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Titlebook: Eastern Resonances in Early Modern England; Receptions and Trans Claire Gallien,Ladan Niayesh Book 2019 The Editor(s) (if applicable) and T

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樓主: 孵化
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發(fā)表于 2025-3-25 06:35:38 | 只看該作者
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發(fā)表于 2025-3-25 09:55:26 | 只看該作者
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發(fā)表于 2025-3-25 15:07:14 | 只看該作者
Joseph R. Robinson,Gwen M. Mlynekdy” of both performer and listener. This chapter attempts to investigate some of the ways in which Jones’s self resonates in reflexive affective experiences, including his profound commitments to political harmony and reconciliation, the poetry of politics, and the politics of poetry.
24#
發(fā)表于 2025-3-25 16:55:20 | 只看該作者
https://doi.org/10.1007/978-1-4302-2657-4g George Fowler, shows how, under the later influence of British imperialism in the Middle East and Central Asia, the trope of the horseback “Tartar” journey becomes gradually reimagined as an increasingly aestheticized and controlled idea of movement, threading together romanticized images of the East.
25#
發(fā)表于 2025-3-25 20:08:06 | 只看該作者
26#
發(fā)表于 2025-3-26 00:37:51 | 只看該作者
“Endued with a Natural Disposition to Resonance and Sympathy”: “Harmonious” Jones’s Intimate Readingdy” of both performer and listener. This chapter attempts to investigate some of the ways in which Jones’s self resonates in reflexive affective experiences, including his profound commitments to political harmony and reconciliation, the poetry of politics, and the politics of poetry.
27#
發(fā)表于 2025-3-26 04:22:27 | 只看該作者
28#
發(fā)表于 2025-3-26 09:07:20 | 只看該作者
29#
發(fā)表于 2025-3-26 13:44:50 | 只看該作者
Introduction,est exchanges beyond adversarial binaries, thereby facilitating cross-disciplinary interactions and engagements with recent developments in material and global studies. The introduction further presents the argument of the three sections of the book: resonant identities, textual resonances, and aesthetic resonances.
30#
發(fā)表于 2025-3-26 19:17:55 | 只看該作者
From Jehol to Stowe: Ornamental Orientalism and the Aesthetics of the Anglo-Chinese Gardenent of the Anglo-Chinese garden. The chapter argues that the creation of a hybridized horticultural grammar of ornament took part in a self-reflexive cosmopolitan writing of England’s cultural identity.
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