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They Know Us Better Than We Know Ourselves: The History and Politics of Alien Abduction. Book review

They Know Us Better Than We Know Ourselves: The History and Politics of Alien Abduction. Book reviewThis thoughtful and penetrating volume is the newest contribution to a suddenly fashionable exploration of the UFO subculture in academia, this time in a cultural studies vein, but with high potential interest for folklorists and other social scientists.

Beginning with the publication in 1966 of Betty and Barney Hill’s report of abduction, examination, and release by extraterrestrials, and accelerating madly after the publication of Whitley Strieber’s best-selling Communion in 1987, the idea of UFO abduction smells of nonsense and fantasy to many Americans. But it is the core narrative of a well-established subculture that perpetuates itself through interest and support groups, UFO investigation organisations, and print and electronic media, embracing hundreds or, quite probably, thousands of supposed “abductees” nationwide. Brown attempts a cultural analysis of this phenomenon, drawing on fieldwork and interviews with abductees in the New York City area.

This book offers no startling new theories, but takes on major themes in the abduction mythos in thought-provoking ways. Especially incisive is Brown’s analysis of the shady business of “recovered memory” hypnosis—the most prominent source of abduction narratives. She quite rightly casts doubt on the reliability of hypnotically retrieved memories and relates the phenomenon to more high-profile debates about recovered memories in (quite earthly) sexual-abuse cases. She draws parallels between the paralysis, mind control, and emotional scars inflicted by abducting aliens and the dynamic between the same (typically female) abductees and their (usually male) hypnotists. This parallel is curiously neglected in most of the academic and non-academic literature on the subject.

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Dictionary of the Place-Names of Wales. Book review

Dictionary of the Place-names of Wales. Book reviewThis is a welcome reference book that fills a former gap on the place-names bookshelf. Until the publication of this dictionary, sources ofWelsh toponymy were scattered and not easily accessible. The Foreword describes the book as “the first accredited compilation of its kind in Wales.” As such it is sure to be of great use to scholars and interested non-specialists alike.

The Introduction is very good: thorough, clear, and confident, but at the same time appealingly humble. There is a useful Bibliography, including a section on relevant websites and databases, and a lengthy Glossary of Elements. The authors have chosen to follow the conventions of English place-name dictionaries, including the alphabetisation, which speakers and readers of Welsh will know is slightly different in the two languages.

This has led to a faintly odd situation in which the entries in a Welsh place-name dictionary are alphabetised by their English forms (where one is well established). Thus, “Cardiff, Caerdydd,” “Ludchurch, Yr Eglwys Lwyd,” rather than the other way around. However, this convention has not been extended to river names, which are listed with the Welsh first, as follows: “Dyfi, Afon, River Dovey.” It is hardly an insurmountable problem, but it does slow the reader down a little when looking for specific entries. I was also perplexed to find no entry for the River Severn, whether under “Severn” or “Hafren.” The entry for “Bristol Channel” gives the alternate names “Mo? r Hafren, Aber Hafren,” but there is no separate listing and nor is any derivation or discussion provided for “Hafren.” There are a few other oddities. I was uncertain why the Glossary of Elements needed to include very obvious English elements such as “four” and “road.” There are also several Old English elements, such as a?c, “oak,” which do not appear to occur in any of the names (although their modern equivalents do). Finally, leaving out the commas when referring to place-names in England (“Poole Dorset,” rather than “Poole, Dorset”) could also lead to confusion. It is obvious enough in an English dictionary, where the town or village would be in boldface or capitals and the county in a different font, but here it is a little unclear without punctuation.

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Bridge to Terabithia. Film Review

Bridge to Terabithia. Film Review. Blu-rayThis lovely adaptation of the Newbery Medal Award-winning book is a gift to families who want meaningful entertainment to enjoy together. The movie revolves around a young boy with secret artistic aspirations, whose life opens up when a kindred spirit moves in next door. For those who haven’t read the book, both the tale and its execution will be a treat. For fans of Katherine Paterson’s novel, this version doesn’t disappoint. The DVD’s featurettes include an interview with the author as well as shorts about the book’s themes and importance in literature.

You can buy this disc here

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You might want to check out the 700 or so words of text next to the score - that should clear up any confusion you have as to why we gave the game the score we gave it.

I truly appreciate approach to videogame reviews. Simply assigning a score and a nice summary to a game is not enough to spark my interest.

What really gets me excited about gaming is the critical analysis of the industry that provides. It’s fun to “eavesdrop” on your conversations from week to week on the podcast and learn not oniy about new games but aiso about the people and organizations behind those games. I can get information from any Joe Schmo on the Internet with a blog, but what keeps me coming back is the fact that doesn’t settle for 5 out of 10. You say the things that need to be said, and you offer valuable analysis on various games and issues. I oftentimes don’t agree with you, but your analysis forces me to think about why I prefer certain types of games over others.

Because of this thought process, I find myself enjoying a larger percentage of games that I purchase for reasons I can clearly identify.

Please continue to do what you are doing. I’m sure it’s demoralizing when somebody on the message boards gives you a hard time for reviewing a game less favorably than they would have, but know that ! respect you guys for being willing to write reviews that accurately represent your actual experience with the game and not what you had hoped It wouid be. Thanks for your hard work and your engaging material.

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There’s a Story That My Mother Told. Book review

This is an enjoyable book based on the author’s mother’s stories and recollections. Anyone who is thinking of putting together a record of family history might take it as a model. Around his mother’s stories the author weaves songs, newspaper cuttings, photographs, and extracts from her cookery books to produce a readable life history.

However, it aims to be not only a life history and a record of one woman’s narrative repertoire, but also a social history. The best bits of social history are probably Ruby Lanham’s accounts of horses and hare coursing. It does give some idea of life in the agricultural depressions of the 1920s and 1930s in rural Suffolk and Cambridgeshire, but the treatment is personal and to some extent “story-fied” by the author’s mother, who was plainly an accomplished storyteller. There is also a fair amount of presentation of self going on in these stories, as Mrs Lanham justifies what she had made of her life. These polished performances may lead to good storytelling, but that is not necessarily the same thing as good history.

Nevertheless, the book does not claim to be a scholarly one, and as a family history it works very well; so we can forgive it this small fault. Overall I enjoyed it, and can recommend There’s a Story That My Mother Told: So I Know It to Be True
as a good read.

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Women and Witchcraft in Popular Literature

This book contains, in facsimile, the texts of twelve short works reporting the trials and misdeeds of various alleged witches, ranging in date from the anonymous The Examination and Confession of certaine Wytches at Chelmsforde (1566) to Francis Bragge’s Witchcraft Further Display’d (1712). Among the woodcuts decorating some of these texts is the frequently reproduced scene of the “swimming” of a witch (title page to Witches Apprehended, Examined and Executed, 1613), the NewburyWitch riding a plank on a river (A most Certain, Strange, and True Discovery of a Witch, 1643), plus a fine gallery of grotesque animal familiars. I have to confess that although the result is undeniably quaint and picturesque, I have some doubt as to the value of facsimile reproduction. Reading tight-packed blackletter print is a visual strain, and I would not choose to study documents in this format rather than in the simpler (and cheaper) option of faithful transcription into amodern font. It appears from the comments in Marion Gibson’s introduction that each text has been chosen to exemplify some underlying aspect of witchcraft accusations and trial—gender politics, sexist stereotyping, political conflict, class, religious assumptions, and above all the roles of women as accused or accusers. This is, of course, in keeping with the aims of the series of which this volume forms part. Her discussion of these socio-historical themes, although brief, is valuable.

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Live Free or Die Hard. Film Review

Live Free or Die Hard. Film Review / Blu-ray DiscFans and critics alike passed the popcorn with joy when this third sequel in the Bruce Willis franchise appeared. Wry and human-scale (despite the nearly constant mayhem), with a surprisingly muted Willis back in the many drivers’ seats, all sides agree that this is the first worthy sequel to the original 1988 hit film. The extras are mundane — low-key interviews with Willis and the rest of the production team, commentary, and a routine making-of featurette. The Blu-ray offers two takes: the film and an unrated version with an abundance of profanity.

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The American College Town

The American College TownIf a friend should ever ask for a book that epitomizes the best that geography can offer, I recommend Blake Gumprechts new volume as a near-perfect candidate. In The American College Town he takes a landscape familiar to every reader of this journal and makes us see it afresh. He dissects its complexity with astonishing thoroughness, using a rich mix of archival material, personal observation, and field interviews. He offers deep case studies, but remembers the need for broader context. Finally, he assembles the total package with spirited, clean prose, some of the best academic writing I have ever seen.

The American College Town is a beautifully designed and well-conceived book. Sandwiched between an introduction that defines the subject and a conclusion about its future are eight thematic chapters. These range in length between 29 and 44 pages, and each illustrates a characteristic of such towns with focus on a particular community. In order these are: the campus as public space (Norman, Oklahoma), fraternity rows and other distinctive residential areas (Ithaca, New York), campus business districts (Manhattan, Kansas), progressive political attitudes (Davis, California), alternative life styles (Athens, Georgia), sports culture (Auburn, Alabama), high-tech centers (Ann Arbor, Michigan), and town-gown tensions (Newark, Delaware). Each chapter is organized historically and illustrated by 10 or so well-chosen photographs and reference maps. The author, one soon learns, is as skilled with camera and mapping software as he is with words.

College towns are a classic example of voluntary culture areas, those created by people who migrate to wherever they think they will find likeminded souls. As such, we might have expected scholarly work on this subject before 2008. Gumprecht blames the neglect on academic farsightedness and the natural human tendency to overlook what is all around us (p. xvii), but I hope this books success will inspire parallel probes into the many other self-sorted places, from retirement centers to the Pacific Northwests ecotopia.

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The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner. Review

The Invention of "Folk Music" and "Art Music": Emerging Categories from Ossian to Wagner Book reviewThis excellent book is part of a series entitled “New Perspectives in Music History and Criticism” dedicated to creating “a greater space for music in the ongoing discourse among the human sciences.” Its main audience will most probably be music scholars, but it deserves a far wider readership. Non-specialist readers should not be daunted by the musicological analyses, which are straightforward and not overwhelming. This book has much to say to anyone interested in the intellectual origins of folklore scholarship and the concepts that we use in the formulation of our discipline.

Gelbart has returned to the problematic cornerstone of folkmusic scholarship, the very definition of “folk” music itself. This continues to loom large over the critical work done in the field. To a great extent, folkmusic has been defined by what it is not—namely art or classical music. These, as Gelbart shows, are similarly problematic terms, further compounded by the emergence of “popular” music as another, overlapping category.

Gelbart’s research traces the shared historical development of the terms, particularly in Scotland and Germany, and the development of concepts of “tradition.” The results are highly illuminating.

Folklore scholarship has been so entangled in discussions of origins that it is easy to forget how pervasive that concept was in the formulation of the discipline. Even recent turns towards an ethnomusicological study of musical practice have, as Gelbart points out, tended to rest on a priori assumptions about definition based on such categorisation. In fact, Gelbart notes, questions of origin in definitions of musical type are relatively recent. In the early part of the eighteenth century, musical categories were established, rather, on the basis of function. Gelbart traces the intellectual history of this period through to the middle of the nineteenth century, by which time the definitions and concepts that still dominate our thinking were fully formed.

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