Titlebook: Irish Gothics; Genres, Forms, Modes Christina Morin,Niall Gillespie Book 2014 Palgrave Macmillan, a division of Macmillan Publishers Limite

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書目名稱Irish Gothics影響因子(影響力)




書目名稱Irish Gothics影響因子(影響力)學(xué)科排名




書目名稱Irish Gothics網(wǎng)絡(luò)公開度




書目名稱Irish Gothics網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Irish Gothics被引頻次




書目名稱Irish Gothics被引頻次學(xué)科排名




書目名稱Irish Gothics年度引用




書目名稱Irish Gothics年度引用學(xué)科排名




書目名稱Irish Gothics讀者反饋




書目名稱Irish Gothics讀者反饋學(xué)科排名

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,‘Whom We Name Not’: , and its Annotation,trate. That is to say, . . incorporates a species — even a style — of annotation, cryptic perhaps, yet communicative with the reader. Indeed, its procedures may amount to a kind of self-interpretation, employing an intermittent but distinctively ‘intransitive’ grammar. Thus, the task of comprehensive annotation could become thematic.

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The Irish Protestant Imaginary: the Cultural Contexts for the Gothic Chapbooks Published by Bennett May the supplica- tions of mankind be ever and only addressed to that Being who is placed far above all principality and power, — and might, - dominion — and every name that is named, not only in this world, but that which is to come.

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J. S. Le Fanu, Gothic, and the Irish Periodical,has been noted elsewhere, was not particularly strong.. To find Le Fanu’s voice and to understand the journal’s response to popular literature, it is nec- essary to examine the periodicity of the magazine: to read, as its first audience did, laterally.

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ce sampling’ by electrofishing. Correspondence analysis of the samples-by-species data and Jacob’s electivity index (calculated from the availability and exploitation of eight environmental variables) revealed three groups of species: (1) . and ., which used relatively similar microhabitat during bo

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