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{ Tag Archives } flame wars

KC Johnson: the other Duke Lacrosse prosecutor

This is the fourth in a series of posts looking at the crusades mounted on both sides of the Duke lacrosse case. The first has an introduction and overview. The second and third are about the potbanging protest and its connection to and impact on the controversy surrounding the “listening” statement. This one turns to […]

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A perfect mess

This is the third in a series of posts looking at the crusades mounted on both sides of the Duke lacrosse case. The first for an introduction and overview. This post continues directly from the previous one about the potbanging protest held at the lacrosse team captains’ house soon after the rape allegation became public. […]

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The trouble with potbanging

This is the second in a series of posts looking at the crusades mounted on both sides of the Duke lacrosse case, in the hope of shedding some light on the way they’ve overshadowed meaningful debate about the incident and its aftermath. You can click back to the first post for an introduction and overview. […]

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The Duke lacrosse racket—postscript

Near the end of yesterday’s post, I described the liestoppers as having to prop up their claim to be crusading for Truth, Fairness, and Justice on the basis of the lacrosse case by engaging in “rhetorical warfare that brings the battle lines into sharp relief” (I’m using the term “liestopper” loosely for the vehement defenders […]

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The Duke lacrosse racket

After a few months of dealing with unfinished business, I’ve managed to put together a two-sides-of-the-coin analysis of the Duke lacrosse case that’s been on my mind for a while. For better or worse, the lacrosse case has been a blogger’s boon, and while I was taking stock of my time at Duke anyway I […]

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HIPster’s guide to not winning friends and not influencing people

A couple of days ago I picked up a recording of Fidelio in the library. It’s conducted by Nikolaus Harnoncourt, a “historically informed performance” (HIP) specialist, meaning that his ideal is to calibrate the performance of a piece based on what is known about musical practices and instruments at the time it was written. When […]

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