候选人名单
发表于 2025-3-21 17:27:09
书目名称Cyborg Theatre影响因子(影响力)<br> http://impactfactor.cn/2024/if/?ISSN=BK0241963<br><br> <br><br>书目名称Cyborg Theatre影响因子(影响力)学科排名<br> http://impactfactor.cn/2024/ifr/?ISSN=BK0241963<br><br> <br><br>书目名称Cyborg Theatre网络公开度<br> http://impactfactor.cn/2024/at/?ISSN=BK0241963<br><br> <br><br>书目名称Cyborg Theatre网络公开度学科排名<br> http://impactfactor.cn/2024/atr/?ISSN=BK0241963<br><br> <br><br>书目名称Cyborg Theatre被引频次<br> http://impactfactor.cn/2024/tc/?ISSN=BK0241963<br><br> <br><br>书目名称Cyborg Theatre被引频次学科排名<br> http://impactfactor.cn/2024/tcr/?ISSN=BK0241963<br><br> <br><br>书目名称Cyborg Theatre年度引用<br> http://impactfactor.cn/2024/ii/?ISSN=BK0241963<br><br> <br><br>书目名称Cyborg Theatre年度引用学科排名<br> http://impactfactor.cn/2024/iir/?ISSN=BK0241963<br><br> <br><br>书目名称Cyborg Theatre读者反馈<br> http://impactfactor.cn/2024/5y/?ISSN=BK0241963<br><br> <br><br>书目名称Cyborg Theatre读者反馈学科排名<br> http://impactfactor.cn/2024/5yr/?ISSN=BK0241963<br><br> <br><br>
沉积物
发表于 2025-3-21 20:29:29
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Trigger-Point
发表于 2025-3-22 03:14:09
978-1-137-46641-9Palgrave Macmillan, a division of Macmillan Publishers Limited 2011
暴露他抗议
发表于 2025-3-22 08:23:28
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山顶可休息
发表于 2025-3-22 12:03:54
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火花
发表于 2025-3-22 14:19:38
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火花
发表于 2025-3-22 19:36:30
Adult Learning and la Recherche Féminineuestions about the place of the human in contemporary culture. A desire to rethink both humanness and bodies springs up in provocative theoretical investigations such as Donna Haraway’s “cyborg,” Gilles Deleuze and Félix Guattari’s “becoming-animal,” Katherine Hayles’s “post-human,” and Rosi Braidot
Arrhythmia
发表于 2025-3-22 22:52:44
https://doi.org/10.1057/9781137012982 bodies, the hope for technological cures all attract us as we negotiate the limits of our own bodies. Some bodies remain healthy longer, others fit the “norms” of a given society more easily, but ultimately it is our bodies that fail us, yet bodies both real and imagined drive how we function in th
capillaries
发表于 2025-3-23 05:05:00
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唤醒
发表于 2025-3-23 06:20:16
The “Enrichments” Learning Path 2009. . replaced the long-running ., which had itself replaced the original EO, operating from 1986–97. Both “attractions” are embedded into the Disney theme park as immersive “rides” — audiences don 3-D glasses and sit in theatrical audience configurations to experience these filmic events. In .,