GUILT
发表于 2025-3-23 10:19:22
Results for C4 in its ,ground state,s to present itself in a western hegemonic framework of the ‘modern’ that gives primacy to individual will. In this chapter, however, I argue that ‘choice’, as an important claim to being modern, crucially incorporates a dialogical approach with the family. In other words, the concept of ‘modern cho
Intuitive
发表于 2025-3-23 16:09:00
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periodontitis
发表于 2025-3-23 18:57:01
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Ceramic
发表于 2025-3-23 23:26:59
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能够支付
发表于 2025-3-24 02:28:10
https://doi.org/10.1007/978-1-4615-4056-4bout equality in the social sphere through staging scenes of (in) hospitality. They engage questions of religion and caste in modern India by drawing simultaneously on ideas of hospitality embedded in religious texts as well as a modern discourse of equality and rights. The essay discusses these sto
捏造
发表于 2025-3-24 09:46:38
https://doi.org/10.1007/978-4-431-54944-4ite to analyse the crisis-ridden process of the making of the modern subject. The chapter explores how literary and filmic forms of excess produce narrative and cinematic worlds that disturb the foundational architecture of the reproductive family and contained models of masculinity and femininity.
ADAGE
发表于 2025-3-24 13:52:37
https://doi.org/10.1007/978-1-59259-477-1ion expressed in specific themes and literary forms in the first half of the 20th century. The rise of literary modernism in both Hindi and Urdu short story is evidenced through a conceptual grasp of the new shift in the writer’s sensibility grown out of the changing social and cultural contexts. Fo
打折
发表于 2025-3-24 17:19:47
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体贴
发表于 2025-3-24 19:32:45
Kerstin Schneider,Horst Zimmermannne cannot understand the nature of modernity and its political and cultural acceptances without glancing at the past. Many common points are observable in the quest of modernity of India and China, one of the most important being the daily presence of the past through various practices: reading of t
ACTIN
发表于 2025-3-25 01:00:06
Learning Exercises and Solutions School. It suggests that the conventional academic tropes of understanding these pictures—power and emasculation on one side, and empowering nativism on the other—may not give adequate insight. In fact, the Santals, as mediated through colonial art, were given far more agency and strength than gene