<h6>Image source: Giphy (unidentified author)</h6>
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                   <h2 style='width: 700px; text-align:center; display: inline-block;'>The Philosophy Behind the First American Dictionary</h2>
                   <h5>The Atlantic, PETER MARTIN MAY 28, 2019</p><h5>
                   
                    <h5 style='text-align:left; width: 580px; display: inline-block;'>“Now is the time, and this the country ... Let us then seize the present moment, and establish a national language, as well as a national government.”That is what Noah Webster wrote in 1789 at the age of 31, long before he had compiled the nation’s first major dictionary. It is a clarion call for American linguistic unity and independence in his Dissertations on the English Language—a 409-page treatise remarkable for its boldness and length as much as for its sweeping, generalized history of the language. The book’s main argument goes something like this: There is to be no elite in America, no linguistic differentiation between classes and regions (...)
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                    <h6>Image source: Edmondvanderbijl by Edmond van der Bijl</h6>
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                    <h2 style='width: 700px; text-align:center; display: inline-block;'>Eye-boggling Bridget Riley and black British pioneers – the week in art</h2>
                    <h5>The Guardian, Fri 14 Jun 2019 15.23 BST</p><h5>
                   
                    <h5 style='text-align:left; width: 580px; display: inline-block;'>Exhibition of the weekBridget Riley
                        This retrospective of one of modern Britain’s most brilliant and original artists is guaranteed to fool your eyes and stretch your mind.
                        • Scottish National Gallery, Edinburgh, 19 June–22 September. Hayward Gallery, London, 22 October–26 January.</p>
                        
                        <p>Also showing
                        Get Up Stand Up Now
                        Anthea Hamilton, Ajamu, Betye Saar, David Hammons, Zadie Smith and A Guy Called Gerald are among the stars in this survey of 50 years of black art and culture.
                        • Somerset House, London, until 15 September (...)</p></h5>


                    
                    <h6>Image source: Deviantart by Daleksyouruncle </h6>
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                    <h2 style='width: 700px; text-align:center; display: inline-block;'>Romeo and Juliet review – Zeffirelli's honey-drenched Shakespeare</h2>
                    <h5>The Guardian, Peter Bradshaw Thu 19 May 2016 23.00 BST</p><h5>
                   
                    <h5 style='text-align:left; width: 580px; display: inline-block;'>It may look old-fashioned in places, but the Italian director’s lively version of Shakespeare, stuffed with beautiful actors, has elegance and charm. Franco Zeffirelli’s 1968 movie version of Romeo and Juliet is back on re-release; high-minded and lively, with heartbreakingly beautiful actors on show, and all shot in a kind of honeycomb-sunglow light. It does look a bit trad in some ways: there are old fashioned doublet-and-hose costumes (codpieces and all), lots of roistering laughter, stage school sword-fighting and some very literal line readings.
                    There’s also the syrupy Love theme, composed for the film, which later became notorious as the soppy-sad background music for Simon Bates’ Our Tune on Radio 1. But this is an attractive and spectacular piece of work, robustly using real outdoor locations and groundbreakingly casting young actors close to the characters’ supposed age (...)</h5>
 
                    
                    <h6>Image source: Zhuangq897 by Zhuang Qian</h6>
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                    <h2 style='width: 700px; text-align:center; display: inline-block;'>Edvard Munch: Love and Angst review – 'ripples of trauma hit you like a bomb'</h2>
                    <h5>The Guardian, Jonathan Jones Tue 9 Apr 2019 00.00 BST</p><h5>
                   
                    <h5 style='text-align:left; width: 580px; display: inline-block;'>The man who created The Scream introduces himself with morbid panache at the start of the British Museum’s inkily beautiful journey into his imagination. He looks normal enough, calm and sombre, except that he’s got a skeleton arm. “Edvard Munch 1895”, reads the inscription above him. He presents himself in this bony self-portrait as a specimen of fin-de-siècle decay, a morbid example of the modern condition. Munch was 32 when he created this. In his head he clearly thought he was finished. In fact he would live until 1944, but this exhibition concentrates on his apocalyptic masterpieces of symbolist gloom from the 1890s and 1900s.
                    Munch had good reason to feel cursed (...)</h5>
 
                        
                        <h6>Image source: Giphy by Look Human</h6>
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                        <h2 style='width: 700px; text-align:center; display: inline-block;'>Greenwich + Docklands international festival review – an unreal takeover of the streets</h2>
                        <h5>The Guardian, Kate Wyver Mon 24 Jun 2019</p><h5>
                   
                    <h5 style='text-align:left; width: 580px; display: inline-block;'>Stories are scattered like confetti across south-east London’s streets for Greenwich and Docklands international festival, where the opening night saw robots roam, streamers fly and dancers dangle from cranes.It starts in a caravan. For the last six months, theatre company Action Hero has travelled around Europe asking strangers to sing love songs. The project responds to a lack of listening from both sides in the conversations about Brexit. Gemma Paintin and James Stenhouse wanted to find something that crossed the divide. Mum, grandma and I pick a song grandma has sung to us since childhood. We scooch in and sing together, if in slightly different keys and time signatures (...)
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                        <h6>Image source: Behance by Julia Mahrer</h6>
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                        <h2 style='width: 700px; text-align:center; display: inline-block;'>A Moby-Dick–Inspired Memoir of Menopause</h2>
                        <h5>The Atlantic, JOE FASSLER JUN 18, 2019</p><h5>
                   
                    <h5 style='text-align:left; width: 580px; display: inline-block;'>In her new memoir, Flash Count Diary: Menopause and the Vindication of Natural Life, the author Darcey Steinke renders menopause as “a rupture, a metamorphosis, an all-encompassing and violent change.” Its physical intensity makes the experience so fearsome and bewildering, she writes; but equally disorienting is the lack of adequate cultural narratives devoted to making sense of it (...)
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                        <h6>Image source: Giphy by Animation Domination High-Def</h6>
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                        <h2 style='width: 700px; text-align:center; display: inline-block;'>How Game of Thrones Lost Its Way as a Political Drama</h2>
                        <h5>The Atlantic, PARKER RICHARDS MAY 24, 2019</p><h5>
                   
                   
                    <h5 style='text-align:left; width: 580px; display: inline-block;'>When Game of Thrones ended its eight-year run on Sunday, the series finale, titled “The Iron Throne,” received a largely negative critical response. Many writers pointed out that the show’s last season had given up on the careful character-building of Thrones’ early days—a problem that, in truth, had started a few years back. The result was a seemingly rushed conclusion where multiple characters made poorly justified decisions and important story lines felt only halfway developed (...)
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                        <h6>Image source: Giphy by Darién Sánchez</h6>
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                        <h2 style='width: 700px; text-align:center; display: inline-block;'>Inside the Head of an Aging Serial Killer</h2>
                        <h5>The Atlantic, ALANA MOHAMED JUN 11, 2019</p><h5>
                   
                    <h5 style='text-align:left; width: 580px; display: inline-block;'>Diary of a Murderer: And Other Stories  BY KIM YOUNG-HA MARINER BOOKS. When Jeff Lindsay first wrote his Dexter novels, about a blood-spatter analyst who kills bad people in his spare time, he unintentionally kicked off a modern love affair with the fictionalized serial killer. In the years following Dexter Morgan’s televised debut on Showtime, humanizing portrayals of murderous antiheroes have increased. There’s the protagonist of Hannibal, whose artistic refinement drew an FBI agent to him. In a slightly different mold, there’s John Tavner of Amazon’s Patriot, a traumatized hitman who bungles jobs and would rather play music, and the titular character of HBO’s Barry, a reluctant gun for hire who just wants to act; these killers take lives grudgingly, as if murder were a monotonous day job. Viewers, in turn, get a relatable, largely genial protagonist to root for (...)
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                        <h6>Image source: Tenor by Downsign</h6>
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                        <h2 style='width: 700px; text-align:center; display: inline-block;'>The Anti-party Anthem Contending for Song of the Summer</h2>
                        <h5>The Atlantic, SPENCER KORNHABER MAY 10, 2019</p><h5>
                   
                    <h5 style='text-align:left; width: 580px; display: inline-block;'>It might seem a problem for popular music that young people are reportedly having less sex, drinking less booze, and throwing fewer parties than previous generations. Hedonism advocates such as Axl Rose and Miley Cyrus must be mourning—what in the world is there to sing about? The charts do remain fairly raunchy and rowdy, but slurry odes to antidepressants and Instagram scrolling have joined the mix. Apparently an even more on-the-nose subgenre is emerging: the anti-party anthem (...)
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