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Thematische Bibliographien / Jan Theny / Bücher

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Bücher zum Thema „Jan Theny“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 9. Februar 2022

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1

Christie, Agatha. They doit with mirrors. London: HarperCollins, 1993.

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2

Christie, Agatha. [They do it with mirrors]. Bayrūt, Lubnān: al-Ajyāl lil-Tarjamah wa-al-Nashr, 2005.

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3

Christie, Agatha. They do it with mirrors. New York: Dodd, Mead, 1970.

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4

Christie, Agatha. They Do It With Mirrors. New York: PerfectBound, 2004.

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5

Christie, Agatha. Khada' al-maraya =: They do it with mirrors. Beirut: Al-Ajyal, 2002.

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6

Christie, Agatha. They do it with mirrors: a Miss Marple mystery. Thorndike, Me: Center Point Pub., 2011.

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7

Broekhuis, Hans, und Norbert Corver. Syntax of Dutch. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463720502.

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The multi-volume work Syntax of Dutch presents a synthesis of current thinking on Dutch syntax. The text of the seven already available volumes was written between 1995 and 2015 and issued in print between 2012 and 2016. The various volumes are primarily concerned with the description of the Dutch language and, only where this is relevant, with linguistic theory. They will be an indispensable resource for researchers and advanced students of languages and linguistics interested in the Dutch language. This volume is the final one of the series and addresses issues relating to coordination. It contains three chapters. Chapter 1 discusses the syntactic and semantic properties of coordinate structures and their constituting elements, that is, the coordinators and the coordinands they link. Chapter 2 discusses the types of ellipsis known as conjunction reduction and gapping found in coordinate structures. Chapter 3 discusses elements seemingly exhibiting coordination-like properties, such as dan ‘than’ in comparative constructions like Jan is groter dan zij ‘Jan is taller than she’.

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8

Farrar, Steve. If I'm not Tarzan & my wife isn't Jane, then what are we doing in the jungle? Portland, Or: Multnomah Press, 1991.

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9

Why Jane and John couldnt read and how they learned: A new look at striving readers. Newark, Del: International Reading Association, 2006.

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10

Rimm, Sylvia B. How Jane won: 55 successful women share how they grew from ordinary girls to extraordinary women. New York: Three Rivers Press, 2001.

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11

Stoddard, Hudson. From there and then-- to here and now: The recollections of Hudson Stoddard as told to Jane Stoddard Williams. New Canaan, Conn: Benchmark Publications, 1997.

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12

Jane Eyre's American daughters: From The wide, wide world to Anne of Green Gables : a study of marginalized maidens and what they mean. Newark: University of Delaware Press, 2005.

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13

Hopkins, Melonie Jane. Physiological reactivity and the perception of emotional stimuli as they relate to social adaptive functioning after traumatic brain injury: Y Melonie Jane Hopkins. St. Catharines, Ont: Brock University, Dept. of Psychology, 1997.

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14

Fairfax, Daniel. The Red Years of Cahiers du cinéma (1968-1973). NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048543908.

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The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. The Red Years of Cahiers du Cinéma (1968-1973) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote.

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15

Blyton, Enid. Now Then, Amelia Jane. Egmont, 2002.

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16

Christie, Agatha. They Do It with Mirrors. HarperCollins Audio, 2003.

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17

Christie, Agatha. They Do It With Mirrors. HARPER COLLINS 0 PUB, 2005.

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18

Christie, Agatha. They Do It with Mirrors. HarperCollins Audio, 2003.

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19

Christie, Agatha. They do it with Mirrors. HarperPrism, 1993.

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20

Christie, Agatha. They Do It with Mirrors. Macmillan Audio Books, 2003.

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21

Christie, Agatha. They Do It with Mirrors. HarperCollins Publishers Ltd, 1995.

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22

Christie, Agatha. They do It With Mirrors. WMF Martins Fontes, 2012.

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23

Christie, Agatha. They Do It With Mirrors. HARPER COLLINS 0 PUB, 2005.

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24

(Narrator), Joan Hickson, Hrsg. They Do It with Mirrors. HarperCollins Audio, 2002.

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25

Christie, Agatha. They Do It with Mirrors. HarperCollins Publishers Ltd, 1995.

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26

Christie, Agatha. They Do It With Mirrors. Ulverscroft Large Print, 1987.

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27

Christie, Agatha. They Do It with Mirrors. HarperCollins Publishers Limited, 2012.

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28

Christie, Agatha. They Do It With Mirrors. G K Hall Audio Books, 1985.

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29

100 things Pearl Jam fans should know & do before they die. Triumph Books, 2018.

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30

Widerquist, Karl, und Grant S. McCall. The Hobbesian Hypothesis in Contemporary Political Theory. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748678662.003.0007.

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This chapter argues that “the Hobbesian hypothesis” (the claim that the Lockean proviso is fulfilled: everyone is better off in a state society with a private property system than they could reasonably expect to be in any society without either of those institutions) plays a large role in contemporary justifications of the state and/or the property rights system. The search turns up few attempts to justify existing states or property rights systems without some version of the hypothesis. Theorists asserting it as an obvious truth in need of little or no supporting evidence include David Gauthier, Jean Hampton, James Buchanan, Gregory S. Kavka, George Klosko, Dudley Knowles, Christopher Heath Wellman, Robert Nozick, Jan Narveson, and many others. Critics include Alan Ryan, Carole Pateman, Charles Mills, Patricia Williams, and others. Yet all this disagreement has produce very little debate or interest in an empirical investigation of the hypothesis.

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31

Christie, Agatha. They Do It With Mirrors. HarperCollins Publishers, 2002.

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32

Christie, Agatha. They Do It with Mirrors (Miss Marple). HarperCollins Publishers Ltd, 2002.

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33

Smyth, J. E. Jills of All Trades. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190840822.003.0004.

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The most significant shift in the wartime and postwar history of the Hollywood producer was the rise of women. Joan Harrison and Virginia Van Upp are best known, but little has been written about the producing careers of Harriet Parsons, Helen Rathvon, Ruth Herbert, Frances Manson, Ginger and Lela Rogers, Constance Bennett, Joan Bennett, Helen Deutsch, Jane Murfin, Theresa Helburn, Bette Davis, Katharine Hepburn, Kay Francis, and Rita Hayworth. Together with Mary Pickford, longtime partner of United Artists Studios, and Ida Lupino, actress turned writer-director-producer, they formed a formidable contingent of women who sought to redefine and re-energize the creative role of the producer. Many of these women combined screenwriting, editing, acting, and producing duties. During the war years, two factors advanced women’s executive roles in Hollywood: women outnumbered men in the United States and public and cross-party support for the Equal Rights Amendment was at its peak.

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34

Christie, Agatha. They Do It With Mirrors. Signet, 2001.

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35

Christie, Agatha. They Do It with Mirrors (BBC Radio Collection). BBC Audiobooks Ltd, 2001.

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36

Christie, Agatha. They Do It with Mirrors (Agatha Christie Collection). HarperCollins Publishers Ltd, 2001.

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37

Christie, Agatha. They Do It with Mirrors (Agatha Christie Collection). HarperCollins Publishers Ltd, 2001.

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38

Christie, Agatha. They Do It With Mirrors. HarperPaperbacks, 1992.

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39

Christie, Agatha. They Do It With Mirrors (Miss Marple Mysteries). HarperCollins Publishers, 1992.

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40

(Narrator), Joan Hickson, Hrsg. They Do It with Mirrors (Miss Marple Mysteries. The Audio Partners, 2000.

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41

Christie, Agatha. They Do It With Mirrors (Miss Marple Mysteries). Chivers Audio Books, 1995.

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42

Rifkin, Adrian. Ingres Then, and Now (Re Visions: Critical Studies in the History and Theory of Art). Routledge, 2000.

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43

Christie, Agatha. They Do It With Mirrors (Agatha Christie Audio Mystery). Audio Renaissance, 2002.

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44

Brontë, Charlotte, und Juliette Atkinson. Jane Eyre. Herausgegeben von Margaret Smith. Oxford University Press, 2019. http://dx.doi.org/10.1093/owc/9780198804970.001.0001.

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Gentle reader, may you never feel what I then felt!’ Throughout the hardships of her childhood - spent with a severe aunt and abusive cousin, and later at the austere Lowood charity school - Jane Eyre clings to a sense of self-worth, despite of her treatment from those close to her. At the age of eighteen, sick of her narrow existence, she seeks work as a governess. The monotony of Jane’s new life at Thornfield Hall is broken up by the arrival of her peculiar and changeful employer, Mr Rochester. Routine at the mansion is further disrupted by mysterious incidents that draw the pair closer together but which, once explained, threaten Jane’s happiness and integrity. A flagship of Victorian fiction, Jane Eyre draws the reader in by the vigour of Jane’s voice and the novel’s forceful depiction of childhood injustice, of the restraints placed upon women, and the complexities of both faith and passion. The emotional charge of Jane’s story is as strong today as it was more than 150 years ago, as she seeks dignity and freedom on her own terms. In this new edition, Juliette Atkinson explores the power of narrative voice and looks at the striking physicality of the novel, which is both shocking and romantic.

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45

They Do It With Mirrors: (Murder With Mirrors (Miss Marple Mysteries). Econo-Clad Books, 1999.

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46

Christie, Agatha. They Do It With Mirrors: A Miss Marple Mystery (Miss Marple Mysteries). The Audio Partners, Mystery Masters, 2007.

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47

Cooper, Brittney C. Queering Jane Crow. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252040993.003.0005.

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Pauli Murray was one of the young activists that Mary Church Terrell mentored. In the 1940s, Murray enrolled at Howard University Law School and went on to graduate as the only woman and top student in her class. In the 1930s, the convergence of several important Black male intellectuals at Howard University, including Abram Harris, E. Franklin Frazier, and Ralph Bunche, had cemented a new formal model of the academically trained Black male public intellectual. When Murray enrolled in the 1940s, she experienced great sexism from these Black male intellectuals. She termed their treatment of her, “Jane Crow.” While she went on to have a storied career as a legal expert, Episcopal priest, poet, and writer, all of which place her firmly in the tradition of the race woman, her identity as both a woman and queer person in the 1940s and 1950s collided with the Howard model of public intellectual work. This chapter brings together Murray’s time and training at Howard, her archives, and an examination of her two autobiographies to suggest that her concept of Jane Crow grew out of the collision of race-based sexual politics and limited ideas among Black men about who could provide intellectual leadership for Black people. Moreover, Jane Crow exposed the heterosexist proclivities of Black public leadership traditions, and offers a framework for thinking about how Black women negotiated gender and sexual politics even as they devoted their lives to theorizing new strategies for racial uplift.

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48

Dadlez, E. M., Hrsg. Jane Austen's Emma. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190689414.001.0001.

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Legend has it that, when asked whether he still read novels, the philosopher Gilbert Ryle responded “Yes, all six, every year,” referring to Jane Austen’s six completed works. Her novels have invited an unusual degree of explicitly philosophical attention from scholars, none more so than Emma. That is unsurprising, given that Austen’s writing invariably addresses questions about virtue and vice, human interaction and rivalry, motivation and commitment, presenting readers with ethical and other dilemmas set in a variety of naturalistic contexts. Questions about social and economic class and social obligations are raised. Austen reflects on self-knowledge and self-awareness, considers how it is that people justify their convictions, and investigates both the nature and the effects of imagination and emotion on human conduct and choices. She dwells on the ways in which evidence is taken note of or disregarded, and the effects of biases on decision and action. Accordingly, many philosophers have a decided soft spot for Austen, and reading Austen is often held to promote philosophical reflection. Emma offers particular opportunities for such reflection, evident when style as well as content is considered. Emma’s radically experimental presentation of events through the distorting lens of the protagonist’s mind, what is now referred to as free indirect style, foregrounds Austen’s then-unique blending of third- and first-person points of vantage. Such narratival perspective-shifting presents unique opportunities for insight and reflection. Among Emma’s manifold stylistic innovations are also the hilariously Joycean stream-of-consciousness monologues, capturing in an instant a portrait of character, state of mind, and motivations.

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49

Austen, Jane. Teenage Writings. Herausgegeben von Kathryn Sutherland und Freya Johnston. Oxford University Press, 2017. http://dx.doi.org/10.1093/owc/9780198737452.001.0001.

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‘Jane Austen practising’ Virginia Woolf Three notebooks of Jane Austen's teenage writings survive. The earliest pieces probably date from 1786 or 1787, around the time that Jane, aged 11 or 12, and her older sister and collaborator Cassandra left school. By this point Austen was already an indiscriminate and precocious reader, devouring pulp fiction and classic literature alike; what she read, she soon began to imitate and parody. Unlike many teenage writings then and now, these are not secret or agonized confessions entrusted to a private journal and for the writer's eyes alone. Rather, they are stories to be shared and admired by a named audience of family and friends. Devices and themes which appear subtly in Austen's later fiction run riot openly and exuberantly across the teenage page. Drunkenness, brawling, sexual misdemeanour, theft, and even murder prevail.

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50

Ingres, Then and Now (Re Visions : Critical Studies in the History and Theory of Art) (Re Visions). Routledge, 2000.

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