Auswahl der wissenschaftlichen Literatur zum Thema „Daniel (1945-1990)“
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Zeitschriftenartikel zum Thema "Daniel (1945-1990)"
KITLV, Redactie. „Book Reviews“. New West Indian Guide / Nieuwe West-Indische Gids 75, Nr. 1-2 (01.01.2001): 123–88. http://dx.doi.org/10.1163/13822373-90002561.
Der volle Inhalt der QuelleZuluaga C., José Iván, und Francisco C. Yepes R. „Rodrigo Vergara Ruiz Maestro de la enseñanza y la divulgación entomológica“. Revista Colombiana de Entomología 44, Nr. 1 (06.08.2018): 148. http://dx.doi.org/10.25100/socolen.v44i1.6555.
Der volle Inhalt der QuelleШарма Сушіл Кумар. „Indo-Anglian: Connotations and Denotations“. East European Journal of Psycholinguistics 5, Nr. 1 (30.06.2018): 45–69. http://dx.doi.org/10.29038/eejpl.2018.5.1.sha.
Der volle Inhalt der QuelleFerreira, Luciana Rodrigues, und Josenilson Guilherme de Araújo. „Papel do CNPq no fomento à pesquisa em educação: análise sobre o perfil do bolsista produtividade em pesquisa (Role of the CNPq in the promotion of research in education: analysis of the profile of the bulletin productivity in research)“. Revista Eletrônica de Educação 13, Nr. 3 (02.09.2019): 1013. http://dx.doi.org/10.14244/198271993553.
Der volle Inhalt der Quelle„Buchbesprechungen“. Militaergeschichtliche Zeitschrift 72, Nr. 1 (01.06.2013): 107–240. http://dx.doi.org/10.1515/mgzs-2013-0005.
Der volle Inhalt der QuelleBurns, Alex. „The Worldflash of a Coming Future“. M/C Journal 6, Nr. 2 (01.04.2003). http://dx.doi.org/10.5204/mcj.2168.
Der volle Inhalt der QuelleDissertationen zum Thema "Daniel (1945-1990)"
Agrikoliansky, Éric. „La Ligue des droits de l'homme, 1947-1990 : pérennisation et transformations d'une entreprise de défense des causes civiques“. Paris, Institut d'études politiques, 1997. http://www.theses.fr/1997IEPP0002.
Der volle Inhalt der QuelleWoodruff, Lily. „Désordre dans l'« établissement » : art, exposition et participation en France, 1958-1981“. Paris, EHESS, 2012. http://www.theses.fr/2012EHES0137.
Der volle Inhalt der QuelleThis dissertation investigates strategies by wich artists adopted participation as a form of institutional contestation through democratic popular engagement. Participation opposed the technocratic efficiency that characterized the early years of the Fifth Republic and the sociological methods that fueled it by appropriating and transforming their techniques so as to undermine apparently straight-forward communication and the authority that it bolsters. Their spatially decentralized displays critiqued art institutions at the same time that they relativized the position of artist and viewer by situating their individual comprehensions within the larger community to wich they were shown to belong. The chapters examine the projects of the Groupe de Recherche d'Art Visuel, of Daniel Buren, André Cadere, Didier Bay, and the Collectif d'Art Sociologique
Langendorff, Judith. „Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains“. Electronic Thesis or Diss., Sorbonne Paris Cité, 2018. https://books.openedition.org/pur/180789.
Der volle Inhalt der QuelleBased on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show
Prstojević, Alexandre. „Claude Simon, Danilo Kiš : roman, famille, histoire“. Paris 3, 2000. http://www.theses.fr/2000PA030154.
Der volle Inhalt der QuelleAlmohammed, Hassan. „La prémonition de la mort chez les "poètes météores" français du XXe siècle : (1945-1992)“. Clermont-Ferrand 2, 2009. http://www.theses.fr/2009CLF20017.
Der volle Inhalt der QuelleLangendorff, Judith. „Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains“. Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA085.
Der volle Inhalt der QuelleBased on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show
Buchteile zum Thema "Daniel (1945-1990)"
„A.C. Petty, G.L. Daniels and P. Tippett, Vox Sang, 66, 216-224 (1994). 11. K.E. Coyne, S.E. Hall, E.S. Thompson, M.A. Arce, T. Kinoshita, T. Fujita, D.J. Anstee, W. Rosse and D.M. Lublin, J. Immun. 149. 2906-2913 (1992). 12. A.C. Petty, G.L. Daniels, D.J. Anstee and P. Tippett, Vox Sang., 65, 309-315 (1993). 13. M.J. Telen, N. Rao, E.S. Thompson and D.M. Lublin, (abs) Transfusion, 32, suppl 47S (1992). 14. G. Daniels, Vox Sang., 56, 205-211 (1989). 15. M.J. Telen, in Blood Groups:Ch/Rq. Kn/McC/Yk, Cromer. J.M. Moulds and B. Laird-Fryer, eds. American Association of Blood Banks, Bethesda MD, (1992) pp. 45-63. 16. D.M. Lublin, E.S. Thompson, A.M. Green, C. Levene and M.J. Telen, J. Clin. Invest., 87, 1945-1952 (1991). 17. D.M. Lublin, G. Mallinson, M.E. Reid, J. Poole, E.S. Thompson, B.R. Ferdman, M.J. Telen, D.J. Anstee and M.J.A. Tanner, (abs) Transfusion, 32, suppl 47S (1992). 18. P.D. Issitt, Transf. Med. Rev., 3, 1-12 (1989). 19. C. Lomas, W. Grassman, D. Ford, J. Watt, A. Gooch, J. Jones, M. Beolet, D. Stern, M. Wallace and P. Tippett, Transfusion in press. 20. P. Agre and J-P. Cartron, Blood, 78, 551-563 (1991). 21. J-P. Cartron and P. Agre, Seminars Haemat., 30, 193-208 (1993). 22. D.J. Anstee and M.J.A. Tanner, in Baillieres’s Clinical Haematology. M.J.A. Tanner and D.J. Anstee, eds. Bailliere Tindall, London (1993) pp. 401-422. 23. N.D. Avent, K. Ridgwell, W.J. Mawby, M.J.A. Tanner, D.J. Anstee and B. Kumpel, Biochem. J., 256 1043-1046 (1988). 24. C. Bloy, D. Blanchard, W. Dahr, K. Beyreuther, C. Salmon and J-P. Cartron, Blood, 72, 661-666 (1988). 25. A.M. Saboori, B.L. Smith and P. Agre, Proc. Natl. Acad. Sci. USA, 85, 4042-4045 (1988). 26. N.D. Avent, K. Ridgwell, M.J.A. Tanner and D.J. Anstee, Biochem. J., 271.821-825 (1990). 27. B. Cherif-Zahar, C. Bloy, C. Le Van Kim, D. Blanchard, P. Bailly, P. Hermand, C. Salmon, J-P. Cartron, Y. Colin, Proc. Natl. Acad. Sci. USA, 87, 6243-6247 (1990). 28. I. Mouro, Y. Colin, B. Cherif-Zahar, J-P. Cartron and C. Le Van Kim, Nature Genet., 5, 62-65 (1993). 29. K. Ridgwell, N.K. Spurr, B. Laguda, C. MacGeoch, N.D. Avent and M.J.A. Tanner, Biochem. J., 287, 223-228 (1992). 30. G. Mallinson, D.J. Anstee, N.D. Avent, K. Ridgwell, M.J.A. Tanner, G.L. Daniels, P. Tippett and A.E.G. von dem Borne, Transfusion, 30, 222-225 (1990).“ In Transfusion Immunology and Medicine, 199. CRC Press, 1995. http://dx.doi.org/10.1201/9781482273441-17.
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