1. The Inward Turn: American Opera Revisits America’s Past
  2. Linda Hutcheon, Michael Hutcheon
  3. pp. 178-193
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  1. Doing the Lady Gaga Dance: Postmodern Transaesthetics and the Art of Spectacle in Don DeLillo’s The Body Artist
  2. Pavlina Radia
  3. pp. 194-213
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  1. Performing Vintage: The Cultivation and Dissemination of Vintage Sensibilities at the Brooklyn Flea
  2. Lauren Downing Peters
  3. pp. 214-239
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  1. Cartography and Renewal in Rebecca Solnit’s Infinite City: A San Francisco Atlas
  2. Monica Manolescu
  3. pp. 240-259
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  1. How Tonto Became Mr. T: The A-Team and the Transformation of the Western in Post-Vietnam America
  2. Anna F. Peppard
  3. pp. 260-280
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  1. Joy in Labour: The Politicization of Craft from the Arts and Crafts Movement to Etsy
  2. Michele Krugh
  3. pp. 281-301
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  1. “You See, Children Were the—the Raison D’être”: The Reproductive Futurism of Charlotte Perkins Gilman’s Herland
  2. Lynne Evans
  3. pp. 302-319
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  1. Laying Tracks and Tracking Change: An Interrogation of Nostalgia, National Identity, and the Railway in Contemporary Photography
  2. Reilley Bishop-Stall
  3. pp. 320-344
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  1. “I Love Working for Uncle Sam, Lets Me Know Just Who I Am”: Culture, the Human Terrain System, and the Inquiry of World War I
  2. Brian Foster
  3. pp. 345-364
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  1. The Aesthetics of Garbage in Philip K. Dick’s Martian Time-Slip
  2. Ken Simpson
  3. pp. 365-386
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  1. Introduction: What Does It Really Matter If Nothing Is Ever New?
  2. Maureen Anne Mahoney
  3. pp. 161-168
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  1. Introduction: Est-ce vraiment important si rien n’est jamais nouveau?
  2. Maureen Anne Mahoney
  3. pp. 169-177
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