Film Front Weimar
Author: Bernadette Kester
Publisher: Amsterdam University Press
How was Germany's experience of World War I depicted in film during the following years? Drawing on analysis of the films of the Weimar era--documentaries and feature films addressing the war's causes, life at the front, war at sea, and the home front--Bernadette Kester sketches out the historical context, including reviews and censors' reports, in which these films were made and viewed, and offers much insight into how Germans collectively perceived World War I during its aftermath and beyond.
Le slipping dans les langues médiévales
Author: Université de Lausanne. Faculté des lettres. ILSL. Institut de linguistique et des sciences du langage, Jürg Rainer Schwyter
A complete survey of traditional banjo styles complete with tunings, playing tips, and the author's deft drawings. Progresses from easy tunes for the beginner to more difficult pieces. The styles include up-picking or Pete Seeger's basic strum; two-finger picking; three-finger picking; and what had variously been called frailing, clawhammer, knocking, rapping, overhand, fram-style, flayin' hand, andother Appalachian names, here called down-picking. Audio download available online
Author: Kay Hoffmann
Publisher: Amsterdam Univ Pr
In the late 1960s, the cinema was pronounced dead. Television, like a Biblical Cain had slain his brother Abel. Some thirty years later, a remarkable reversal: rarely has the cinema been more popular. And yet, rarely has the cinema's future seemed more uncertain. Cinema Futures: Cain, Abel or Cable? presents a careful and forceful argument about predictions that tend to be made when new technologies appear. Examining the complex dynamics of convergence and divergence among the audio-visual media, the authors are realistic in their estimate of the future of the cinema's distinctive aesthetic identity, and robustly optimistic that the different social needs audiences bring to the public and domestic media will ensure their distinctiveness, as well as the necessary openness of cultural meaning and creative imput. The chief contributors include producers, historians, critics and journalists from several countries, creating a lively volume, rich in information and case studies, useful to media students and film scholars, as well as to anyone interested in better understanding the momentous changes transforming our worlds of sound and image.
The History of the Stasi
Author: Antonella Colonna Vilasi
The “Stasi” meant to East Germany, and historically means to the entire world, four decades of repression and prosecution carried out in the name of justice, which only ended in 1989. The word relates to the special secret police agency that was founded on February 8, 1950, by its first executive, Wilhelm Zaisser, and took the complete name of “Ministerium für StaatSichereit” or MfS (Ministry for State Security), which Stasi is the abbreviated form resulting from its phonetic contraction. It was formally dependent on the government, but actually referred to the intelligence of the SED Central Committee. The very purpose of the Stasi was to endorse and impose the power of the SED by catching and destroying any dissident man or woman who tried to escape, plot, and work against the party or, simply, was differently thinking. Every little suspect could turn to the evidence of a crime against the government, either being real or nonexisting; any single attempt of rebellion should be prevented not to turn to real uprising. The way to make it possible was the careful monitoring of the population with the utmost secrecy to the purpose of collecting as much information as possible about individuals.
Author: Victorien Sardou
Publisher: Horney Press
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
The Lost Manuscript
Author: Gustav Freytag
Publisher: Library of Alexandria
Spanning fifty years in the career of noted cartoonist and humorist of Saul Steinberg, this collection of paintings and drawings, including many from The New Yorker, captures the diverse landscapes, people, and character of America.
Author: Peter Viney
It’s my job to look at people and to think carefully about them. I was sure there was something strange about this man. His hair – nobody has their hair cut quite like that now. And that suit – it was quite clean, quite new, but the trousers and the jacket were different somehow … Where had I seen a suit like that before? There has been a car crash on an empty road, and a driver who thinks he has killed a man. Sue Fraser is a police officer. She has to investigate the accident. First she must find the strange hitchhiker – the man she gave a lift to on the day the accident happened. Level 4 1,250 headwords Story word count: 6,302 words Currently comprising 16 titles across four stages - from beginner to upper intermediate - the series is carefully graded, lexically and structurally, to encourage young adults to read for pleasure and at speed. The stories are all, first and foremost, just that - stories, from ELT authors well known for their ability to craft original and engaging narratives to entertain and educate. Each reader contains striking and contemporary full-colour illustrations and photos, resource pages of well-scaffolded exercises, and an easy-to-use glossary. Titles in Levels 1 and 2 are 32 pages each, while titles in Levels 3 and 4 are 40 pages each.
This translation originally published: Woodbridge, UK: Boydell Press, 1989.
Author: Johann Peter Hebel
Publisher: Andesite Press
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Dieses historische Buch kann zahlreiche Tippfehler und fehlende Textpassagen aufweisen. Kaufer konnen in der Regel eine kostenlose eingescannte Kopie des originalen Buches vom Verleger herunterladen (ohne Tippfehler). Ohne Indizes. Nicht dargestellt. 1904 edition. Auszug: ...der Stufen der Skala auf die Auloi; sein Vorwurf bezieht sich auf die ubliche Mensur der Tonlocher, welche kunstliche Veranderungen der Intonationen durch Treiben und Sinkenlassen unentbehrlich machen (toj: rVc'jiaTi emTsi'vovTs? xal avisvtec). Dass durch sogenannte Kreuz-oder Gabelgriffe (d. h. durch Schliessen von Lochern, die zwischen offenen liegen, z. B. ) im Altertum so gut wie noch im 8. Jahrhundert Tone in ungefahrer Reinheit erzielt worden sind, die zwischen die durch die Grifflocher gegebenen fallen, ist zweifellos. Die sipoupyia, die vXkii aiTi'ai und die iravTa TauTa des Aristoxenos (a. a. O.) weisen ja nur ganz summarisch darauf hin, dass die Auleten mancherlei Manipulationen anwendeten, um die verschiedenen Skalen rein herauszubringen. Bedenkt man, dass Aristoxenos mehr als 50 Jahre nach Pronomos lebte, der bereits die Neuerung machte, auf einem und demselben Aulos in verschiedenen Tonarten zu blasen, so wird man allerdings annehmen durfen, dass diese Hilfsintonationen zu Aristoxenos Zeit sich nur mehr auf die chromatischen und enharmonischen Zwischenintonationen und die sogenannten Chroai bezogen haben, dass aber fur die Stufen der diatonischen Skala wenigstens einer Stimmung Grifflocher vorhanden waren; das wurde sechs Grifflocher bedingen wie sie die Londoner S. 97 erwahnten Instrumente zeigen. Pollux (IV. 80) sagt von einem gewissen Diodoros von Theben, dass er die Zahl der Tonlocher des Aulos, die bis dahin nur 4 gewesen, vermehrt und dem Winde seitliche Auswege geoffnet habe (izki-(iac avoi' a? ro) rrv2u