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Seite 381
No , they talk about a woman , a visitor , someone new , an odar , other , they say , not an Armenian . Maybe they are telling secrets . No , ' cause they are talking too loud . [ 2 : 50–3 : 38 ] . ... Words shift the room around ...
No , they talk about a woman , a visitor , someone new , an odar , other , they say , not an Armenian . Maybe they are telling secrets . No , ' cause they are talking too loud . [ 2 : 50–3 : 38 ] . ... Words shift the room around ...
Seite 382
This aphasia in the face of the character of the woman marks a set of uneven but interlinked foreclosures that structure normative Armenian diasporic subjectivities . The film itself explicitly thematizes the systematic and violent way ...
This aphasia in the face of the character of the woman marks a set of uneven but interlinked foreclosures that structure normative Armenian diasporic subjectivities . The film itself explicitly thematizes the systematic and violent way ...
Seite 388
On Florence Henri and the Modern Woman , see Whitney Chadwick and Tirza True Latimer , eds . The Modern Woman Revisited : Paris Between the Wars ( New Brunswick , NJ : Rutgers University Press , 2003 ) ; Mary Louise Roberts ...
On Florence Henri and the Modern Woman , see Whitney Chadwick and Tirza True Latimer , eds . The Modern Woman Revisited : Paris Between the Wars ( New Brunswick , NJ : Rutgers University Press , 2003 ) ; Mary Louise Roberts ...
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Inhalt
Hypnotic Images Contingent Pasts | 322 |
Mourning Kafka | 342 |
Genocide in Ruins | 367 |
Urheberrecht | |
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