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I say fear and pity , phobos kai eleos , because the analytical scene is obviously analogical to the tragical scene . Merely analog- ical , but analogical nonetheless . I would say even more precisely : analogical to the Aeschylean ...
I say fear and pity , phobos kai eleos , because the analytical scene is obviously analogical to the tragical scene . Merely analog- ical , but analogical nonetheless . I would say even more precisely : analogical to the Aeschylean ...
Seite 142
In Act 3 , scene 4 , the prince visits his mother and fires her way a broadside of transferences . Polonius is hidden behind the curtain . The queen takes fright and calls for help .
In Act 3 , scene 4 , the prince visits his mother and fires her way a broadside of transferences . Polonius is hidden behind the curtain . The queen takes fright and calls for help .
Seite 39
So the mediating phase of empowerment — at once a portrait of a " bottom lip " and a mise - en - scène of speaking- acts as a kind of passage , an event between two scenes : one on " this " side of a television screen , a place of ...
So the mediating phase of empowerment — at once a portrait of a " bottom lip " and a mise - en - scène of speaking- acts as a kind of passage , an event between two scenes : one on " this " side of a television screen , a place of ...
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Domesticity at | 3 |
Gender Postmodernism | 23 |
An Interview with Edward Soja | 41 |
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