Christine, I appreciate your kind words. Of course you can use it! If you feel that your audience would profit from any of the stuff on this blog (aimed at teachers of English as a foreign language), please just say where the sentences were taken from, ok? Every little thing than can increase traffic helps! And you’re so right about the “what people do say” vs. “what people could say” dilemma. Before I put this list together, I made a point of googling each one to check its approximate frequency. This alone sifted out at least half of my original list. Best regards from São Paulo, Brazil.
As large-scale media visualizations from the Selfiecity database of images shot in five cities on four continents indicate, the selfie has become a truly transnational genre that is as much about placemaking as it is about the narrowcasting of particular faces and bodies. At the same time, the scholarly literature around this specific form of self-representation through closely distant mobile photography has struggled to keep up with theorizing emergent new media practices that utilize lenses, screens, mirrors, and armatures in novel ways and generate compositions with distinctive framing and posing that mark belonging to selfie taxonomies.
Beginning with the surprise million-copy seller The Immense Journey (1957), Eiseley produced an astonishing succession of books that won acclaim both as science and as art. Here, for the first time in a single collector’s edition, are all of Eiseley’s beloved, thought-provoking, sometimes darkly lyrical essay collections, from The Immense Journey to the posthumous The Star Thrower (1978). Eiseley’s subjects are wide-ranging, curious, and meticulously realized: the role of flowering plants in evolution; a disturbing insect, seen in childhood; the questions raised by a new fossil; a forgotten episode in the history of science. Beginning with close observation and vivid detail, Eiseley is fearless and imaginative in pursuit of the cosmological dimensions of the phenomena he describes.