繁重
发表于 2025-3-26 22:48:36
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anesthesia
发表于 2025-3-27 04:39:18
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Myocarditis
发表于 2025-3-27 09:20:55
Dagmar Simon,Eckhard Steffenxual, cultural, and national boundaries between women, despite feminism’s tendencies toward privileging white, middle class women.. It has been criticized for being ‘an emotional appeal masking the opportunism of manipulative bourgeois white women. It was seen as a cover-up hiding the fact that many
铁塔等
发表于 2025-3-27 12:48:04
emselves’) finds a door in her bathroom that opens into the Bennett’s house, allowing Elizabeth Bennett into the contemporary world and Amanda into the world of the Bennett sisters, Darcy, and Wickham. It might seem that the world of . has become a magical place like Narnia, but it is Amanda who is
乞讨
发表于 2025-3-27 15:10:28
Timm Hörmann,Ulrich Rückertoint to industry acclaim or awards recognition when considering the cultural value of both this maligned adaptive form and the denigrated horror genre. Using examples from online discussions and reviews of horror remakes, and drawing on a number of examples of these contemporary adaptations, the cha
FRAX-tool
发表于 2025-3-27 20:47:43
Gregor Engels,Alexander Teetziction and in the centrality of adaptive processes to cultural production and consumption. They belong to a long-denigrated genre which is inherently adaptive, and which is currently shifting its cultural position from mass popularity towards cultural respectability. This process is central to the n
手势
发表于 2025-3-27 21:57:27
Wolfgang Nettelstroth,Gabi Schillingiction and in the centrality of adaptive processes to cultural production and consumption. They belong to a long-denigrated genre which is inherently adaptive, and which is currently shifting its cultural position from mass popularity towards cultural respectability. This process is central to the n
HARP
发表于 2025-3-28 02:36:10
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细胞
发表于 2025-3-28 09:38:59
Martin Schneider,Christian Manfred Wilke,Anja Isekebut one that increasingly acquired prestige after World War II. Five film adaptations of . exist: directed by Herbert Brenon (1926), Elliott Nugent (1949), Jack Clayton (1974), Robert Markowitz (2000), and Baz Lurhmann (2013). Clayton, Markowitz, and Luhrman all foreground jazz in various ways, and
和音
发表于 2025-3-28 11:02:57
Martin Schneider,Simon Eisele musical, paying particular attention to the play’s queer subject matter. Beginning with the premise that adaptation is itself a queer process, the chapter examines the adaptation of . as both product (commercial and aesthetic) and process (of recognition and remembrance). The musical’s recognition