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Titlebook: Encounters in the Victorian Press; Editors, Authors, Re Laurel Brake,Julie F. Codell Book 2005 Palgrave Macmillan, a division of Macmillan

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21#
發(fā)表于 2025-3-25 04:39:04 | 只看該作者
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發(fā)表于 2025-3-25 09:38:07 | 只看該作者
Hermann Riedl,Christian Schwenkene’, many would have had ample opportunity for discursive encounters with him in the pages of the periodical press. The closing decades of Queen Victoria’s reign witnessed events and political legislation that made the rural working classes the object of intensified discussion in writings across a sp
23#
發(fā)表于 2025-3-25 13:40:48 | 只看該作者
,Erwerbsvorgang und Abschluss der Vertr?ge,ages of the . between 1885 and 1891. These exchanges in the Westminster were crucially underpinned and influenced by the dialogues that occurred simultaneously outside the pages of the review among a close circle of . contributors. Both sets of discourses shaped the different positions taken by the
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發(fā)表于 2025-3-25 17:04:49 | 只看該作者
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發(fā)表于 2025-3-25 21:36:18 | 只看該作者
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發(fā)表于 2025-3-26 00:26:00 | 只看該作者
https://doi.org/10.1007/978-3-658-34035-3t of the pedestrianisation of Victoria Square, it comprises a monumental female figure (the ‘life force’) who reclines on a series of mountain peaks and holds in her hand a bowl out of which flows a fountain of water which descends by gravity down a series of steps to another pool, in which kneel tw
27#
發(fā)表于 2025-3-26 06:06:00 | 只看該作者
28#
發(fā)表于 2025-3-26 11:09:07 | 只看該作者
Prinzipien sexualmedizinischer Therapie,ritain was not simply a boast of a solitary individual subject.. It was the outcome of a widely perceived growth of the power of the press throughout the century, spurred in 1855 by abolition of compulsory newspaper taxes, resulting in the development of cheap and numerous titles.. Stead’s combative
29#
發(fā)表于 2025-3-26 16:43:27 | 只看該作者
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發(fā)表于 2025-3-26 18:43:39 | 只看該作者
Ansatz und Bewertung von Investmentanteilen,to comment on the weariness of postmodern cosmopolitanism he perceives a century later. In the opening poem, ‘Landscape’, Mahon positions himself as a Baudelairean metropolitan observer, peering out from an attic and deciphering the cityscape:
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