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Titlebook: Artistic (Self)-Representations of Islam and Muslims; Perspectives Across Ramona Mielusel Book 2021 The Editor(s) (if applicable) and The

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發(fā)表于 2025-3-26 23:46:47 | 只看該作者
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發(fā)表于 2025-3-27 04:33:08 | 只看該作者
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發(fā)表于 2025-3-27 07:50:25 | 只看該作者
Self-Assembly in Mobile and Modular Robotsonsibilities of Muslim citizenship in contemporary France. Through a contextualized reading, this chapter proposes to determine how . reflects global trends in Muslim-minority communities as they seek to simultaneously perform their civic and religious identities in non-Muslim contexts.
34#
發(fā)表于 2025-3-27 11:54:53 | 只看該作者
Introduction,ually focuses on a cultural field shared by Franco-Maghrebi, Maghrebi, and transnational writers, artists, filmmakers, and performers, one in which colonial history, Orientalism, neo-orientalism, contemporary politics as well as social debates on diversity, inclusion, and national belonging all bear weight and influence.
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發(fā)表于 2025-3-27 14:34:55 | 只看該作者
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發(fā)表于 2025-3-27 20:19:41 | 只看該作者
Field Emission Spectroscopy of Metals,rance (.). What results in these particular films through this pairing and her cinematographic choices is what I call perspectival filmmaking, which draws the external audience in and heightens our attention to shifts in society as refracted through the figure of the imam.
37#
發(fā)表于 2025-3-28 01:43:30 | 只看該作者
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發(fā)表于 2025-3-28 04:24:10 | 只看該作者
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發(fā)表于 2025-3-28 09:51:58 | 只看該作者
Commercial Off-The-Shelf Implementationss. Therefore, my aim is to concentrate my attention on these unifying principles in Islamic rap in order to show a new perspective of contemporary rap in the global context of Islamophobia, especially after 9/11 and after the terrorist threats of 2015–2016.
40#
發(fā)表于 2025-3-28 12:24:44 | 只看該作者
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