很像弓]
发表于 2025-3-23 09:41:25
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CHIDE
发表于 2025-3-23 14:43:42
,Animating the Baroque and Resisting the Brand: Belén Gache’s , (2011) and , (2011) (Spain-Argentinan to an analysis of ., and elucidates how this poetry collection works via the recycling of platitudes and commonplaces that characterise corporate branding, trademark symbols, slogans, and rhetorical phrases, and encourages us to reflect upon our imbrication not only in the work, but also in the system of global corporatism.
翻动
发表于 2025-3-23 19:48:02
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人充满活力
发表于 2025-3-23 23:07:27
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PANEL
发表于 2025-3-24 03:14:41
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贝雷帽
发表于 2025-3-24 08:20:31
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Vsd168
发表于 2025-3-24 12:56:38
,Reanimating the Whodunnit: Jaime Alejandro Rodríguez’s , (2006) (Colombia),els, engages in narrative metalepsis, and questions some of the standard features (such as stability of character or cause-effect relationship) that are so central to the whodunnit genre he mobilises.
SEMI
发表于 2025-3-24 17:33:52
,Twitter Poetry and Rethinking the Aphorism: Eduardo Navas’s , (2011 to date) (US-El Salvador), formats and tools—including the blog as platform, word clouds as visualisation tools, and search engines for retrieving information—to take an oppositional stance, and interrogate the textual formats themselves.
ANTIC
发表于 2025-3-24 20:44:30
,Critiquing Web Structure and Online Social Capital: Doménico Chiappe’s , (2013–2015),, to discuss the commodification of the female body and the functioning of online social capital in the internet age. The chapter reveals how Chiappe forces us to understand our own complicity in the perpetuation of the neoliberal discourses that underpin the circulation of online social capital.
率直
发表于 2025-3-24 23:29:28
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