explored my personal vision in moving image making by focusing on explicit content with a variety of aesthetics and techniques. Not having a camera or access to film equipment, I had the good fortune to be able to study filmmaking with a pioneer of the American avant-garde film scene Shirley Clarke in 1982 at UCLA. My first six films were created in Los Angeles while I studied with Clarke and were cinematic exercises in creating one-minute films about light and shadow and movement. In my early film Turner, sexuality is expressed through the film's star, blonde Marilyn Monroe-esque C. [End Page 135] Breeze, who is reading her poetry. The lyrics of her poetry are part of a dream about her dog, Turner, eagerly licking her nude body, after she put lotion on herself (canine sex). The film is layered with superimpositions and C. Breeze's use of blue-tinted fabrics. These early films from the 1980s serve as an indication of themes I would explore more explicitly in my later works, after I moved to New York in 1987. My mother, Josephine, named me Mary Magdalene (MM) for the only woman disciple of Jesus in the Christian New Testament. I think she was prescient; she knew deep down that the mythology of Mary Magdalene had a double life and multiple meanings. For many Christians, MM has a reputation as a repentant prostitute or loose woman. I have been inspired by this dichotomy throughout my life. As a girl growing up in a small, factory-based town in Western Pennsylvania in the mid twentieth century, I realized that my name was iconoclastic then and still is today. In June 2018, in response to Stormy Daniels's allegations, Donald Trump's lawyer Rudy Giuliani said, "I respect all human beings. I even have to respect criminals. But I'm sorry, I don't respect a porn star the way I respect a career women or a women of substance or a woman who has great respect for herself as a woman and as a person and isn't going to sell her body for sexual exploitation." Even now, at the end of the second decade of the twenty-first century, a woman within the heteronormative system who uses her body in a sexual manner is demonized and censored. Ever since my early childhood, this name Mary Magdalene has propelled me to stand outside the conventional institutions. By resisting normative paradigms in regards to the art I should create, the clothing I should wear, the films I should watch, the food I should eat, and the life I should lead, I am shaping my existence as a woman and as a filmmaker, using my own terms and initiatives. In childhood, looking at images of Michelangelo's Sistine Chapel in my mother's Italian Bible, I was awestruck by the beauty of the colorful, voluptuous bodies. I wanted to be Michelangelo using photography and filmmaking, creating not just the celestial bodies, but the body in all of...

Impeaching Dilma Rousseff: the double life of corruption allegations on Brazil’s political right

ABSTRACTThis essay analyses the 2016 congressional impeachment of Brazilian President, Dilma Rousseff, for alleged budgetary misconduct, as well as the related right-wing, ‘anti-corruption’ demonstrations calling for her ouster. I argue that Rousseff’s impeachment was facilitated by a conflation of two models of ‘corruption’ operating in Brazil, one legal-behavioural and the other religious-ontological. What happened in 2016 was a tacit conflation of these two models, along with their associated regimes for construing evidence of guilt. More specifically, congressional deliberations on Rousseff’s guilt allowed jurisprudential standards of evidence to be influenced by the evidential regime of the right-wing Fora Dilma (‘Out Dilma’) demonstrators. The demonstrators evinced Rousseff’s corruption through a semiotic process I term ‘cross-domain homology’, a process that I claim is intrinsically dangerous for democracy because it invites a state of exception to the norms girding representative institutions.

Code-switching and Loanwords for the Audio Engineer: The flow of terminology from science, to music, to metaphor

The social and sociological implications of what David Beer calls the ‘precarious double life’ of the recording engineer – a technical professional on one hand, an artistic one on the other – are only recently coming to the fore in scholarship. Bruno Latour’s Actor-Network theory and the Social Construction of Technology theory pioneered by Trevor Pinch, as well as the contributions of Susan Schmidt-Horning and Beer himself, have begun to give us an intellectual framework to examine how social forces shape sound technology and the variegated implications of that shaping.This article examines the case of the ‘bilingualism’ required of the recording engineer. Drawing on primary sources from across the twentieth century, it traces the case of scientific terminology becoming musical terminology, that musical terminology becoming ingrained in consumer culture, and that ingrained, well-understood musical terminology becoming, finally, metaphorical.We trace the case of spectral terminology from Joseph P. Maxfield’s articles explaining electromechanical recording to a general audience in the publicationScientific Americanin the 1930 s, through the application of spectral terminology in advertising during the hi-fi boom of the midcentury, and finally to the metaphorical use of the same terminology in popular music in the last two decades of the century. We show, then, that it is not only the audio engineer, but also their terminology itself that participates in a ‘double life’.

Difficulties of fathers whose families evacuated voluntarily after the Fukushima nuclear disaster.

The Fukushima nuclear disaster in 2011 resulted in radiation exposure, and many evacuees felt anxious of its health risks. However, little is known about the difficulties faced by fathers whose families evacuated voluntarily. Therefore, the aim of the present case study was to clarify the difficulties and concerns of fathers whose families evacuated voluntarily after the Fukushima nuclear disaster. Eleven fathers in Fukushima were interviewed between 14 December 2014 and 25 February 2015. Four themes emerged: (i) seeking a safe place away from radiation exposure; (ii) burdens of a double life; (iii) feelings of isolation and perceived deterioration of health; and (iv) deciding on whether to continue voluntary evacuation. Fathers were anxious about radiation exposure, similar to mothers, and faced work-family conflicts from the voluntary evacuation of their families, including financial, physical, and mental sacrifice. Half of the fathers did not express their difficulties to others. Our findings identified a new type of conflict between people of a community who did/did not choose voluntary evacuation. Occupational health nurses should understand fathers' feelings of isolation and monitor their health to prevent the development of stress-related diseases.

‘Better in stereo’: Doubled and divided representations of postfeminist girlhood on the Disney Channel

Abstract Disney’s cable channel has global reach and the highest audience share among 9–14 year olds, demonstrating its powerful influence in constructing narratives for young citizens. It has produced several films and television shows aimed at tween girls, which embody the paradoxes and ‘double entanglements’ of postfeminism discussed by Angela McRobbie. These representations demonstrate many postfeminist characteristics, such as a focus on girls’ empowerment and neoliberal agency; temporal anxiety and time travel; commodification of racial difference; affluence and consumerism; the assumption of gender equality, even as its achievement makes it politically irrelevant; and femininity/romance as girls’ free and natural choice. This paper examines current Disney Channel hits such as Liv and Maddie, Girl Meets World, K.C. Undercover, Teen Beach Movie and Teen Beach 2. The doubling of female identity – following the Hannah Montana pattern of a double life, and replicated in K.C. Undercover and the Teen Beach movies by creating past/present dyads of characters from the 1960s/1970s and the present day – creates the opportunity to represent contrasting ideas of femininity and feminist history, engaging a politics of nostalgia that erases feminism as a political movement, while reaffirming a neoliberal notion of postfeminist girlhood.

Kontrasty i syntezy. Retoryczne obrazy miast ogrodów

Contrasts and syntheses: Rhetorical images of garden citiesEbenezer Howard’s book Garden Cities of To-Morrow is not only a treatise on urban planning or a modern utopia, but also a rhetorical case, using carefully built argumentation scheme. The aim of this article is to show how Howard’s ideas are presented and supported, and how his whole work is centered around the romantic notion that “extremes meet”. Both Howard and Polish interpreters of his ideas presented garden cities as a remedy for urgent problems Lloyd F. Bitzer’s “exigence”. Their opinions on what exactly these problems are were, however, different. For Howard the most important aim was to draw people back to the country and provide them with cheaper, more comfortable houses. For Władysław Dobrzyński, the chief propagator of garden cities in Poland, the main problem were health conditions in Warsaw. The city is presented as ultimate evil, so the “marriage” between the country and the town is not possible and in fact not desired. Thus, Polish journalists and activists who tried to make Howard’s idea attractive to popular public, reversed his course of reasoning. In their visions extremes not only do not meet, but are radically separated. The city and the country, work and free time, gardens and industry are polar opposites. They can be reconciled not in actual, physical space, but only by leading a “double life”, shared between working in a city and living in an idyllic country refuge.

Upending the Double Life of Law Schools: Millennials in the Legal Academy

This article discusses Holloway and Friedland’s vision of the law school of 2025, with a focus on the need for technology education and a cultural shift in the legal Academy and the law school curriculum. It surveys the landscape of millennials as both students and employees, briefly describing their strengths and weaknesses in both arenas. Finally, this article brings the discussion together, describing benefits the law school of 2025 will receive by welcoming Millennials into the Academy, and will predict the changes legal education can expect with an innovative group of narcissists leading the way.

The Actress-Manager and the Movies: Resolving the Double Life of Sarah Bernhardt

Sarah Bernhardt is one of the most globally celebrated actress-managers of the late nineteenth century. Bernhardt’s fame, however, is rarely associated with silent film. This article explores the coincidence between Sarah Bernhardt’s role as a theatrical manager in the late nineteenth and early twentieth century and her pioneering work in the nascent film industry. I argue that Bernhardt was not only a performer and manager in the theatre, but a creative agent in modern media industries. Questions about the relationship between Bernhardt and early film allow us to discuss the formation of female business experience in the theatre and its subsequent movement into a cinematographic culture that would dominate and define twentieth-century culture and commerce. Even if Bernhardt is regarded as a ‘lone entrepreneur’ and therefore extraneous to broader national discussions of theatrical industrialisation, it is important to understand the impact she has as a media celebrity who used film in order to expand her own twentieth-century global marketability.