ellauri069.html on line 89: Barthelme believed himself to be working in the tradition of Joyce and Samuel Beckett, and that his appropriation of popular, commercial, and other sub-artistic elements (instruction manuals, travel guides, advertisements, sentences from newspaper articles, and so on) in his writing was done as a means of making literature, not subverting it or announcing its obsolescence. Daugherty thinks that many people have got Barthelme wrong.
ellauri143.html on line 65: V Arasu, former head of Tamil department, University of Madras said the move is nothing short of hindi cultural appropriation. “Every religion including Christianity has claimed Thiruvalluvar as their own. Since the BJP is in power now, they can do whatever they wish. But we should not worry. Truth will always triumph,” he said.
ellauri192.html on line 665: Mr. Seifert's memoirs were published in English in September 1981 by sixty-eight publishers, plus in the Czech language by a Czech emigre publishing house in Canada, and they were published in several installments in a Czech-language journal. A portion of the memoirs were published in English in the 1983 issue of Cross Currents, a yearbook of Central European Culture, published by the Department of Slavic Langagues at the University of Michigan. The selection, titled "Russian Bliny," is about Roman Jakobson, a Russian scholar who emigrated to Czechoslovakia after World War I and came to the United States during World War II. In actual fact, they were Ukrainian bliny, another case of cultural appropriation.
ellauri370.html on line 51: Some scholars speculate that the story was created to justify the Jewish appropriation of an originally non-Jewish feast. The festival which the book explains is Purim, which is explained as meaning "lot", from the Babylonian word puru. One popular theory says the festival has its origins in a historicized Babylonian myth or ritual in which Mordecai and Esther represent the Babylonian gods Marduk and Ishtar, while others trace the ritual to the Persian New Year, and scholars have surveyed other theories in their works. Some scholars have defended the story as real history, but the attempt to find a historical kernel to the narrative "is likely to be futile".
xxx/ellauri085.html on line 294: Peterson's critiques of political correctness range over issues such as postmodernism, postmodern feminism, white privilege, cultural appropriation, and environmentalism. He contends that "proper culture" has been undermined by "post-modernism and neo-Marxism."
xxx/ellauri103.html on line 168: In 2016 Shriver gave a controversial speech about cultural appropriation. Shriver had previously been criticized for her depiction of Latino and African-American characters in her book The Mandibles, which was described by one critic as racist and by another as politically misguided. In her Brisbane speech, Shriver contested these criticisms, saying writers ought to be entitled to write from any perspective, race, gender or background that they choose, even racist and politically misguided, in fact particularly so, because they sell best. The full text of her speech was published in the British newspaper The Guardian.
xxx/ellauri103.html on line 187: The student government issued a “statement of solidarity” with “all the students who were injured and affected by the incident,” and demanded that administrators “create a safe space for those students who have been or feel specifically targeted.” The tequila party, the statement specified, was just the sort of occasion that “creates an environment where students of colour, particularly Latino, and especially Mexican, feel unsafe.” In sum, the party-favour hats constituted – wait for it – “cultural appropriation.”
xxx/ellauri103.html on line 188: Curiously, across my country (which? Is the turd talking about America? Most likely.) Mexican restaurants, often owned and run by Mexicans, are festooned with sombreros – if perhaps not for long. At the UK’s University of East Anglia, the student union has banned a Mexican restaurant from giving out sombreros, deemed once more an act of “cultural appropriation” that was also racist.
xxx/ellauri103.html on line 202: The author of Who Owns Culture? Appropriation and Authenticity in American Law, Susan Scafidi, a law professor at Fordham University who for the record is white, defines cultural appropriation as “taking intellectual property, traditional knowledge, cultural expressions, or artifacts from someone else’s culture without permission. This can include unauthorised use of another culture’s dance, dress, music, language, folklore, cuisine, traditional medicine, religious symbols, etc.”
xxx/ellauri103.html on line 205: I am hopeful that the concept of “cultural appropriation” is a passing fad: rubbing people with different backgrounds against each other and exchanging our flaky ideas and shady practices against their money is self-evidently one of the most productive, fascinating aspects of modern urban life.
xxx/ellauri103.html on line 209: So far, the majority of these farcical cases of “appropriation” have concentrated on fashion, dance, and music: At the American Music Awards 2013, Katy Perry got it in the neck for dressing like a geisha. According to the Arab-American writer Randa Jarrar, for someone like me to practice belly dancing is “white appropriation of Eastern dance,” while according to the Daily Beast Iggy Azalea committed “cultural crimes” by imitating African rap and speaking in a “blaccent.” Some of my friends got even told off for painting themselves black with shoe polish and making fat red lips! Now what may be wrong with that, I just ask. Clean innocent fun! Why don't the coons just laugh along?
xxx/ellauri103.html on line 305: Lionel Shriver’s real targets were cultural appropriation, identity politics and political correctness. It was a monologue about the right to exploit the stories of “others”, simply because it is useful for one’s story.
xxx/ellauri103.html on line 323: There is a fascinating philosophical argument here. Instead, however, that core question was used as a straw man. Shriver’s real targets were cultural appropriation, identity politics and political correctness. It was a monologue about the right to exploit the stories of “others”, simply because it is useful for one’s story.
xxx/ellauri103.html on line 339: But there is a bigger and broader issue, one that, for me, is more emotive. Cultural appropriation is a “thing”, because of our histories. The history of colonisation, where everything was taken from a people, the world over. Land, wealth, dignity … and now identity is to be taken as well?
xxx/ellauri103.html on line 346: My own mother, as we walked away from the tent, suggested that perhaps I was being too sensitive. Perhaps … or perhaps that is the result of decades of being told to be quiet, and accept our place. So our conversation then turned to intent. What was Shriver’s intent when she chose to discuss her distaste for the concept of cultural appropriation? Was it to build bridges, to further our intellect, to broaden horizons of what is possible?
xxx/ellauri200.html on line 71: Joku Dua Lipa niminen influensseri teki nähtävästi levitaatiosta diskomusarallatuxen. Ottaako sinun orasi, ei liiku minun lipani. Dua tervehtii meitä Kosovon albanialaisena. Talk about cultural appropriation! Kulttuurit värit ja maut sekoittuvat ankarasti anglosaxikastikkeessa tänä globaalisena aikana. Maailma kylässä. Kaikki maistuu lopulta aivan samalta, hampuriaiselta pizzalta ja kebaabilta.
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