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|a PN1992.8.S4 N63 1992
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100 |
1 |
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|a Nochimson, Martha.
|0 n 77019432
|
245 |
1 |
0 |
|a No end to her :
|b soap opera and the female subject /
|c Martha Nochimson.
|
264 |
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1 |
|a Berkeley :
|b University of California Press,
|c [1992]
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264 |
|
4 |
|c ©1992
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300 |
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|a xii, 237 pages :
|b illustrations ;
|c 24 cm
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336 |
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|a text
|b txt
|2 rdacontent
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337 |
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|a unmediated
|b n
|2 rdamedia
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|a volume
|b nc
|2 rdacarrier
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340 |
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|p illustration
|2 rdaill
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504 |
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|a Includes bibliographical references (pages 222-228) and indexes.
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505 |
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|a Prologue: An Invitation to Recover -- 1. No End to Her: The Place of Soap Opera as Screen Fiction. Soap Opera, Femininity, and Desire. Soap Opera, Mainstream Critical Discourse, and Desire. Freudian Film Criticism, the Screen Subject, and Desire. Narrative Syntax and Desire. A Differently Gendered Screen, a Different Narrative Myth. Conclusion: The Female Subject of Soap Opera -- 2. Persephone, Not Oedipus: Soap Opera and the Fantasy Female Subject before 1978. Releasing the Screen Heroine from Bond-age. The Radio Heroine. The Lady Television Heroine. The Importance of Being Victoria Lord. Conclusion -- 3. The Fantasy Female Subject after 1978. General Hospital: Crooks in the Crannies. Days of Our Lives: Energizing the Narrative of the Couple. Santa Barbara: Julia's New Frontier. Conclusion -- 4. Persephone's Labyrinth: The Aesthetics of an Involuntary Feminine Discourse. Suspense. Multiplots. Melodrama. Actor Chemistry and Soap Opera Melodrama. Conclusion -- 5. Persephone's "Wild Zone": Difference, Interiority, and Linear Historicity in Soap Opera. Historical Difference: Culture and Religion. Historical Difference: Race. Historical Difference: Homosexuality. Interiority: A Different History. Conclusion -- Epilogue: What Is Normal? -- Index of Soap Opera Characters.
|
650 |
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|a Television soap operas
|z United States
|x History and criticism.
|0 sh2010116064
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650 |
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|a Women on television.
|0 sh 85147606
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|a Sex role on television.
|0 sh 85120670
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|b Main Collection
|h PN1992.8.S4 N63 1992
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