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Books on the topic 'Bend It Like Beckham'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Bisin, Alberto. Bend it like Beckham: Ethnic identity and integration. Cambridge, MA: National Bureau of Economic Research, 2010.

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2

Bisin, Alberto. Bend it like Beckham: Ethnic identity and integration. Cambridge, MA: National Bureau of Economic Research, 2010.

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3

Beyond bend it like Beckham: The global phenomenon of women's soccer. Lincoln: University of Nebraska Press, 2012.

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4

Georgiadis, Andreas P. Spend it like Beckham?: Inequality and redistribution in the UK, 1983-2004. London: Centre for Economic Performance, London School of Economics and Political Science, 2007.

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5

What does childhood taste like?: Mental workouts that will stretch, bend, and energize the way you think, respond, dream, and create. New York: Quill/Morrow, 1986.

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6

Bend It Like Beckham. Welcome Rain, 2004.

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7

Bend It like Beckham -- The Musical. FABER MUSIC, 2019.

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8

Bend It Like Beckham (Bite) (Bite). Hodder & Stoughton, 2002.

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9

Dhami, Narinder. Bend it like Beckham. Schullektüre. Based on the original screenplay. Klett, 2003.

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10

Beyond Bend It Like Beckham: The Global Phenomenon of Women's Soccer. University of Nebraska Press, 2012.

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11

Nesbitt, Eleanor. 7. Attitudes to caste, gender, and other faiths. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198745570.003.0007.

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The film Bend it Like Beckham (2002) illustrated effectively gender issues in the Sikh religion and how they are viewed in comparison to gender issues outside of Sikhism. ‘Attitudes to caste, gender, and other faiths’ looks at these themes and relates them to discussion of Punjabi cultural norms, insights of the Gurus, and the legacy of Guru Gobind Singh in both the Khalsa and the Dasam Granth. It also considers the strictures of successive rahit-namas and the reformist project of the Singh Sabha, plus more recent developments, especially in the diaspora. These sets of issues belong together in any discussion of Sikhs’ resounding claims that the Panth is egalitarian.

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12

Macpherson, Ben. Some Yesterdays Always Remain. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.29.

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This chapter explores the current landscape of black British and Anglo-Asian musical theatre, in both the commercial and subsidized sectors. Finding parallels in early twentieth-century British performance histories, the chapter suggests that popular commercial definitions of ‘hybrid’ musical theatre works such as Bombay Dreams (2002) or Bend It Like Beckham (2015) are almost always mediated and received through a lens that is coloured by white middle-class concerns. Yet, while the mainstream musical is showing definite signs of change in its performance of multiculturalism, it is primarily because of the work of Off-West End producing houses (for instance the Theatre Royal Stratford East) and theatre companies (such as Nitro) that many of the productions representing contemporary experiences of diaspora communities in Britain are staged.

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13

Milligan, Andy. Brand It Like Beckham. Cyan Books, 2004.

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14

Bullard, Jimmy. Bend it like Bullard. 2015.

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15

Brand It Like Beckham: Building a Brand with Balls (Great Brand Stories series). Cyan Communications, 2006.

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16

Forster, Michael N. Theory of Translation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199588367.003.0004.

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Herder’s theory of translation not only ultimately inspired but is also superior to the most important current theories of translation, those of Berman and Venuti. It is superior to them largely because it continues a traditional conception that faithfully re-expressing the meaning of the source text is a central criterion of success in translation. Like his hermeneutics, Herder’s translation theory rests on his philosophy of language and his principle of radical mental difference. He develops a number of important principles here, including a principle that the way to achieve semantic faithfulness in the face of conceptual differences is to “bend” word-usages in the target language in order to reproduce those in the source language, and a principle that translation must also strive for musical faithfulness. His translation theory not only inspired Schleiermacher’s but also made possible the extraordinary improvements in translation practice that occurred in the generation after him.

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