Titlebook: Emotional Ethics of The Hunger Games; Tarja Laine Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusive license to Sp

休耕地

書目名稱Emotional Ethics of The Hunger Games影響因子(影響力)




書目名稱Emotional Ethics of The Hunger Games影響因子(影響力)學(xué)科排名




書目名稱Emotional Ethics of The Hunger Games網(wǎng)絡(luò)公開度




書目名稱Emotional Ethics of The Hunger Games網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Emotional Ethics of The Hunger Games被引頻次




書目名稱Emotional Ethics of The Hunger Games被引頻次學(xué)科排名




書目名稱Emotional Ethics of The Hunger Games年度引用




書目名稱Emotional Ethics of The Hunger Games年度引用學(xué)科排名




書目名稱Emotional Ethics of The Hunger Games讀者反饋




書目名稱Emotional Ethics of The Hunger Games讀者反饋學(xué)科排名

pester

Surgical Management of Intersex in Childhoodtionships. But there is also a notion of authentic love as a form of resistance that is not merely reactive to power relations, but a positive action in its own terms, which renders the romantic story in . trilogy into a meaningful and complex reflection on the nature of love.

engrossed

Ming-Han Tsai,Yhu-Chering Huangl relevance of . trilogy is based on the incorporation of emotional ethics in its aesthetic organization, which elevates it from mere young adult fiction into a triumphant celebration of cinema’s affective power.

手榴彈

惰性女人

Conclusion,l relevance of . trilogy is based on the incorporation of emotional ethics in its aesthetic organization, which elevates it from mere young adult fiction into a triumphant celebration of cinema’s affective power.

不舒服

不舒服

excursion

奴才

https://doi.org/10.1007/978-3-322-82661-9ns are incorporated in the thematic and aesthetic organization of these films, reflecting a crisis in moral standards, while cultivating ethical attitudes toward such phenomena as totalitarianism and the society of spectacle. The focus of the argument will be on cinematic aesthetics expressing emoti

NIL

Yun-Bo Zhao,Guo-Ping Liu,Yu Kang,Li Yuvideogame-like aesthetics that capture the subjective experience of fear in situations that are driven by survival motives. Second, the trilogy demonstrates a development from self-directed fear to other-directed fear at which point the ethical dimension of this ‘basic’ emotion starts to emerge. The