Thematische Bibliographien / Motion pictures – cuba – history

Auswahl der wissenschaftlichen Literatur zum Thema „Motion pictures – cuba – history“

Autor: Grafiati
Veröffentlicht am 26. Juli 2024
Zuletzt aktualisiert am 27. Juli 2024

Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an

Wählen Sie eine Art der Quelle aus:

Inhaltsverzeichnis

Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Motion pictures – cuba – history" bekannt.

Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.

Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.

Zeitschriftenartikel zum Thema "Motion pictures – cuba – history"

1

Jennifer Tebbe-Grossman. „Medicine’s Motion Pictures“. Film & History: An Interdisciplinary Journal of Film and Television Studies 39, Nr. 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
2

Heinemann, Julia. „Motion Pictures of the Royal Family“. French Historical Studies 44, Nr. 2 (01.04.2021): 191–216. http://dx.doi.org/10.1215/00161071-8806426.

Der volle Inhalt der Quelle
Annotation:
Abstract This article explores the role of letter writing in the political practice of the French royal family. By focusing on the use of letters exchanged by Henri III, François d'Anjou, and Catherine de’ Medici between 1574 and 1584, it analyzes how both kinship relations and notions of royal authority were negotiated and intertwined by letter. In a dynamic communication process, the correspondents discussed and framed familial relationships and political concepts. The letters were read, seen, and heard by a broader audience at court, thus transcending modern categories such as public and private, formal and informal, or intimate and official. The article argues that the correspondence produced specific, sometimes opposing pictures of the royal family that were supposed to be visible. This use of letters shaped social relations and political processes during the Wars of Religion in early modern France. Cet article traite du rôle de la correspondance dans les pratiques politiques de la famille royale française. En me concentrant sur l'usage des lettres par Henri III, François d'Anjou et leur mère Catherine de Médicis dans les années 1574–84, j'analyse comment les correspondants négocient ensemble les relations de parenté et les concepts politiques. La discussion et la modélisation de cette conception familiale de l'autorité royale par les lettres sont partie prenante d'un processus de communication dynamique. La fonction de ces lettres est d’être lues, vues et entendues à la cour. Ce faisant, cette communication outrepasse les divisions « modernes » entre le privé et le public, le formel et l'informel ou encore l'intime et l'officiel. Cet usage de l’écrit est spécifique aux relations sociales et aux processus politiques pendant les guerres de Religion à l’époque moderne.
APA, Harvard, Vancouver, ISO und andere Zitierweisen
3

Swartz, Mark E. „Motion Pictures on the Move“. Journal of American Culture 9, Nr. 4 (Dezember 1986): 1–7. http://dx.doi.org/10.1111/j.1542-734x.1986.0904_1.x.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
4

Oliver, Willard M. „Crime, History, and Hollywood: Learning Criminal Justice History through Major Motion Pictures“. Journal of Criminal Justice Education 22, Nr. 3 (September 2011): 420–39. http://dx.doi.org/10.1080/10511253.2010.519892.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
5

Ayers, Lee. „Book Review: Crime, history, and Hollywood: Learning criminal justice history throughmajor motion pictures“. Criminal Justice Review 39, Nr. 4 (25.06.2014): 459–61. http://dx.doi.org/10.1177/0734016814540302.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
6

Eckardt, Michael. „South African film history vs the history of motion pictures in South Africa“. South African Theatre Journal 25, Nr. 1 (März 2011): 72–77. http://dx.doi.org/10.1080/10137548.2011.626961.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
7

Dym, Jeffrey A. „Benshi and the Introduction of Motion Pictures to Japan“. Monumenta Nipponica 55, Nr. 4 (2000): 509. http://dx.doi.org/10.2307/2668250.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
8

Martin L. Johnson. „Motion Pictures: A Problem to Be Co-operatively Solved“. Film History 29, Nr. 4 (2017): 157. http://dx.doi.org/10.2979/filmhistory.29.4.07.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
9

ELLIS, PATRICK. „A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory“. British Journal for the History of Science 50, Nr. 3 (September 2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.

Der volle Inhalt der Quelle
Annotation:
AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day.
APA, Harvard, Vancouver, ISO und andere Zitierweisen
10

Berman, Aaron, und Charles Lawrence Gellert. „The Holocaust, Israel, and the Jews: Motion Pictures in the National Archives.“ Journal of American History 77, Nr. 4 (März 1991): 1457. http://dx.doi.org/10.2307/2078427.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
Mehr Quellen

Dissertationen zum Thema "Motion pictures – cuba – history"

1

Galt, Rosalind. „Redrawing the map of Europe space, history and spectacle in new European cinema /“. [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
2

Williams, Danielle E. Winn J. Emmett. „Local motion picture exhibition in Auburn, for 1894-1928 a cultural history from a communication perspective /“. Auburn, Ala., 2004. http://repo.lib.auburn.edu/EtdRoot/2004/SUMMER/Communication_and_Journalism/Thesis/willide_31_Williams.pdf.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
3

Haywood, Keene McDonald. „Beyond Words: The Use of the Non-Verbal Genre in Natural History Filmmaking“. Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/haywood/HaywoodK0807.pdf.

Der volle Inhalt der Quelle
Annotation:
Natural history filmmaking has a history that begins with the advent of cinematography as a form of artistic and documentary expression. Natural history filmmaking has increasingly used techniques of fiction, drama and anthropomorphizing to represent the natural world in storytelling. This paper will examine the use of the nonverbal form of filmmaking as an alternative style that can be used to effectively document natural history using a more lyrical, poetic and often more thoughtful style. This work examines previous works in the non-verbal genre and discusses how this style compares with historically more traditional natural history films and why this alternative style is used for the thesis film. Additionally, works from the disciplines of geography and natural history writing are examined for relevance to the non-verbal natural history filmmaking genre.
APA, Harvard, Vancouver, ISO und andere Zitierweisen
4

Pang, Lai Kwan. „China's left-wing cinema movement, 1932-1937 history, aesthetics, and ideology /“. online access from Digital Dissertation Consortium access full-text, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9807778.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
5

Chan, Shuen-yan. „History and memory in Hou Hsiao-hsien's A City of Sadness and Tian Zhuangzhuang's The Blue Kite“. Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21241065.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
6

Umphrey, Olivia. „From screen to page : Japanese film as a historical document, 1931-1959 /“. [Boise, Idaho] : Boise State University, 2009. http://scholarworks.boisestate.edu/td/26/.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
7

Inocencio, Jessica Lynn. „The hybridization of African identities in African film“. Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/828.

Der volle Inhalt der Quelle
Annotation:
This paper traces the construction of African identities in A Reasonable Man (South Africa 1999), Chikin Biznis: The Whole Story (South Africa 1998), Fools (South Africa/France 1997), Hyènes (1992), Le cri du coeur (Burkina Faso/France 1994), Pièces d'Identités (France/Congo/Belgium 1998), Une couleur café (France 1997), and Xala (Senegal 1975) based on an analysis of race, ethnicity, tradition, modernization, Westernization, and cultural hybridity theories; as a way of contextualizing African history in general, this paper also explores the significance of colonialism, postcolonialism, and forms of neo-colonialism. I argue that nineteenth century perceptions of “race” that arose during the Enlightenment era are mistaken. Instead, African identities presented in film should be re-conceived based on concepts of ethnicity and culture and not simplistic racial constructions—for example “white,” “black,” or “mulatto” to name a few—since such interpretations inevitably surrender to problematic analysis. However, I also contend that neither a typical conception of fixed identities nor cultures can be applied to the understanding of contemporary African identities expressed in African film. The conception of African identities can and ought to be reconsidered as a fluid, social construction based on changing historical phenomena. As an alternative, I suggest that tradition, modernization, and Westernization processes contribute to the overall fluidity of contemporary African identities, which can be elucidated by cultural hybridity theories. Therefore, I ultimately propose that the hybridization of African identities is specifically linked to forms of modernization and Westernization—the practice of Western medicine, beliefs in monogamy, and entrepreneurial aspirations—that have also been filtered through traditional African value systems such as polygamy, traditional healing, patriarchy, communitarianism, and traditional religions within various African communities depicted in African film. Thus, a fixed “African” category that we strive to define—against either Western or African points of reference—is actually neither a fully Westernized nor entirely African distinction but a hybridized identity of traditional, modernized, and Westernized elements.
APA, Harvard, Vancouver, ISO und andere Zitierweisen
8

Coe, Jason George. „Left behind by history: complicating narrative, modernity in the mundane, and reading history through womenin "feeling of life films"“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48539533.

Der volle Inhalt der Quelle
Annotation:
This dissertation scrutinizes a corpus of films considered to be the stylistic and thematic descendants of Yasujiro Ozu, which I call “feeling of life films.” Focusing upon common themes such as female narrative and the portrayals of the quotidian, this dissertation identifies various methods used in specific films of Ozu, Hou Hsiao Hsien, and Tran Anh Hung that complicate narrative meaning and engage in the discourse of national modernity and history. The female protagonists of these films can be considered “left behind” by the narrative progression of history, serving an allegorical function that critiques standard notions of time and official history. The basis for understanding this phenomenon will be scholarly discourse primarily concerning Ozu’s “Noriko Trilogy,” which marks the transitional period of post-war Japan through the narrative of a woman’s path to marriage. This dissertation seeks to complicate the discourse of reading women in these films by introducing different methodologies of formalist analysis, cultural analysis, theoretic discourse, historiography, and phenomenology. In doing so, this dissertation demonstrates the cinematic importance of these films through their unique formal characteristics and their cultural and historical meanings.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
APA, Harvard, Vancouver, ISO und andere Zitierweisen
9

Võ, Ch'o'ng-Đài Hồng. „An assemblage of fragments history, revolutionary aesthetics and global capitalism in Vietnamese/American literature, films and visual culture /“. Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3386844.

Der volle Inhalt der Quelle
Annotation:
Thesis (Ph. D.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed February 11, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 155-168).
APA, Harvard, Vancouver, ISO und andere Zitierweisen
10

Yalvac, Ahsen. „A cultural critique of Turkish cinema in relation to "Arabesk"“. Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23272909.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
Mehr Quellen

Bücher zum Thema "Motion pictures – cuba – history"

1

Chanan, Michael. The Cuban image: Cinema and cultural politics in Cuba. London: BFI Pub., 1985.

Den vollen Inhalt der Quelle finden
APA, Harvard, Vancouver, ISO und andere Zitierweisen
2

Giroud, Iván. La historia en un sobre amarillo: El cine en Cuba (1948-1964). La Habana: Ediciones Nuevo Cine Latinoamericano, 2021.

Den vollen Inhalt der Quelle finden
APA, Harvard, Vancouver, ISO und andere Zitierweisen
3

Stock, Ann Marie. On location in Cuba: Street filmmaking during times of transition. Chapel Hill: The University of North Carolina Press, 2009.

Den vollen Inhalt der Quelle finden
APA, Harvard, Vancouver, ISO und andere Zitierweisen
4

Wehr, Christian, und Mónica Satarain. Escenarios postnacionales en el Nuevo Cine Latinoamericano: Argentina - Méxiko - Chile - Perú - Cuba. München: Akademische Verlagsgemeinschaft München, 2020.

Den vollen Inhalt der Quelle finden
APA, Harvard, Vancouver, ISO und andere Zitierweisen
5

Para verte mejor: Pasajes del cine cubano en La Gaceta de Cuba. Ciudad de La Habana, Cuba: Ediciones ICAIC, 2012.

Den vollen Inhalt der Quelle finden
APA, Harvard, Vancouver, ISO und andere Zitierweisen
6

Becerra, Sergio, und Juan Guillermo Ramírez. ICAIC, 50 años de cine cubano en la revolución: Selección retrospectiva. Herausgegeben von Instituto Cubano de Arte e Industria Cinematográfica. Bogotá: Fundación Gilberto Alzate Avendaño, Cinemateca Distrital, 2009.

Den vollen Inhalt der Quelle finden
APA, Harvard, Vancouver, ISO und andere Zitierweisen
7

Cuba, Pabellón, und Bienal de La Habana (8th : 2003 : Havana, Cuba), Hrsg. Pabellón Cuba 4D: 4Dimensions, 4Decades. Berlin: B-books, 2008.

Den vollen Inhalt der Quelle finden
APA, Harvard, Vancouver, ISO und andere Zitierweisen
8

Chanan, Michael. Cuban cinema. Minneapolis: University of Minnesota Press, 2003.

Den vollen Inhalt der Quelle finden
APA, Harvard, Vancouver, ISO und andere Zitierweisen
9

Carlos, Galiano, Villazon Gloria, Instituto Cubano de Arte e Industria Cinematográfica. und Festival Internacional del Nuevo Cine Latinoamericano (10th : 1988 : Havana, Cuba), Hrsg. Festival Internacional del Nuevo Cine Latinoamericano, La Habana, Cuba, 1979-1988. Ciudad de La Habana: Centro de Información Cinematográfica del ICAIC (Instituto Cubano del Arte e Industria Cinematográfica), 1988.

Den vollen Inhalt der Quelle finden
APA, Harvard, Vancouver, ISO und andere Zitierweisen
10

Osuna, Alfonso J. García. The Cuban filmography, 1897 through 2001. Jefferson, N.C: McFarland & Co., 2003.

Den vollen Inhalt der Quelle finden
APA, Harvard, Vancouver, ISO und andere Zitierweisen
Mehr Quellen

Buchteile zum Thema "Motion pictures – cuba – history"

1

Czitrom, Daniel. „Early Motion Pictures“. In Communication in History, 158–66. 8. Aufl. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003250463-26.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
2

Czitrom, Daniel. „Early Motion Pictures“. In Communication in History, 175–83. Seventh edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315189840-26.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
3

Molenda, Michael H. „History and Development of Instructional Design and Technology“. In Handbook of Open, Distance and Digital Education, 1–18. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0351-9_4-1.

Der volle Inhalt der Quelle
Annotation:
AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
APA, Harvard, Vancouver, ISO und andere Zitierweisen
4

Molenda, Michael H. „History and Development of Instructional Design and Technology“. In Handbook of Open, Distance and Digital Education, 57–74. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-2080-6_4.

Der volle Inhalt der Quelle
Annotation:
AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
APA, Harvard, Vancouver, ISO und andere Zitierweisen
5

„Early Motion Pictures, Daniel Czitrom“. In Communication in History, 175–82. Routledge, 2015. http://dx.doi.org/10.4324/9781315664538-32.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
6

Lethem, Jonathan. „1888 The introduction of motion pictures“. In A New Literary History of America, 406–10. Harvard University Press, 2012. http://dx.doi.org/10.4159/9780674054219-087.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
7

Abel, Richard, und Amy Rodgers. „Early Motion Pictures and Popular Print Culture“. In The Oxford History of Popular Print Culture, 191–210. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:osobl/9780199234066.003.0010.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
8

Powers, Stephen, David J. Rothman und Stanley Rothman. „Hollywood's History and the Politics of Motion Pictures“. In Hollywood's America, 14–39. Routledge, 2018. http://dx.doi.org/10.4324/9780429493720-2.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
9

„A History Long Overdue: The Public Library and Motion Pictures“. In Useful Cinema, 149–77. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822394167-009.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
10

Musser, Charles. „Cinema as a Media Form“. In Politicking and Emergent Media. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520292727.003.0005.

Der volle Inhalt der Quelle
Annotation:
Sketches out a succession of motion picture practices before 1910, focusing on the integration of two the stereopticon and cinema as a distinct dispositif between 1897 and 1903. The 1900 presidential campaign fell squarely within this time frame. The deployment of emergent media such as the motion pictures and the phonograph are explored, as the election’s paramount issue was Imperialism. McKinley and his running mate Theodore Roosevelt were advocates of American expansionism while William Jennings Bryan ran on an anti-imperialism platform. Illustrated lectures that celebrated US military interventions in Cuba and the Philippines were widely deployed and often presented by military personnel and preachers. They contributed to McKinley’s victory while Bryan supporters failed to make use of this media form.
APA, Harvard, Vancouver, ISO und andere Zitierweisen

Konferenzberichte zum Thema "Motion pictures – cuba – history"

1

Mathias, Yehoshua. „USING MOTION PICTURES TO FOSTER HISTORICAL THINKING: A PROPOSAL FOR HISTORY TEACHERS' EDUCATION“. In 15th annual International Conference of Education, Research and Innovation. IATED, 2022. http://dx.doi.org/10.21125/iceri.2022.1817.

Der volle Inhalt der Quelle
APA, Harvard, Vancouver, ISO und andere Zitierweisen
Die Auswahlen zum Thema "Motion pictures – cuba – history" für konkrete Quellenarten können Sie auch interessieren:
Zeitschriftenartikel Dissertationen Bücher
Wir bieten Rabatte auf alle Premium-Pläne für Autoren, deren Werke in thematische Literatursammlungen aufgenommen wurden. Kontaktieren Sie uns, um einen einzigartigen Promo-Code zu erhalten!

Zur Bibliographie