HPA533
发表于 2025-3-23 09:47:34
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挖掘
发表于 2025-3-23 17:05:26
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compassion
发表于 2025-3-23 20:25:41
Book 2016rs discussed include William Blake, Lord Byron, Ann Batten Cristall, Samuel Taylor Coleridge, George Darley, Richard Payne Knight, William Gilpin, Mary Robinson, Mary Shelley, Robert Southey, and William Wordsworth.
DUST
发表于 2025-3-24 00:58:15
2947-7409 uli. Authors discussed include William Blake, Lord Byron, Ann Batten Cristall, Samuel Taylor Coleridge, George Darley, Richard Payne Knight, William Gilpin, Mary Robinson, Mary Shelley, Robert Southey, and William Wordsworth.978-1-137-46064-6Series ISSN 2947-7409 Series E-ISSN 2947-7417
DAMN
发表于 2025-3-24 04:49:55
https://doi.org/10.1007/978-88-470-1833-4beauty and deformity are often linked to the overarching question of how to identify these qualities in general and even more broadly to questions of perception and taste. Frequently overlooked, deformity is an aesthetic category that is of as much significance to the period as the beautiful, sublime, and picturesque.
Anticoagulants
发表于 2025-3-24 09:22:25
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旋转一周
发表于 2025-3-24 10:41:23
Picturesque Aesthetics: Theorising Deformity in the Romantic Era,beauty and deformity are often linked to the overarching question of how to identify these qualities in general and even more broadly to questions of perception and taste. Frequently overlooked, deformity is an aesthetic category that is of as much significance to the period as the beautiful, sublime, and picturesque.
遭受
发表于 2025-3-24 16:06:53
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IRS
发表于 2025-3-24 20:59:08
Book 2016t is the first collection of its kind, breaking new ground in re-interpreting key texts and providing a challenging overview of this emerging field. The collection offers both a critique of academic Romantic studies and an affirmation of the responsiveness of the Romantic canon to new stimuli. Autho
得意人
发表于 2025-3-25 02:08:21
2947-7409 erience. It is the first collection of its kind, breaking new ground in re-interpreting key texts and providing a challenging overview of this emerging field. The collection offers both a critique of academic Romantic studies and an affirmation of the responsiveness of the Romantic canon to new stim