杀人
发表于 2025-3-26 23:11:02
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拖债
发表于 2025-3-27 04:35:08
er Beziehungen, die Kontinuität und gegenseitiges Vertrauen voraussetzen. Als Schnittstelle von Informationsströmen zwischen verschiedenen Gesellschaftsschichten haben sie eine besondere Stellung in der politischen und journalistischen Kultur Japans.
比目鱼
发表于 2025-3-27 06:15:40
2730-9185 ng unique approaches to contemplate the responsibility of humans for as well as their relational existence in the posthuman Anthropocene..978-3-030-77975-7978-3-030-77973-3Series ISSN 2730-9185 Series E-ISSN 2730-9193
针叶
发表于 2025-3-27 09:39:22
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不可救药
发表于 2025-3-27 13:49:36
Helen Macdonald’s , and Critical Posthumanisminherent in patriarchal norms of falconry. Moreover, the memoir’s rejection of masculinist and anthropocentric traditions of falconry metonymically stands in for a larger critique of histories of violence . and exploitation . human and non-human others.
Adenoma
发表于 2025-3-27 21:48:13
2730-9185 an into account, being bound to human perspectives.Examines Life Writing in the Posthuman Anthropocene is a timely collection of insightful contributions that negotiate how the genre of life writing, traditionally tied to the human perspective and thus anthropocentric qua definition, can provide ade
corn732
发表于 2025-3-27 23:32:04
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Vasoconstrictor
发表于 2025-3-28 03:12:04
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竞选运动
发表于 2025-3-28 09:25:14
The Sentience of Sea Squirts relationships between humans and sea squirts. Aesthetic categories like wobble, swerve and atmosphere can make marine lives, even small ones, significant on their own terms and enable more attention and sentient care from humans. Combining ecopoetics and self-aware life writing can bring sentience to, for and from sea squirts—and the oceans.
APO
发表于 2025-3-28 11:35:57
Humanity, Life Writing, and Deep Time: Postcolonial Contributionstings, particularly those whose thematic focus is humankind’s relation to nature, are keen on conveying those temporal ties. Throughout this chapter, Renata Lucena Dalmaso explores these connections in two works, namely, Amitav Ghosh’s . (2016), and Ailton Krenak’s . (2019).