Chapter
RDF
pages:
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"Saving amina": Global justice for women and intercultural dialogue
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“Sign-Based Construction Grammar”
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"Skin Deep: Taxidermy, Embodiment, Extinction"
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“Stabilizing and Measuring Optical Frequencies”
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“Swastika Monitoring: Using Digital Research to Track Visual Rhetorics of Hate.”
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"T-Pop and the Lama: Buddhist 'Rites out of Place' in Tibetan Monastery-Produced VCDs"
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“Taking up our space”: becoming competent learners in the mathematics classroom
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"Telling It 'Slant': Carson McCullers, Harper Lee, and the Veil of Memory." Carson McCullers in the Twenty-First Century, ed. Alison Graham Bertolini and Casey Kayser. New York: Palgrave Macmillan, 2017. 67-82.
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"The Body"
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“The Conscious Body: Thinking about the Relation between Mind and Body with Abhinavagupta’s Tantra”
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"The Ever-Evolving World of Twenty-First Century Musical Theatre Criticism"
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"The Leap of Faith"
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“The Sublime is Now Again” (7,418 words)
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"Things Under Water: Etienne-Jules Marey's Aquarium Laboratory and Cinema's Assembly"
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"Todos nos volvemos un poco locos de vez en cuando" Buñuel y Hitchcock.
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“Towards an experimental functionalist linguistics: Production.”
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"Towards the normalization of the avant-garde
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“Unnatural” Gender in Hindi
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"Value perception, properties and the primary bearers of value"
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“Verb representation and thinking-for-speaking effects in Spanish-English bilinguals
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“Virginia Woolf and Fashion”
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"We got game": Race, masculinity, and civilization in professional team sport
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“Why Move? How Weight and Discourse Factors Combine to Predict Relative Clause Extraposition in English”
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“Working with a Service Dog in the United States.”
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"Yo Soy": Public Protest, Private Expression: Contestatory Uses of Social Media by Contemporary Mexican Youth
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$C^*$-algebras and the classification of finite groups
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$C^*$-algebras associated to two-step nilpotent groups
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$K$-theory and the spectrum of discrete subgroups of $rm spin(4,1)$
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'"Base rogues" and "gentlemen of quality": the earl of Essex's Irish knights and royal displeasure in 1599'
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‘“Do you see?” Levels of Ellipsis in No Country for Old Men.’
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