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By Patrick James Barry a Dissertation Submitted in Partial Fulfillment of The
CONFIRMATION BIAS: STAGED STORYTELLING IN SUPREME COURT CONFIRMATION HEARINGS by Patrick James Barry A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2015 Doctoral Committee: Professor Enoch Brater, Chair Associate Professor Martha Jones Professor Sidonie Smith Emeritus Professor James Boyd White TABLE OF CONTENTS CHAPTER 1 SITES OF THEATRICALITY 1 CHAPTER 2 SITES OF STORYTELLING 32 CHAPTER 3 THE TAUNTING OF AMERICA: THE SUPREME COURT CONFIRMATION HEARING OF ROBERT BORK 55 CHAPTER 4 POISON IN THE EAR: THE SUPREME COURT CONFIRMATION HEARING OF CLARENCE THOMAS 82 CHAPTER 5 THE WISE LATINA: THE SUPREME COURT CONFIRMATION HEARING OF SONIA SOTOMAYOR 112 CHAPTER 6 CONCLUSION: CONFIRMATION CRITIQUE 141 WORK CITED 166 ii CHAPTER 1 SITES OF THEATRICALITY The theater is a place where a nation thinks in public in front of itself. --Martin Esslin, An Anatomy of Drama (1977)1 The Supreme Court confirmation process—once a largely behind-the-scenes affair—has lately moved front-and-center onto the public stage. --Laurence Tribe, Advice and Consent (1992)2 I. In 1975 Milner Ball, then a law professor at the University of Georgia, published an article in the Stanford Law Review called “The Play’s the Thing: An Unscientific Reflection on Trials Under the Rubric of Theater.” In it, Ball argued that by looking at the actions that take place in a courtroom as a “type of theater,” we might better understand the nature of these actions and “thereby make a small contribution to an understanding of the role of law in our society.”3 At the time, Ball’s view that courtroom action had an important “theatrical quality”4 was a minority position, even a 1 Esslin, Martin. -
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
Volume 2, Issue 3, Autumn 2018
The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit. -
The Law, Culture, and Economics of Fashion
THE LAW, CULTURE, AND ECONOMICS OF FASHION C. Scott Hemphill* & Jeannie Suk** INTRODUCTION....................................................................................................... 102! I. WHAT IS FASHION? ............................................................................................. 109! A. Status ........................................................................................................... 109! B. Zeitgeist ....................................................................................................... 111! C. Copies Versus Trends .................................................................................. 113! D. Why Promote Innovation in Fashion? ........................................................ 115! II. A MODEL OF TREND ADOPTION AND PRODUCTION ........................................... 117! A. Differentiation and Flocking ....................................................................... 118! B. Trend Adoption ............................................................................................ 120! C. Trend Production ........................................................................................ 122! III. HOW UNREGULATED COPYING THREATENS INNOVATION ............................... 124! A. Fast Fashion Copyists ................................................................................. 124! B. The Threat to Innovation ............................................................................. 128! 1. Harmful copying .................................................................................. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Clothing in France
CLOTHING IN FRANCE For their day-to-day activities, the French, both in the countryside and the cities, wear modern Western-style clothing. Perhaps the most typical item of clothing associated with the French is the black beret. It is still worn by some men, particularly in rural areas. The French are renowned for fashion design. Coco Chanel, Yves Saint-Laurent, Christian Dior, and Jean-Paul Gautier are all French fashion design houses whose creations are worn by people around the world. Traditional regional costumes are still worn at festivals and celebrations. In Alsace, women may be seen in white, lace-trimmed blouses and aprons decorated with colorful flowers. Women's costumes in Normandy include white, flared bonnets and dresses with wide, elbow-length sleeves. A traditional symbol of the region, the famous Alsatian headdress was abandoned after 1945. Today, this can only be admired during certain cultural and tourist events. Varying widely from one part of Alsace to another, the traditional costumes reflected the social standing and faith of their wearers. Consequently, Protestant women in the North would wear the colors of their choosing; where as Catholics from Kochersberg (to the northwest of Strasbourg) wore only ruby red. Some women would decorate the hems of their skirts with velvet ribbons. Others, particularly in the south, would wear printed cotton clothing, often made of silk for special occasions with paisley patterned designs. The aprons, worn everywhere throughout Alsace, were plain white. However, on Sundays it was not uncommon to see silk or satin aprons decorated with embroidery, and worn over skirts or dresses. -
'Perfect Fit': Industrial Strategies, Textual Negotiations and Celebrity
‘Perfect Fit’: Industrial Strategies, Textual Negotiations and Celebrity Culture in Fashion Television Helen Warner Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film and Television Studies Submitted July 2010 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior, written consent. Helen Warner P a g e | 2 ABSTRACT According to the head of the American Costume Designers‟ Guild, Deborah Nadoolman Landis, fashion is emphatically „not costume‟. However, if this is the case, how do we approach costume in a television show like Sex and the City (1998-2004), which we know (via press articles and various other extra-textual materials) to be comprised of designer clothes? Once onscreen, are the clothes in Sex and the City to be interpreted as „costume‟, rather than „fashion‟? To be sure, it is important to tease out precise definitions of key terms, but to position fashion as the antithesis of costume is reductive. Landis‟ claim is based on the assumption that the purpose of costume is to tell a story. She thereby neglects to acknowledge that the audience may read certain costumes as fashion - which exists in a framework of discourses that can be located beyond the text. This is particularly relevant with regard to contemporary US television which, according to press reports, has witnessed an emergence of „fashion programming‟ - fictional programming with a narrative focus on fashion. -
The Mini Skirt Danielle Hueston New York City College of Technology Textiles
The Mini Skirt Danielle Hueston New York City College of Technology Textiles When I was six my mother and I took one of our weekly day shopping trips to the mall. On our way back we stopped at this local thrift store. This being one of the first times I had ever experienced one, everything seemed so different and weird, in a good way. I wasn’t used to there only being one of everything, or one store that sold clothes, books, toys, home decor and shoes.Walking down the ‘bottoms aisle’ is where I first came across it. It was black and flowy, probably a cotton material, with a black elastic band around the waist. I wanted it, I needed it. It was the perfect mini skirt. It reminded me of the one I saw Regina George wear in the Hallway Scene in the movie ‘Mean Girls’ a few months prior and had to get it, even though it was a “little” big. There was only one, I was going to make it work. When Monday came I wasted no time showing off my new skirt at school. It made me feel like a whole new person. At some point of the day however my teacher had stepped out of the room to talk to another teacher, in conjunction one of my classmates playfully grabbed my pencil out of my hand, to which I decided to chase him around the room to retrieve it back. I tripped and my skirt fell right to my ankles, in front of the entire class. -
GARBED for GOD Defend the Gospel Tracts
GARBED FOR GOD (M odesty/Im m odesty) —Also for Adam and his wife the Lord God made tunics of skin, This Tract P resented B y and clothed them.“ DDeeffeenndd -Genesis 3:21 TThhee GGoossppeell TTrraaccttss M ICHAEL PICKFORD www.defendthegospel.com 29 mandate of God, we have seen His standards for INTRODUCTION: modesty. Make sacrifices and follow them. A few more good questions to ask when clothing yourself: To be garbed is to be dressed in a distinctive Is it doubtful? way. There is a certain, distinctive way in which Could it be a stumbling block to Christians ought to dress themselves. I’m dealing others? in this tract with how we dress when we come to Will it hurt my influence upon others for worship services, although the principles will godliness? apply. But I’m addressing the subject of how we, as Would I mind if Jesus saw me wearing this children of God, should clothe ourselves day by attire? day. Just ask yourself questions before you begin. His eye is always on you (Hebrews 4:13)! Think about the clothes you wear to work, to school, to work, to the mall, or grocery shopping, CONCLUSION: when you’re casual, when doing yard work... In this tract, we have dealt with the idea of Are you dressed for deity? being Garbed for God. We have considered… Are you robed for righteousness? The Mind of God... Are you clothed for Christ? The Mandate of God... Are you garbed for God? The Manipulation of Godlessness…. The Modesty of the Godly. -
Please Note That Statements Made During This Presentation That Relate
Please note that statements made during this presentation that relate to the Company’s future performance are forward looking statements within the Private Securities Litigation Reform Act. These forward looking statements are based on current expectations and are subject to the qualifications set out in this morning’s press release, as well as in the Company’s 2006 Annual Report on Form 10-K under the heading “Risk Factors”. Also, please note that during this presentation and in the company’s press release, projected Net Sales, Operating income, operating margins, cash flow from operations and EPS for 2007 and beyond are presented on an adjusted basis. 2007 guidance excludes the $.06 impact of expenses incurred as part of our streamlining initiatives in the first quarter and the projected $.14 to $.16 impact of streamlining expenses incurred in the second quarter, as well as any additional expenses we will incur as part of our streamlining initiatives during the rest of the fiscal year; and any additional income or expenses incurred in connection with the sale, licensing, or closure of the businesses under strategic review and the impact of any future acquisitions. Guidance for 2008 and beyond excludes the brands currently under strategic review, any additional expenses we will incur as part of our streamlining initiatives going forward and any additional income or expense incurred in connection with the sale, licensing, or closure of the businesses under strategic review, as well as the impact of any acquisitions. The company believes that the adjusted guidance provided during this presentation and in the company’s press release provides a more meaningful presentation of its projected operations and financial performance and will allow for a more meaningful comparison with historical results. -
Urban Representation in Fashion Magazines
Chair of Urban Studies and Social Research Faculty of Architecture and Urbanism Bauhaus-University Weimar Fashion in the City and The City in Fashion: Urban Representation in Fashion Magazines Doctoral dissertation presented in fulfillment of the requirement for the degree of Doctor philosophiae (Dr. phil.) Maria Skivko 10.03.1986 Supervising committee: First Supervisor: Prof. Dr. Frank Eckardt, Bauhaus-University, Weimar Second Supervisor: Prof. Dr. Stephan Sonnenburg, Karlshochschule International University, Karlsruhe Thesis Defence: 22.01.2018 Contents Acknowledgements ................................................................................................................................. 5 Thesis Introduction .................................................................................................................................. 6 Part I. Conceptual Approach for Studying Fashion and City: Theoretical Framework ........................ 16 Chapter 1. Fashion in the city ................................................................................................................ 16 Introduction ....................................................................................................................................... 16 1.1. Fashion concepts in the perspective ........................................................................................... 18 1.1.1. Imitation and differentiation ................................................................................................ 18 1.1.2. Identity -
No. 93/July 2011
No. 93/July 2011 German Institute for Economic Research The German Socio-Economic Panel Study Data & Service Events & Activities People & Papers Affiliates / Staff www.diw.de/SOEPnewsletter newsletter Contents Comment ...............................................................2 German Section SOEP wieder bei einem Sonderforschungsbereich dabei ....................3 Jetzt anmelden: SOEPcampus@ im Rahmen von datalab@uni-bielefeld ............3 Bericht: SOEPcampus@Uni Mannheim ........4 Dear colleagues: Data & Service Order now SOEP 1984–2010 data (v27) ......5 What‘s new The SOEP joins the new DIW Berlin research cluster “Public Finances in SOEP 1984–2010 data release (v 27) .....5 Photo: Alfred Gutzler and Living Conditions.” The concept of Lebenslagen (living conditions) CNEF—revised variables on household was chosen as an overarching principle covering much of the SOEP group’s economic research income ....................................................................6 work. See the comment on page 2 for background information. Providing the public with more comprehensive information on revisions of the data ...................................8 The SOEP data are used by numerous organizations to develop social indicators for Germany. How to become a SOEP Beta User ...............8 One such organization is the OECD, whose recently published poverty indicators caused a stir The 2011 SOEP User Survey .............................8 in the German media. The discussion arose over differences in the statistics before and after Protect the SOEP data .......................................8 the 2009 revision of the SOEP income data. In response to this discussion, we will be providing DOIs for the SOEP data .....................................9 more comprehensive information on any future revisions and their potential impacts, both to Send copies of your publications our users and to the public at large. See page 8 for further details.