He is implying the gift is so nice and trying to be polite.
2. What does Mickey mean when he says “I do not deserve it”?
Pre-reading Activities - Audiovisual supplement 2
Minnie: It’s coming. Shh ... Hide.
Mickey: Hi, Minnie, how about a little …
Minnie: You clown.
All: Happy birthday! Oh, you pal!
Mickey: Hey, thanks! Thanks!
Minnie: Go pick the cake. Mickey! Ah! An electric organ!
Mickey: For me? Oh, I don’t deserve it.
Donald Duck: Deserve a lot! How about a little play, Mickey?
Minnie: Oh, Mickey!
American popular culture is the attitudes and perspectives shared by the majority of the U.S. citizens, which expresses itself through a number of media, including movies, music, sports and cultural icons.
American culture has been infiltrating nations all over the world over the past two decades, marginalizing traditional cultures throughout the world and bringing about the kind of global “fun” culture that Disney is famous for. In this text, Todd Gitlin reveals the trend that American culture is becoming dominant and enjoys worldwide popularity, and accounts for this cultural phenomenon.
The text can be divided into the following three parts:
(Paragraph 1): This is the introduction where the author advances his idea that American culture is dominant over the “global village”.
(Paragraph 6): The author concludes his argument with a thought-provoking restatement of his point.
(Paragraphs 2 — 5): This part presents evidence of the universal popularity that American culture enjoys, and explores what underlies the cultural phenomenon. This part can be further divided into two sub-sections. Paragraphs 2 — 4 as a sub-section give testimony to the idea that American pop culture is recognized worldwide, while Paragraph 5 explains why it is so.
Rhetorical Features 1
Contrast is a prominent feature of the text. It is realized by parallel structures, where there is semantic disparity. For instance, in Paragraph 1, “in mansions on the hill” is in contrast to “in huts”. In Paragraph 4, Grandfather is dressed in “traditional Tungusian clothing”. Grandson has on his head “a reversed baseball cap”. Contrast is also manifested through lexical opposition, as exemplified in “They are both local and cosmopolitan”, where “local” is opposite to “cosmopolitan”. There are other examples like dispatch－collect, well known－rarely acknowledged, love－hate, antagonism－dependency, monocultures－cultural bilingualism.
Read the text and find other structural and lexical manifestations of contrast.
1 Everywhere, the media flow defies national boundaries. This is one of its obvious, but at the same time amazing, features. A global torrent is not, of course, the master metaphor to which we have grown accustomed. We’re more accustomed to Marshall McLuhan’s global village. Those who resort to this metaphor casually often forget that if the world is a global village, some live in mansions on the hill, others in huts. Some dispatch images and sounds around town at the touch of a button; others collect them at the touch of their buttons. Yet McLuhan’s image reveals an indispensable half-truth. If there is a village, it speaks American. It wears jeans, drinks Coke, eats at the golden arches, walks on swooshed shoes, plays electric guitars, recognizes Mickey Mouse, James Dean, E.T., Bart Simpson, R2-D2, and Pamela Anderson.
2 At the entrance to the champagne cellar of Piper-Heidsieck in Reims, in eastern France, a plaque declares that the cellar was dedicated by Marie Antoinette. The tour is narrated in six languages, and at the end you walk back upstairs into a museum featuring photographs of famous people drinking champagne. And who are they? Perhaps members of today’s royal houses, presidents or prime ministers, economic titans or Nobel Prize winners? Of course not. They are movie stars, almost all of them American － Marilyn Monroe to Clint Eastwood. The symmetry of the exhibition is obvious, the premise unmistakable: Hollywood stars, champions of consumption, are the royalty of this century, more popular by far than poor doomed Marie.