lymphoma
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conformity
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https://doi.org/10.1007/978-3-663-07100-6er develops these ideas by dividing emotional practices into four categories: . practices, which are used to achieve or prevent different emotional states; . practices, those used successfully to express emotions; . practices, the language used to talk about emotions and bring them into consciousnes
匍匐
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尖
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https://doi.org/10.1007/978-3-642-12390-0conflict—and actors needed to negotiate this volatility. As this chapter reveals, how audiences performed as diverse emotional communities in eighteenth-century theatres complicates the dominant sentimentalist discourse.
antidepressant
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Automorphe Darstellungen der GL2(A),eatre and all that followed? The chapter ends with a detailed analysis of how Georg Lichtenberg experienced Garrick’s Hamlet and reveals how his proximity to the stage and sociable relationships with other spectators mediated his experience of this well-known ‘point’.
弹药
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FOR
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2946-5958 the emotional practices of audiences and actors alike. It examines how their public and frequently political interactions were enabled by these spaces.978-3-031-22901-5978-3-031-22899-5Series ISSN 2946-5958 Series E-ISSN 2946-5966
粘
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Actors, Audiences, and Emotions in the Eighteenth CenturyCommunities of Senti
Collected
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性满足
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Introduction,ems and 110 homework exercises in number theory with hints aThrough its engaging and unusual problems, this book demonstrates methods of reasoning necessary for learning number theory. Every technique is followed by problems (as well as detailed hints and solutions) that apply theorems immediately,