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Auswahl der wissenschaftlichen Literatur zum Thema „1920-1993“
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Zeitschriftenartikel zum Thema "1920-1993"
Casanova, Jean-Claude. „Jean Lecanuet (1920-1993)“. Commentaire Numéro62, Nr. 2 (1993): 341. http://dx.doi.org/10.3917/comm.062.0341.
Der volle Inhalt der QuelleGershoff, Stanley N. „Jean Mayer 1920–1993“. Journal of Nutrition 131, Nr. 6 (01.06.2001): 1651–54. http://dx.doi.org/10.1093/jn/131.6.1651.
Der volle Inhalt der QuelleRaphael, D. D. „Maurice Cranston (1920–1993)“. Utilitas 6, Nr. 1 (Mai 1994): 1–7. http://dx.doi.org/10.1017/s095382080000128x.
Der volle Inhalt der QuelleWortis, Joseph. „Charles Shagass 1920–1993“. Biological Psychiatry 35, Nr. 6 (März 1994): 365–66. http://dx.doi.org/10.1016/0006-3223(94)90001-9.
Der volle Inhalt der QuelleAbramsky, Chimen. „Lukasz Hirszowicz 1920–1993“. East European Jewish Affairs 23, Nr. 2 (Dezember 1993): 5–7. http://dx.doi.org/10.1080/13501679308577747.
Der volle Inhalt der QuelleLerman, Antony. „Dr Lukasz Hirszowicz 1920–1993“. East European Jewish Affairs 24, Nr. 2 (Dezember 1994): 11–13. http://dx.doi.org/10.1080/13501679408577774.
Der volle Inhalt der QuelleDahneke, Barton E., und Paul E. Morrow. „Thomas T. Mercer (1920–1993)“. Journal of Aerosol Science 24, Nr. 6 (September 1993): 705–6. http://dx.doi.org/10.1016/0021-8502(93)90041-7.
Der volle Inhalt der QuelleGaddis Offutt, Elaine, und Amelia Catakis. „Edith A. Jones — 1920–1993“. Journal of the American Dietetic Association 93, Nr. 8 (August 1993): 917. http://dx.doi.org/10.1016/0002-8223(93)91537-z.
Der volle Inhalt der QuelleMalinin, Theodore I. „George W. Hyatt, M.D. (1920-1993)“. Cryobiology 31, Nr. 5 (Oktober 1994): 413. http://dx.doi.org/10.1006/cryo.1994.1050.
Der volle Inhalt der QuelleShapiro, Burton L. „Carl J. Witkop, Jr.(1920-1993)“. American Journal of Medical Genetics 47, Nr. 2 (15.08.1993): 161–62. http://dx.doi.org/10.1002/ajmg.1320470202.
Der volle Inhalt der QuelleDissertationen zum Thema "1920-1993"
Marcotte, René. „Politique commerciale Américaine et délégation législative, 1920-1993“. Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25457/25457.pdf.
Der volle Inhalt der QuelleAmaral, Ignez Teixeira Gurgel do. „As varias faces de Cabiria“. [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253185.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Construção através de alegorias, cenas e imagens, dos diversos e possíveis caminhos percorridos por Cabiria, de Federico Fellini. As várias faces da prostituta Cabiria sendo desvelada num universo metafórico, literário, imaginário e fantástico através de memórias e lembranças que compõem as impressões do personagem-narrador
Abstract: Construction among allegories, scenes and images of the diverse and possible ways walked by Cabiria, by Federico Fellini. The several faces of the prostitute Cabiria being revealed in a metaphoric world as well as literary, imaginary and fantastic through memories and recollections which compose the impressions of this character-narrator
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
Eades, Caroline. „"Fellini-Satyricon"“. Paris 3, 1986. http://www.theses.fr/1987PA030125.
Der volle Inhalt der QuelleFederico fellini's film, fellini-satyricon (italy, 1969), its the result of several literary, historical and cinematographic influences at the level of stylistics as well as in the narrative structure. The major influence comes from petronius' novel, the satiricon, which dates from nero's reign and provided the film with its main characters, half of its scenes and a major part of its structure; rome and naples museums, the sites of pompei and herculanum, jerome carcopino's historical reconstitutions also contributed to the conception of sets and costumes. Moreover fellini's film is to be viewed in the context of a genre - the peplum -, of a formalist style of analysis - the jungian archetypes - and of the aesthetics of the sixties
Costa, Fabienne. „Le corps sous influences dans l'oeuvre de Federico Fellini“. Paris 3, 2000. http://www.theses.fr/2000PA030149.
Der volle Inhalt der QuelleSouza, Christiane Pereira de. „A construção em abismo como construção critica em 8 1/2 de Fellini“. [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284876.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Mestrado
Méjean, Jean-Max. „Fellini-Cinéma, une approche analytique de l'oeuvre de Federico Fellini“. Paris 7, 1992. http://www.theses.fr/1992PA070076.
Der volle Inhalt der QuelleThis study attempts to give a psychoanalytic analysis of the whole of fellini's work, related to the jungian psychoanalysis. A sort of itinerary relevant of the labyrinthic aspect of fellini's art. Some films are analyzed on a sequencial mode, others have been approached on a general mode but with a more particular insistance on some sequences. This study also includes an analysis of some photograms like an attempt to an approach of the image in fellini's work in order to explore some essential aspects : the doudle, the androgyny, the mask and the ideal woman that the fellinian hero vainly seeks. Out of a total of twenty four films, this thesis also contains thirteen interviews of people who have collaborated with fellini and concludes on the contribution of the jungian synchronicity in the whole of fellini's films, a master-work which gives a great place to fantasmagory and humanism
Diana, Jean-François. „L'image mentale au cinéma : un regard particulier sur certaines oeuvres de Frederico Fellini“. Metz, 1995. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1995/Diana.Jean_Francois.LMZ9509_1.pdf.
Der volle Inhalt der QuelleThe aim of this thesis is, first of all, to work out elements for an overall theory about the film mental image, from main works in the history of the cinema, precisely from some films by Frederico Fellini, and most of all from Otto e mezzo (1963) and Giuletta degli spiriti (1965). The first part deals with the parameters of a specific representation, firstly by studying the elements included in the contents of film mental universes (diegetic and mentalized spatiality, diegetic and mentalized temporality, diegetic and mentalized actoriality), and secondly by tackling the expression strategies (expression purports and writing devices) along with the used filmic figures (fade over, exposure, subjective image). The overall purpose of this first part is therefore to hightlight the multidimensional complexity of the film mental image ; to this end, an approach to the syncretism is exposed. The second part refers to the narratology and tries to settle the status conferred by the cinematographic mental image to every type of observer. By mentionning the filmic instances hierarchy (mega-narrator, implicit and explicit narrators), the study is thus devoted to the links between, on the one hand, the seeing and the beeing seen, and, on the the other hand, the seeing and the seeing oneself ; these links are taken into account in the different narrative levels. Building up the figure of an intermediate instance called third observer, the theorical progression of this thesis is to work out an issue over a subjective approach to the cinematic enunciation
Gallico, Vittoriano. „L'influenza di Federico Fellini e di Martin Scorsese sull'opera di Paolo Sorrentino“. Thesis, Nantes, 2020. http://www.theses.fr/2020NANT2005.
Der volle Inhalt der QuellePaolo Sorrentino is an Italian filmmaker and writer, born in Naples in 1970. Ever since his first feature (L’uomo in piu, 2001), reviewers have been showing a growing interest in Sorrentino’s work. Recently, some award-winning films, such as La grande bellezza (2013) increased spectators’ curiosity and led to various scientific articles. Having as many detractors as admirers, Sorrentino is one of the main Italian filmmakers nowadays, and one of the most famous Italian filmmakers in the world. Recently released TV shows The young pope (2016) and The new pope (2020) contributed to build his international success. They also turned out to be interesting subjects for critics to work on. When winning Best Foreigner Film Academy Award in 2014, Sorrentino thanked his sources of inspiration: Federico Fellini and Martin Scorsese. Therefore, in the following research, we have studied the influences of the two mentors on Sorrentino’s films and novels. We have focused our attention on Sorrentino’s distinctive cinematographic and literary particularities and, at the same time, pointed out similitudes and dissimilarities with Fellini and Scorsese
Cunha, Renato José Pinto da. „Fellinimaginário : por uma teoria imaginativa do cinema“. reponame:Repositório Institucional da UnB, 2018. http://repositorio.unb.br/handle/10482/34178.
Der volle Inhalt der QuellePor meio da identificação na cinematografia de Federico Fellini de quatro categorias estéticas não canônicas — o onírico, o mnêmico, o espetacular e o utópico —, aqui tratadas como categorias estéticas imaginativas, esta tese propõe uma teoria felliniana imaginativa do cinema, que também se revela representativa para se pensar outras cinematografias. E isso se dá pelo desenvolvimento da ideia de imaginidades, ou ciências imaginativas, como o lugar de conhecimento das artes em geral, e pela percepção de que, no âmbito das imaginidades, teoria e estética se complementam e se confundem, e pela proposição das bases do que se entende por teoria imaginativa do cinema, e pela demonstração de que tais categorias estéticas imaginativas são compostas por conceitos visuais, ou mais especificamente por aquilo que o filósofo Julio Cabrera estruturou como conceitos-imagem.
Through the identification in Federico Fellini’s cinematography of four non-canonical aesthetic categories — the oneiric, the mnemic, the spectacular and the utopic —, here understood as imaginative aesthetic categories, this thesis proposes an Fellini’s imaginative theory of cinema, that also reveals itself representative to think about other cinematographies. And this is due to the development of the idea of imaginities, or imaginative sciences, as the place of knowledge of the arts in general, and to the perception that, in the framework of the imaginities, theory and aesthetics are complemented and confused, and to the proposition of the bases of what is meant by the imaginative theory of cinema, and to the demonstration that such imaginative aesthetic categories are composed of visual concepts, or more specifically by what the philosopher Julio Cabrera structured like concept-images.
Attraverso l’identificazione nella cinematografia di Federico Fellini di quattro categorie estetiche non canoniche — l’onirico, il mnemonico, lo spettacolare e l’utopico —, qui trattate come categorie estetiche immaginative, questa tesi propone una teoria felliniana immaginativa del cinema, che si dimostra anche rappresentativa per pensare ad altre cinema-tografie. E ciò si verifica per lo sviluppo dell’idea di immaginistica, o scienze immaginative, come il luogo di conoscenza delle arti in generale, e per la percezione che, nell’ambito dell’immaginistica, teoria ed estetica si completano e si confondono, e per la proposizione delle basi di quello che si intende per teoria immaginativa del cinema, e per la dimostra-zione che tali categorie estetiche immaginative sono composte da concetti visivi, o più precisamente da quello che il filosofo Julio Cabrera ha strutturato come concetti-immagine.
Mendes, Euclides Santos 1980. „Cristais de tempo : o neorrealismo italiano e Fellini“. [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284506.
Der volle Inhalt der QuelleTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O cineasta italiano Federico Fellini aprendeu o ofício de roteirista nos anos 1940, enquanto colaborava em filmes neorrealistas, e o manteve ao longo da sua vida. Consagrou-se internacionalmente como diretor no início dos anos 1960, ao transformar seu primevo olhar de matriz neorrealista numa reelaboração realístico-subjetiva. Fellini, por meio do neorrealismo, levou a imagem puramente ótica e sonora para além do neorrealismo, moldando-a, segundo o filósofo Gilles Deleuze, como um cristal de tempo
Abstract: The Italian filmmaker Federico Fellini learned the art of screenwriting in the 1940s, while collaborating in neorealistic movies, and mantained it throughout his life. He established himself internationally as a director in the early 1960s, when he transformed his primal neorealist matrix approach into a subjective-realistic reelaboration. Through neorealism Fellini took the pure optical-sound image beyond the neorealism, shaping it as a crystal of time, according to the philosopher Gilles Deleuze
Doutorado
Multimeios
Doutor em Multimeios
Bücher zum Thema "1920-1993"
Dayan, Nisim. Federiḳo Felini, 1920-1993. [Israel]: Miśrad ha-ḥinukh, ha-Minhal le-madaʻe ṭekhnologyah, ha-Pikuaḥ ʻal megamot ṭekhnologyot tikshoret, 2006.
Den vollen Inhalt der Quelle findendr, Majer Vladimir prof, und Hrvatska akademija znanosti i umjetnosti, Hrsg. Nikola Škreb, 1920-1993. Zagreb: Hrvatska akademija znanosti i umjetnosti, 1994.
Den vollen Inhalt der Quelle findenCorrea, Marcial Rubio. Legislación peruana sobre drogas, 1920-1993. Lima: CEDRO, 1994.
Den vollen Inhalt der Quelle findenTurkey. Millı̂ Eğitim Bakanlığı. Araştırma, Planlama, ve Koordinasyon Kurulu Başkanlığı., Hrsg. T.C. hükümet programlarında eğitim, 1920-1993. Ankara: Millı̂ Eğitim Basımevi, 1993.
Den vollen Inhalt der Quelle finden1938-, Labbé Gabriel, Hrsg. Musiciens traditionnels du Québec (1920-1993). Montréal: VLB, 1995.
Den vollen Inhalt der Quelle findenPeña, Luis Medina. Hacia el nuevo estado: México, 1920-1993. México: Fondo de Cultura Económica, 1994.
Den vollen Inhalt der Quelle findenSyd, Erhvervsudviklingscenter, und Institut for Sønderjysk Lokalhistorie, Hrsg. Erhvervsuddannelser i grænselandet: Aabenraa tekniske skole 1920-1993. Sønderborg, Grundtvigs Allé 88, 6400]: EUC Syd, 2005.
Den vollen Inhalt der Quelle findenKhayr, Hānī. al-Ḥayāt al-niyābīyah fī al-Urdun, 1920-1993. ʻAmmān: Lajnat Tārīkh al-Urdun, 1993.
Den vollen Inhalt der Quelle findenKhayyir, Hānī. al- Ḥayāh al-niyābīyah fī al-Urdun, 1920-1993. ʻAmman: Lajnat Tārīkh al-Urdun, 1993.
Den vollen Inhalt der Quelle findenMarien, Marcel. Marcel Marien: 1920 - 1993 Jeden surrealistický zivot = Une vie surréaliste. Prague: Ceské muzeum vt́arných umení, 1996.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "1920-1993"
Aldrich, John H. „William H. Riker (1920–1993)“. In Readings in Public Choice and Constitutional Political Economy, 135–41. Boston, MA: Springer US, 2008. http://dx.doi.org/10.1007/978-0-387-75870-1_10.
Der volle Inhalt der QuelleDykeman, Therese Boos. „Oodgeroo of the Noonuccal (Kath Walker) of Australia 1920–1993“. In Women in the History of Philosophy and Sciences, 433–43. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-28563-9_20.
Der volle Inhalt der QuelleTurner, David A. „Brian Holmes (1920–1993)“. In British Scholars of Comparative Education, 71–84. Routledge, 2020. http://dx.doi.org/10.4324/9780429285615-5.
Der volle Inhalt der QuelleLelental, Stefan. „In memoriam - Filomena Bortkiewicz (1920-1993)“. In Studia z Dziejów Państwa i Prawa Polskiego, tom 2, 164–65. Wydawnictwo Uniwersytetu Łódzkiego, 1995. http://dx.doi.org/10.18778/7016-902-3.10.
Der volle Inhalt der Quelle„Phyllis Ann Wallace – A Female Pioneer (1920?–1993)“. In A Critical Analysis of the Contributions of Notable Black Economists, 86–90. Routledge, 2017. http://dx.doi.org/10.4324/9781315263960-11.
Der volle Inhalt der Quelle„Semblanza biográfica de Sergio Rojas Fajardo (Popayán 1920 - Bogotá 1993)“. In Popayán en las canciones de Sergio Rojas Fajardo, 21–32. Universidad del Cauca, 2020. http://dx.doi.org/10.2307/j.ctv2cmrb28.7.
Der volle Inhalt der Quelle„Chapter 1. Policing Racial Boundaries and Riots in New York (1920–1993)“. In Police Power and Race Riots, 41–87. University of Pennsylvania Press, 2014. http://dx.doi.org/10.9783/9780812209860.41.
Der volle Inhalt der QuellePimm, Stuart L., Michael P. Moulton und Lenora J. Justice. „Bird extinctions in the central Pacific“. In Extinction Rates, 75–87. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198548294.003.0005.
Der volle Inhalt der QuelleTorrance, Isabelle. „Trojan Women and Irish Sexual Politics, 1920–2015“. In Classics and Irish Politics, 1916-2016, 254–67. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864486.003.0013.
Der volle Inhalt der QuelleSmith, Kenneth M. „A Linguistic Theory of Chromatic Harmonic Substitution and Progression in the Diatonic Unconscious“. In Desire in Chromatic Harmony, 1–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923426.003.0001.
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