Culpable
发表于 2025-3-23 12:56:06
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美食家
发表于 2025-3-23 16:03:53
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antiandrogen
发表于 2025-3-23 21:18:27
Drawing Lines: Bodies, Sexualities and Performance in ,] and ., in order to construct a ‘lan- guage’ able to describe the rigid bodies formed in accordance with Urizen’s rational/religious laws, while also indirectly presenting the ungrounded, contingent bodies formed through performance. Discussions of Blake’s views on bodies and sexualities are often
INCH
发表于 2025-3-24 01:44:10
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MAL
发表于 2025-3-24 05:45:28
The Body of the Blasphemer,obic themes, motifs or values at play in his art. As art historians working on Blake have repeatedly emphasized, his work as a visual artist in watercolour and tempera can appear the least exceptional aspect of his creative output: it is, simply put, in his drawings and paintings that he most looks
WATER
发表于 2025-3-24 08:59:57
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Endoscope
发表于 2025-3-24 14:27:07
,‘Real Acting’: ‘Felpham Billy’ and Grayson Perry Try It On,hetics (Bruder 2007b). Ample, beautiful evidence for that transgendered play was found in the unique set of watercolour sketches William produced as a gift for Ann (1797) and here I chart a further sexually experimental step, into textual transvestism, by focusing on an unprecedented verbal collecti
Endemic
发表于 2025-3-24 16:29:20
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hypertension
发表于 2025-3-24 21:21:05
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gregarious
发表于 2025-3-25 01:43:44
,‘The lineaments of… desire’: Blake’s , and Romantic Literary Treatments of Rape,hrough the entrapment of other women for sex- ual gratification. Many readers experience a sense of visceral revulsion at Oothoon’s complicity here with the gender ideology that has victimized and frustrated her.. Without attempting to denigrate or deny such a reaction, this chapter addresses the de