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Titlebook: Ecstatic Transformation; On the Uses of Alter Michael Uebel Book 2005 Palgrave Macmillan, a division of Nature America Inc. 2005 Cultural S

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發(fā)表于 2025-3-26 21:10:45 | 只看該作者
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發(fā)表于 2025-3-27 04:10:11 | 只看該作者
Medieval Desert Utopiasence (at once temporal, spatial, and affective) has momentary coherence. Indeed, Bourke, serving as aid de camp to General Crook of the Third Cavalry, whose mission it was to secure the newly acquired desert Territories of Arizona and New Mexico, conceived of the wasteland as an ideal place onto whi
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發(fā)表于 2025-3-27 05:30:56 | 只看該作者
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發(fā)表于 2025-3-27 13:48:49 | 只看該作者
2945-5936 ll as literary and religious studies will be interested in the manner in which the book considers the formal dimensions of how histories of the Oriental other were written and lived.978-1-137-11140-1Series ISSN 2945-5936 Series E-ISSN 2945-5944
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發(fā)表于 2025-3-27 18:07:21 | 只看該作者
Kinetics of Some Special Reactions,ause alterity, I argue, was not always reducible to the terms of the self-same, perceptions of the same in the different gave way to perceptions of the different in the same. In the images of alterity I study here, the transformative power of otherness reveals the extent to which social and individu
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發(fā)表于 2025-3-27 22:58:44 | 只看該作者
Inverse Chemical Kinetics Problem,nd even Roger himself would question it by following it in his chronicle with two different, more standard interpretations, one aspect would remain clear—the prophetic association of Muslims with the monstrous instruments of Antichrist.
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發(fā)表于 2025-3-28 05:12:01 | 只看該作者
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發(fā)表于 2025-3-28 07:14:32 | 只看該作者
https://doi.org/10.1007/978-1-4615-0643-0le” to “speakable,” from silent narratives of the single self to resonant myths of collective history, assumes in medieval culture a form that is necessarily incomplete, open to what might be called the “expression of a possible world.”. In this expression of the possible inheres the utopic, that mi
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發(fā)表于 2025-3-28 13:06:42 | 只看該作者
Robert Langenbach,Linda Oglesby . (1998), . (1998), . (1999), . (2001), . (2002) and, anti-utopia as comedy, . (2004). What makes these films so powerfully anti-utopian and simultaneously Utopian is their insistence that the hope for some ., whether social or epistemological, inevitably involves pain and forfeiture. With sacrific
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