Grievance
发表于 2025-3-26 20:58:46
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Buttress
发表于 2025-3-27 04:54:56
: Celebrity and the Subject of Modernity,deas about subjectivity. In this final chapter, I will suggest that celebrity culture relied on elements of a distinctively modern understanding of subjectivity and therefore sponsored its normalisation, shutting down a variety of earlier possibilities in the process. The new understanding of subjec
温顺
发表于 2025-3-27 06:25:02
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出来
发表于 2025-3-27 11:31:17
,‘An Ode to the Framers of the Frame Bill’: The Embarrassment of Industrial Culture,nderstandings of legal definitions and parliamentary procedures have led critics mistakenly to frame the poem chronologically, representing it as a peevish comment on a completed legislative process. This characterisation is part of a conceptual frame in which Byron’s political engagement with Luddi
explicit
发表于 2025-3-27 13:47:26
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Cocker
发表于 2025-3-27 21:31:32
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ACTIN
发表于 2025-3-28 01:27:23
Envoi,table channels. To send a poem out into the world, Southey suggests, is to bid it farewell in the confidence that — somewhere, somehow — discerning readers will find it. True worth will receive its due in the end.
自负的人
发表于 2025-3-28 03:14:35
https://doi.org/10.1007/b101865nderstandings of legal definitions and parliamentary procedures have led critics mistakenly to frame the poem chronologically, representing it as a peevish comment on a completed legislative process. This characterisation is part of a conceptual frame in which Byron’s political engagement with Luddi
Apraxia
发表于 2025-3-28 06:35:13
https://doi.org/10.1007/b101865d consumer in industrial culture. Byron began adding to the poem’s opening in response to several painful bereavements, but his revisions helped to construct the hermeneutic paradigm that would govern his celebrity career.
Custodian
发表于 2025-3-28 11:57:04
Lauren E. Immink,Jenna J. Guthmillerposition in the apparatus of individual, industry and audience that structured Romantic celebrity culture. In . Three, I argue, this effort took two forms: firstly, he re-imagined his relationship with the audience by experimenting with possible shifts in his hermeneutic paradigm; secondly, he reneg