Winter 2016 February

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Winter 2016 February Monday Tuesday Wednesday Thursday Friday Saturday Sunday Celebrity Style Story McMorris & McMorris 6:00 Grand Benders ( R ) Degrassi (S14) Degrassi (S14) 6:00 Panic Button ( R ) ( R ) Celebrity Style Story 6:30 Grand Benders ( R ) Degrassi (S14) Careless Teens Student Bodies 6:30 ( R ) 7:00 InnerSpace 7:00 The L.A. Complex 7:30 Degrassi High 7:30 8:00 Degrassi (S1- 13) Degrassi (S14) ( R ) 8:00 8:30 Degrassi (S1- 13) Student Bodies ( R ) 8:30 Degrassi (S1-13) 9:00 Teen Mom Reign 9:00 ( R ) ( R ) 9:30 Degrassi (S1-13) 9:30 Grand Benders Degrassi ( S14 ) Celebrity Style Story McMorris & McMorris 10:00 Ridiculousness ( R ) The Shannara 10:00 Panic Button ( R ) ( R ) ( R ) ( R ) ( R ) Chronicles Grand Benders Degrassi ( S14 ) Celebrity Style Story Broke Ass Game Show 10:30 Careless Teens ( R ) 10:30 ( R ) ( R ) ( R ) ( R ) InnerSpace ( R ) Greates Party Story 11:00 Ever ( R ) Teen Wolf 11:00 ( R ) 11:30 Celebrity Style Story McMorris & McMorris Grand Benders The Wild Ride ( R ) 11:30 Grand Benders Degrassi (S14) Celebrity Style Story McMorris & McMorris 12:00 The Challenge 12:00 Panic Button ( R ) ( R ) ( R ) ( R ) ( R ) Grand Benders Degrassi (S14) Celebrity Style Story Careless Teens 12:30 ( R ) 12:30 ( R ) ( R ) ( R ) ( R ) 1:00 InnerSpace ( R ) 1:00 1:30 Degrassi High ( R ) 1:30 2:00 Degrassi (S1- 13) ( R ) 2:00 2:30 Degrassi (S1- 13) ( R ) 2:30 MTV-A-Thons 3:00 Degrassi (S1-13) ( R ) 3:00 MTV-A-Thons 3:30 Degrassi (S1-13) ( R ) 3:30 4:00 Friendzone 4:00 Fired By Mum & Dad 4:30 Friendzone 4:30 5:00 Ridiculousness 5:00 5:30 Rob Dyrdek's Fantasy Factory 5:30 Degrassi (S14) Celebrity Style Story McMorris & McMorris 6:00 Grand Benders ( R ) Degrassi (S14) ( R ) 6:00 Panic Button ( R ) ( R ) ( R ) ( R ) Degrassi (S14) Celebrity Style Story Careless Teens 6:30 Grand Benders ( R ) Student Bodies ( R ) 6:30 ( R ) ( R ) ( R ) McMorris & McMorris 7:00 Celebrity Style Story ( R ) Grand Benders ( R ) 7:00 ( R ) Teen Mom Reign ( R ) ( R ) 7:30 Degrassi High ( R ) 7:30 8:00 Degrassi (S1-13) ( R ) Ridiculousness ( R ) The Shannara 8:00 Chronicles Broke Ass Game Show Degrassi (S1-13) ( R ) ( R ) 8:30 ( R ) 8:30 Degrassi Degrassi (S1-13) ( R ) Greatest Party Story 9:00 Teen Wolf 9:00 (S1-13) ( R ) Teen Wolf Ever ( R ) Degrassi ( R ) Degrassi (S1-13) ( R ) The Wild Ride ( R ) 9:30 (S1-13) ( R ) 9:30 Degrassi (S14) ( R ) 10:00 The Shannara Ridiculousness 10:00 Teen Mom The Challenge The L.A. Complex Chronicles Greatest Party Story 1G5G 10:30 Ever 10:30 Degrassi (S1-13) 11:00 1G5G Broke Ass Game Show 11:00 ( R ) Geordie Shore Skins The L.A. Complex ( R ) Degrassi (S1-13) 11:30 1G5G The Wild Ride 11:30 ( R ) 12:00 Teen Mom Teen Wolf The Challenge Ridiculousness ( R ) Fired By Mum & Dad The Challenge 12:00 ( R ) ( R ) ( R ) Greatest Party Story ( R ) ( R ) 12:30 Ever ( R ) 12:30 The Shannara Broke Ass Game Show 1:00 Geordie Shore MTV-A-Thons 1:00 Chronicles ( R ) ( R ) ( R ) 1:30 ( R ) The Wild Ride ( R ) MTV-A-Thons 1:30 Teen Mom Block Classic MTV Block 2:00 ( R ) 2:00 The Challenge Block The Real World Block Ridiculousness Block 2:30 2:30.

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Full House Tv Show Episodes Free Online
Full house tv show episodes free online Full House This is a story about a sports broadcaster later turned morning talk show host Danny Tanner and his three little Episode 1: Our Very First Show.Watch Full House Season 1 · Season 7 · Season 1 · Season 2. Full House - Season 1 The series chronicles a widowed father's struggles of raising Episode Pilot Episode 1 - Pilot - Our Very First Show Episode 2 - Our. Full House - Season 1 The series chronicles a widowed father's struggles of raising his three young daughters with the help of his brother-in-law and his. Watch Full House Online: Watch full length episodes, video clips, highlights and more. FILTER BY SEASON. All (); Season 8 (24); Season 7 (24); Season. Full House - Season 8 The final season starts with Comet, the dog, running away. The Rippers no longer want Jesse in their band. D.J. ends a relationship with. EPISODES. Full House. S1 | E1 Our Very First Show. S1 | E1 Full House. Full House. S1 | E2 Our Very First Night. S1 | E2 Full House. Full House. S1 | E3 The. Watch Series Full House Online. This is a story about a sports Latest Episode: Season 8 Episode 24 Michelle Rides Again (2) (). Season 8. Watch full episodes of Full House and get the latest breaking news, exclusive videos and pictures, episode recaps and much more at. Full House - Season 5 Season 5 opens with Jesse and Becky learning that Becky is carrying twins; Michelle and Teddy scheming to couple Danny with their. Full House (). 8 Seasons available with subscription.
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Top 10 On-Demand Programmes by TV Player Week and 4 Weeks Ending 26Th June 2016 All 4 Platforms Included: Android App, Ios App, Website Player
Top 10 on-demand programmes by TV player Week and 4 weeks ending 26th June 2016 All 4 Platforms included: Android app, iOS app, Website player Average Average Rank Last week Programme Last 4 weeks Programme Streams Streams 1 Made In Chelsea S11E11 191,007 Made In Chelsea S11E8 277,592 2 Hollyoaks S25E122 49,911 Made In Chelsea S11E9 252,379 3 Hollyoaks S25E123 44,792 Made In Chelsea S11E10 237,223 4 Hollyoaks S25E124 43,656 Made In Chelsea S11E11 191,070 5 Hollyoaks S25E125 38,009 Gogglebox S7E17 81,725 6 Made In Chelsea S11E10 32,664 Gogglebox S7E16 78,862 7 Hollyoaks S25E126 32,197 The Big Bang Theory S9E22 69,577 8 The Good Wife S7E22 23,663 Hollyoaks S25E107 69,108 9 First Dates Abroad S1E2 22,253 Hollyoaks S25E108 67,253 10 New Girl S5E4 21,712 Hollyoaks S25E111 67,247 BBC iPlayer (includes iPlayer Kids) Platforms included: Android app, iOS app, Website player Average Average Rank Last week Programme Last 4 weeks Programme Streams Streams 1 Eastenders 21/06/2016 361,544 Eastenders 10/06/2016 455,194 2 Eastenders 23/06/2016 298,540 Top Gear Series 23 Episode 1 451,485 3 Eastenders 24/06/2016 295,061 Eastenders 14/06/2016 435,478 The Great British Sewing Bee Series 4 4 145,011 Eastenders 31/05/2016 426,887 Activewear 5 Celebrity Masterchef Series 11 Episode 1 121,993 Eastenders 09/06/2016 424,902 6 Top Gear Series 23 Episode 4 119,397 Eastenders 03/06/2016 415,419 7 Versailles: Episode 4 107,383 Eastenders 02/06/2016 402,052 8 Professor Green: Dangerous Dogs 106,431 Eastenders 17/06/2016 391,289 9 The Musketeers Series 3 Episode 3 103,386 Eastenders 16/06/2016 390,755 10 New Blood: Case 2, Part 1 102,304 Eastenders 30/05/2016 386,901 Only viewing time for audited platforms is included.
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Translation Rights List Fiction
TRANSLATION RIGHTS LIST FICTION London Book Fair 2017 General ......................................................... p.2 Commercial ............................................... p.10 Crime, Mystery & Thriller ............................ p.14 Young Adult ................................................ p.21 Science Fiction & Fantasy ....................... p.22 ANDY HINE Rights Director (for Brazil, Germany, Italy, Poland, Scandinavia, Latin America and the Baltic States) [email protected] KATE HIBBERT Rights Director (for the USA, Spain, Portugal, Far East and the Netherlands) [email protected] SARAH BIRDSEY Rights Manager (for France, Turkey, Arab States, Israel, Greece, Bulgaria, Czech Republic, Slovak Republic, Hungary, Romania, Russia, Serbia and Macedonia) [email protected] JOE DOWLEY Rights Assistant [email protected] Little, Brown Book Group Ltd Carmelite House 50 Victoria Embankment London EC4Y 0DZ Tel: +44 020 3122 6209 Rights sold displayed in parentheses indicates that we do not control the rights * Indicates new title since previous Rights list Titles in italics were not published by Little, Brown Book Group GENERAL * CLOSING DOWN by Sally Abbott Contemporary fiction | Hachette Australia | 288pp | April 2017 A glimpse into a world fractured by a financial crisis and global climate change No matter how strange, difficult and absurd the world becomes, some things never change. The importance of home. Of love. Of kindness to strangers. Of memories and dreams. Australia's rural towns and communities are closing down, much of Australia is being sold to overseas interests, states and countries and regions are being realigned worldwide. Town matriarch Granna Adams, her grandson Roberto, the lonely and thoughtful Clare - all try in their own way to hold on to their sense of self, even as the world around them fractures.
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Turning the Page U C
s e r u t l Turning the Page u C l a Gendered Identities in Contemporary u s i V Literary and Visual Cultures d n a The essays in this volume are all selected papers from the y r a conference Gendered Identities in Contemporary Literary and r e t Visual Cultures, organized in June 2015 in Budapest, Hungary, i L by the Narratives of Culture and Identity Research Group. y r The authors deal with a wide array of gender issues in a r modern and postmodern English literature, contemporary o p popular culture, and postcolonial and Eastern European m e t studies. The essays are arranged into three larger chapters n based on their subject matter: “Dissecting Identities” o C n examines gendered identities in various literary contexts; i s “Creating Social Identities” looks at the function of society e i t i and culture in identity formation; and “Reinventing Gender t n Roles” deals with subversive uses of gender representation. e d I The collection displays several applications of gender d e studies as well as the authors’ enthusiastic engagement with r e the many directions in which gender studies can take us. d n e G e g a P e h t g n i n r u T ISBN 978-963-414-385-7 webshop.harmattan.hu Edited by Gyuris • Szép • Vecsernyés TURNING THE PAGE Gendered Identities in Contemporary Literary and Visual Cultures Judit Friedrich Series Editor ELTE PAPERS IN ENGLISH STUDIES Kata Gyuris, Eszter Szép, Dóra Vecsernyés Editors TURNING THE PAGE Gendered Identities in Contemporary Literary and Visual Cultures The publication was supported by Eötvös Loránd University Faculty of Humanities Student Union (BTK HÖK) Budapest, 2018 © Authors, 2018 © Editors, 2018 © L'Harmattan Kiadó, 2018 Series Editor: Judit Friedrich Editors: Kata Gyuris, Eszter Szép Technical Editor: Dóra Vecsernyés Layout Design: Bence Levente Bodó Cover Design: Gergely Oravecz ISSN Number: 2061-5655 ISBN Number: 978-963-414-385-7 Copies may be ordered from: L'Harmattan Könyvesbolt 1053 Budapest, Kossuth L.
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Grand Staircase-Escalante National Monument Antiquates the Antiquities Act
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"'Ce';;) .. ·· LES GARANTS D'achevement 'Toronto, John Ross, (416) 466-2760 (\\,\'0" ••• ' Pour Series De Television, Longs Metrages Telex: 055-62276 {'
CINEMA CAN •A D A BY JIM LEVESQUE George Wright, Helene Fournier, Philip he following is a list of current projects being produced in ATLANTIS p. Paul Saltzman lOp. p . Harold JacksDa.. (416)462-0246 THE WAY WE ARE TIchenor pelt. prod p. Paul Quigley Canada. Only TV series and films over one hour are An anrhok>gy series which showcases p. man. Gordon Mark eXK. 11 . con •. TNI! TWILIQNT ZON. ....KO FILMS LTD. a collection of regional dr8mas Ann MacNaughton d . Rex Bromfield, included. Projects are separated into four categories: On london Films snd AtlantiS Films are (416) 960.3228 T produced in Vancouver, Edmonton, Ken Jubenvill. Allan King, Alan collaborating with CBS BroAdcast THE LAIT fRONTll!R Location, Pre-production, Projects in Negotiation, and In the Can. Calgary. Winnipeg, Regina, Toronto, Simmonds, BradTurnerlI18. d. T. W. Intemational on 30 new 1/2h scl·fi The third season of tne 70 x 1/2h TV Ottawa, Montreal, Halifax, and St. PaacO(;~e, Mick MacKay d.o. p. Bob While films in the project stage are subject to change, only those episodes of the classic series series about the sea. This JOhn·s.ex8C.p. Robert Alten pub. Ennis loc. man. George Horie calt.. Shooting through '88 on location in ad\lenture/documentary series Is in active pre-production at the time of publication - those which Susan Procter wrtterl Peter Roberts, Trish Robinson extral. Annette T oronlo. Delivery at the shows is s1ated co-produced by Mako Films ltd. and Jona1han Campbell, David Pe1ersen, McCafferey art d. Jill Scott pub.
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Marnie: I Was Worried Lus Xc Iv
the FAMOUS Marnie: I was worried LUS XC IV about coming“ out, E E E X E C V I L S U Marnie’s tired but now I feel of feeling empowered anxious The Geordie Shore star s peaks about her bisexuality for the first” time hen you’re on drunk and it just happened. To future with her. I’m still a bit Geordie Shore, me, that was different because it hesitant to have a full-blown nothing is private was just me and her. It wasn’t for relationship with a girl, but I do (least of all your any other reason than I wanted to, think it would be a possibility. actual privates) so it made me think differently. Why are you hesitant? – and since It was a friend – I’ve known her Because of the job I’m in. Everyone Marnie Simpson for about two years. has an opinion. It shouldn’t be Wjoined the show in 2013, we’ve seen So, you guys had sex? like that, and I hate the fact that her get intimate with co-stars That was the first time, yeah. I worry about it. And I’m still very Gaz Beadle and Aaron Chalmers I wouldn’t really class it as much attracted to boys as well. and get engaged to TOWIE sex, but we did things. It was Have you been with any star Ricky Rayment (who she about a year ago. women since then? split with in September 2015). How did you feel about I’ve kissed girls and been We’ve also seen her kiss a few girls, it the next morning? messaging girls, but it’s still including housemate Chloe Ferry, I [always] thought I’d wake quite uncomfortable, because so when she tweeted last month, up and be embarrassed, but I’m in the public eye.
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The Operational Aesthetic in the Performance of Professional Wrestling William P
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 The operational aesthetic in the performance of professional wrestling William P. Lipscomb III Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Lipscomb III, William P., "The operational aesthetic in the performance of professional wrestling" (2005). LSU Doctoral Dissertations. 3825. https://digitalcommons.lsu.edu/gradschool_dissertations/3825 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE OPERATIONAL AESTHETIC IN THE PERFORMANCE OF PROFESSIONAL WRESTLING A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Communication Studies by William P. Lipscomb III B.S., University of Southern Mississippi, 1990 B.S., University of Southern Mississippi, 1991 M.S., University of Southern Mississippi, 1993 May 2005 ©Copyright 2005 William P. Lipscomb III All rights reserved ii ACKNOWLEDGMENTS I am so thankful for the love and support of my entire family, especially my mom and dad. Both my parents were gifted educators, and without their wisdom, guidance, and encouragement none of this would have been possible. Special thanks to my brother John for all the positive vibes, and to Joy who was there for me during some very dark days.
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Clemency Newman Looking Into the Popular Reality Show Geordie Shore
From reality television to the hyperreal: How do the pressures of reality shows such as Geordie Shore cause their characters to change their physical appearance? Clemency Newman Abstract Looking into the popular reality show Geordie Shore, I will undertake research to answer why it is that the women who appear on the show change their physical appearance and what connection this has to their celebrity status. I hope to argue that because the women are considered lower class, they have no other power than their perceived attractiveness and are therefore pressured into trying to achieve a hyperreal body, relating to Baudrillard’s theory of Simulacra and Simulation. Introduction Reality television is big business, with over 300 reality format shows on air in the US alone (Washington Post, 2015) from Idol to Big Brother, they rake in millions of viewers every night and have a significant impact on popular culture. These shows present a concentrated, edited and scandalised version of everyday life, wrapped in the guise of being true to the viewer, only more dramatic. Television has the ability to shape our view of the world and now with the ever pervasive aspects of social media, networks such as Bravo can imprint an everlasting impression of what we consider normal. However, even when know what we are watching is completely unreal, we accept it as ‘reality’ and accept the characters into our lives, until they become overthrown by a younger, prettier and more outrageous model. Geordie Shore is one such television show which presents an exaggerated, hyperbolic version of reality, with the cast members performing ridiculous, violent and carnal acts in front of a worldwide audience and being celebrated in the process.
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The (Unsuccessful) Reality Television Make Under: Class, Illegitimate Femininities, and Resistance in Snog, Marry, Avoid
Outskirts Vol. 35, 2016, 1-20 The (unsuccessful) reality television make under: Class, illegitimate femininities, and resistance in Snog, Marry, Avoid Anthea Taylor In postfeminist media culture, young women are now evaluated, regulated and exhorted to recalibrate in new ways, in new forms, especially the reality makeover program. No less seeking the transformation of its subjects, Britain’s ‘make under’ reality television program, Snog, Marry, Avoid, celebrating women’s ‘natural beauty’, focuses upon women whose gendered performance is considered a threat to normative femininity and the class distinctions with which it is intimately bound. In each episode, women are called to account for their physical, sartorial and behavioural crimes. This paper considers how the show attempts to position these young femininities as illegitimate and explores how the make under seeks to operate – often unsuccessfully – as a form of class makeover. Challenging narratives about the success of reality television in policing the bounds of ‘appropriate’ femininity, subjects routinely reject the judgements and sense of shame that the show seeks to instil, offering up – as this paper argues – a form of resistance that at once reinforces and troubles the program’s class-based logics. Introduction In postfeminist media culture, young women are now evaluated, regulated and exhorted to recalibrate in new ways, in new forms, especially the reality makeover program. No less seeking the transformation of its subjects, Britain’s ‘make under’ reality television program, Snog, Marry, Avoid? – featured on BBC3 – completed its sixth and final season in 2013.i Celebrating the virtues of women’s ‘natural beauty’, it focuses upon women whose performance of (a certain type of) femininity is – for a variety of reasons I will explore – figured as deeply problematic, in extreme need of the kind of intervention staged within the show’s narrative framework.
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