GULP
发表于 2025-3-23 09:58:49
Analysis of 3-D Movement Recordings, of her husband (Camillo) and his wife (Isabella), freeing Bracciano and Vittoria to marry one another. This Bracciano does, with the help of Vittoria’s brother – his secretary, Flamineo. In the aftermath, Vittoria is arrested and put on trial, ostensibly for conspiracy in the murder plot. When the
Infinitesimal
发表于 2025-3-23 17:40:29
3D Mesh Processing and Character Animation than any other: the depiction of extreme episodes of physical violence, often presented in the most graphic terms that the different performance media allow, focusing on the exposure of the fragility and mortality of the human body via representations of the damage and destruction that can be wroug
松软无力
发表于 2025-3-23 18:44:21
Hybrid Imaging: From Anatomy to Functiony modern period is to see it in the context of a growing interest in the structure of the human body that has, in recent years, been recognised as a significant development in Western culture at that time. The second half of the sixteenth century witnessed the sudden, startling rise to prominence of
dissent
发表于 2025-3-23 22:47:42
Heron Werner,Gabriele Tonni,Jorge Lopesity of death. The fascination that these mysteries hold for many of us is no doubt one of the reasons why representations of spectacular deaths recur in our culture. In our own time, in our own culture, part of the appeal may well lie in the fact that the sight, smell and feel of a dead body is as m
oblique
发表于 2025-3-24 06:17:17
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Chronic
发表于 2025-3-24 09:22:56
https://doi.org/10.1057/9780230597112cinema; culture; drama; film; gender; oral discourse; tragedy
蚀刻
发表于 2025-3-24 10:45:48
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Eructation
发表于 2025-3-24 18:49:01
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ANT
发表于 2025-3-24 20:28:45
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羞辱
发表于 2025-3-25 03:00:30
‘When the Bad Bleed, then is the Tragedy Good’: Politics, Morality and Revenges such as these may give us pause, and provoke us to consider how the revenge narrative, which is after all one of the most ancient and powerful of all Western story structures, works on us. In her introduction to her collection of . (1995), Katharine Eisaman Maus suggests that ‘the revenger’s probl