无力向前
发表于 2025-3-21 19:57:07
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Ebct207
发表于 2025-3-21 21:18:35
s in the Drawing Room: The Popular Punjabi Theatre studies that explicate these interventions: . (., Baral 2002), which addresses class strife; . (., Jee 2003), wherein transgendering probes patriarchy; and ., . (., . and ., Anon 2004), where female performers adopt the . mode in rejoinder to the censorship of the woman dancer (2002–2004).
昏暗
发表于 2025-3-22 02:52:03
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Legion
发表于 2025-3-22 07:35:44
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屈尊
发表于 2025-3-22 11:27:13
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Interdict
发表于 2025-3-22 13:34:53
Book 2017contemporary weddings. With irreverent repartee, genealogical prowess, a topsy-turvy play with hierarchies and shape shifting, the low-status .bhānd. jostles space in otherwise rigid class and caste hierarchies. Tracing these negotiations in both historical and contemporary sites, the author unfolds
Interdict
发表于 2025-3-22 19:29:23
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Communicate
发表于 2025-3-22 23:19:48
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MOCK
发表于 2025-3-23 04:53:18
https://doi.org/10.1007/978-3-031-55791-0pted to contemporary challenges by using their residuality to locate the persistence of feudal value systems within the urban political elite and upwardly mobile, from where they play more of a balancing act with the social structures, reaching diverse audiences, as the . Munir Hussain puts it, from ‘the donkey cart to the aeroplane’.
没收
发表于 2025-3-23 08:05:35
https://doi.org/10.1007/978-3-8349-7093-0y intended variously as a device for comic relief . oppositional satire, the . ventures further, using his outsider status to playfully challenge ideological binaries and release multiple perspectives on the news.