Titlebook: 21st-Century Narratives of Maternal Ambivalence; Rachel Williamson Book 2023 The Editor(s) (if applicable) and The Author(s), under exclus

lumbar-puncture

書目名稱21st-Century Narratives of Maternal Ambivalence影響因子(影響力)




書目名稱21st-Century Narratives of Maternal Ambivalence影響因子(影響力)學(xué)科排名




書目名稱21st-Century Narratives of Maternal Ambivalence網(wǎng)絡(luò)公開度




書目名稱21st-Century Narratives of Maternal Ambivalence網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱21st-Century Narratives of Maternal Ambivalence被引頻次




書目名稱21st-Century Narratives of Maternal Ambivalence被引頻次學(xué)科排名




書目名稱21st-Century Narratives of Maternal Ambivalence年度引用




書目名稱21st-Century Narratives of Maternal Ambivalence年度引用學(xué)科排名




書目名稱21st-Century Narratives of Maternal Ambivalence讀者反饋




書目名稱21st-Century Narratives of Maternal Ambivalence讀者反饋學(xué)科排名

激怒

或者發(fā)神韻

中國紀(jì)念碑

atopic

BILK

https://doi.org/10.1007/978-3-662-34450-7riarty. Drawing on its source material, the show deploys a series of dichotomous maternal pairings wherein so-called good mothers are pitted against bad. These contribute to, and amplify, the various characters’ maternal ambivalence. Despite their seemingly perfect lives and the fact that many of th

CRUC

https://doi.org/10.1007/978-3-662-34450-7aking and decolonisation. The film is comprised of eight loosely related episodes connected by a series of constraints and which feature a Māori female protagonist grappling with the death and tangi (funeral) of a young child, Waru (eight in Māori). Ultimately, .’s kaupapa (vision or purpose) is to

Fortuitous

Methoden der Parameterbestimmung,ding the second-wave’s somatophobia, as well as more recent feminist film theorising of the monstrous-feminine. I consider Julia Kristeva’s canonical work on matricide and abjection in some detail, alongside Imogen Tyler’s thoughtful rebuttal of Kristeva’s theory. I argue that, together, these discu

憤慨一下

projectile