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By Eileen A. Joy, Myra J. Seaman, Kimberly Bell, Mary K. Ramsey, Michael Uebel

 The essays gathered during this quantity reveal that, while sure medieval and modern cultural texts are positioned along one another, akin to a fourteenth-century penitential guide and the truth tv exhibit Survivor, they exhibit yes mentalities and social stipulations that persist over lengthy intervals of time. numerous of the essays deal with openly political matters, resembling political torture and suicide terrorism, whereas different essays attend to a number of the ways that definite “real-life” fictions and cultural entertainments have consistently overdetermined our figuring out of historical past, our present second, and ourselves.

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Strohm, Theory and the Premodern Text, p. 160. 56. Strohm, Theory and the Premodern Text, p. 161. 57. T. Mitchell, “Medium Theory: Preface to the 2003 Critical Theory Symposium,” Critical Inquiry 30 (2004): 330 [324–35]. 58. Mitchell, “Medium Theory,” 327. 59. Stanley Fish, “Theory’s Hope,” Critical Inquiry 30 (2004): 378 [374–78]. 60. J. Hillis Miller, “Moving Critical Inquiry On,” Critical Inquiry 30 (2004): 417 [414–20]. 61. Françoise Meltzer, “Future? ” Critical Inquiry 30 (2004): 468 [468–71].

The competitions include swimsuit-clad competitors being handcuffed together, drizzled in honey, and rolled in money and an underwear exchange between the men and women; the immunity challenges test the fortitude of participants in their ability to lick chocolate off topless exotic dancers or in being able to splash water on t-shirt clad models in a swimming pool to reveal clues to a puzzle written on their bodies. ” One immunity challenge in particular makes obvious the comic disparity of content between The Lap of Luxury and its targeted genre.

B E L L show, The Lap of Luxury, utilizes metafiction in the construction of its characters. Like many reality shows, Joe Schmo opens with the names and headshots of each contestant, except that the names of the participants are fictional. Drawing from Survivor’s practice of referring to its contestants’ occupations outside the game—Kimmy the bartender, Rob M. the construction worker, Big Tom the farmer, Jolanda the lawyer, for example—the cast members of The Lap of Luxury are tagged by a description of the role each is assigned to play in the game.

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