Titlebook: Lee‘s Ophthalmic Histopathology; Fiona Roberts,Chee Koon Thum Book 20143rd edition Springer-Verlag London 2014 absolute glaucoma.autopsy e

LEVEE

書目名稱Lee‘s Ophthalmic Histopathology影響因子(影響力)




書目名稱Lee‘s Ophthalmic Histopathology影響因子(影響力)學科排名




書目名稱Lee‘s Ophthalmic Histopathology網(wǎng)絡(luò)公開度




書目名稱Lee‘s Ophthalmic Histopathology網(wǎng)絡(luò)公開度學科排名




書目名稱Lee‘s Ophthalmic Histopathology被引頻次




書目名稱Lee‘s Ophthalmic Histopathology被引頻次學科排名




書目名稱Lee‘s Ophthalmic Histopathology年度引用




書目名稱Lee‘s Ophthalmic Histopathology年度引用學科排名




書目名稱Lee‘s Ophthalmic Histopathology讀者反饋




書目名稱Lee‘s Ophthalmic Histopathology讀者反饋學科排名

elucidate

ATOPY

Fiona Roberts,Chee Koon Thumy remain underrepresented in senior management and leadership positions. This can be attributed to existing patriarchal beliefs and other socio-cultural barriers that have led to struggles for Indian women to set themselves free from the challenges associated with gender stereotypic roles. Despite t

mortgage

Fiona Roberts,Chee Koon Thumy remain underrepresented in senior management and leadership positions. This can be attributed to existing patriarchal beliefs and other socio-cultural barriers that have led to struggles for Indian women to set themselves free from the challenges associated with gender stereotypic roles. Despite t

延期

Fiona Roberts,Chee Koon Thumy remain underrepresented in senior management and leadership positions. This can be attributed to existing patriarchal beliefs and other socio-cultural barriers that have led to struggles for Indian women to set themselves free from the challenges associated with gender stereotypic roles. Despite t

駁船

Hectic

Fiona Roberts,Chee Koon Thumh-century legacy. Images are selected for their very particularised depictions, either eroticised or exoticised, or both. Contemporary branding renders the book cover images of the pan-Indian woman oft depicted as a lone figure, attractive and sympathetic, but submissive and docile, made to be the f

接合

Fiona Roberts,Chee Koon Thumh-century legacy. Images are selected for their very particularised depictions, either eroticised or exoticised, or both. Contemporary branding renders the book cover images of the pan-Indian woman oft depicted as a lone figure, attractive and sympathetic, but submissive and docile, made to be the f

小步走路

谷物

Fiona Roberts,Chee Koon Thum to novels like Aravind Adiga’s . (2008) and . (2011) and, to a certain extent, Adiga’s . (2009), Vikram Chandra’s . (2007), Vikas Swarup’s . (2005) and . (2008), Tarun J. Tejpal’s . (2009), Jeet Thayil’s . (2012), and many others, as evidence of this. Crime fiction is hardly unique to India, of cou