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Books on the topic 'Breast motion'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

1898-1956, Brecht Bertolt, ed. Bertolt Brecht e il cinema di Weimar. Firenze: Manent, 1998.

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2

Brecht-Tage, (2003 Berlin Germany). Brecht plus minus Film: Filme, Bilder, Bildbetrachtungen : Literaturforum im Brecht-Haus Berlin. Berlin: Theater der Zeit, 2004.

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3

Mueller, Roswitha. Bertolt Brecht and the theory of media. Lincoln: University of Nebraska Press, 1989.

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4

Buñuel, Luis. My last breath. London: Flamingo, 1985.

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5

Buñuel, Luis. My last breath. London: Vintage, 1994.

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6

Brecht, Bertolt. Brecht on film and radio. London: Methuen, 2000.

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7

Schauspielkunst in Theater und Film: Strasberg, Brecht, Stanislawski. Berlin: Alexander, 2001.

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8

Bertolt Brecht and the theory of media. Lincoln: University of Nebraska Press, 1989.

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9

Claremon, Neil. Zen in motion: Lessons from a master archer on breath, posture, and the path of intuition. Rochester, Vt: Inner Traditions International, 1991.

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10

Conner, Floyd. Hollywood's most wanted: The top 10 book of lucky breaks, prima donnas, box office bombs, and other oddities. Washington, D.C: Brassey's, 2002.

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11

Batutu, Michel Nzangi. Droit de la rupture du contrat de travail: Principes, motifs, procédures et sanctions. Kinshasa: CDPS, 2010.

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12

Base, Ron. "If the other guy isn't Jack Nicholson, I've got the part": Hollywood tales of big breaks, bad luck, and box-office magic. Chicago: Contemporary Books, 1994.

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13

La séduction du cinéma: Artaud, Pirandello et Brecht entre cinéma, littérature et théâtre (1914-1941). Paris: Honoré Champion éditeur, 2014.

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14

Baker, A. K. Vehicle braking. London: Pentech Press, 1986.

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15

Pia, Kleber, and Visser Colin, eds. Re-interpreting Brecht: His influence on contemporary drama and film. Cambridge [England]: Cambridge University Press, 1990.

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16

The green breast of the new world: Landscape, gender, and American fiction. Athens: University of Georgia Press, 1996.

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17

O'Donnell, Pierce. Fatal subtraction: The inside story of Buchwald v. Paramount. 2nd ed. West Hollywood, CA: Dove Books, 1996.

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18

O'Donnell, Pierce. Fatal subtraction: The inside story of Buchwald v. Paramount. New York: Doubleday, 1992.

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19

Centre de recherche bretonne et celtique, ed. Ecosse des Highlands: Mythes et réalités : actes du Colloque international, Brest, 22-23 mars 2002. Brest: Centre de recherche bretonne et celtique, 2003.

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20

Medien und Medialität des Epischen in Literatur und Film des 20. Jahrhunderts: Bertolt Brecht, Uwe Johnson, Lars von Trier. München: Wilhelm Fink, 2009.

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21

Walt Disney's Alice in Wonderland. New York, USA: Golden, 2010.

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22

Von der Taktik zur Tugend: Wandlung des Ethikkonzepts in Brechts marxistischen Dramen von 1929-1945. Frankfurt am Main: Peter Lang, 2008.

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23

Milanković-Vasović, Ljiljana. Stečajni postupak. Beograd: Intermex, 2010.

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24

Woods, Paul A. The Very Breast of Russ Meyer. Plexus Publishing, 2002.

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25

La vuelta da muchas vidas. Editorial Planeta, S. A., 2015.

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26

Arthur, Richard T. W. Motion, Relativity, and Force. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812869.003.0006.

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This chapter traces the development of Leibniz’s thought on form as the principle of activity of bodies, from his earliest thoughts on motion as interrupted by rests, through his neo-Hobbesian theory of endeavour as the foundation of continuity, to his rejection of this and a return to a variant occasionalist account, “transcreation”, and finally to his introduction of force as the foundation of continuity. It is explained in the chapter how the Principle of Equipollence functions as Leibniz’s Ariadnean thread leading him to his philosophy of force, and how the identification of causes breaks the equivalence of hypotheses regarding motion.

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27

Quinlivan, Davina. Place of Breath in Cinema. Edinburgh University Press, 2012.

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28

Quinlivan, Davina. Place of Breath in Cinema. Edinburgh University Press, 2014.

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29

Quinlivan, Davina. Place of Breath in Cinema. Edinburgh University Press, 2014.

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30

Buñuel, Luis. My Last Breath. Penguin Random House, 2010.

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31

The Place Of Breath In Cinema. Edinburgh University Press, 2012.

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32

Gross, Dr Wendy. Spirit in Motion: Gym & Water Fitness / Yoga Breath-Stretch Technique. AuthorHouse, 2015.

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33

Silberman, Marc D. Brecht on Film. Methuen Drama, 2001.

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34

Johnson, David, and Davina Quinlivan. Place of Breath in Cinema: History, Literature, and the South African Nation. Edinburgh University Press, 2011.

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35

Honegger, Gitta. Frau Brecht: The Life and Work of Helene Weigel. Yale University Press, 2007.

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36

Alessandra, Pilar. The Coffee Break Screenwriter Breaks the Rules: A Guide for the Rebel Writer. Michael Wiese Productions, 2017.

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37

Shaver, Stephen R. Metaphors of Eucharistic Presence. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197580806.001.0001.

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One of the most challenging questions for Christian ecumenical theology is how the relationship between the eucharistic bread and wine and Jesus Christ’s body and blood can be appropriately described. This book takes a new approach to controverted questions of eucharistic presence by drawing on cognitive linguistics. Arguing that human cognition is grounded in sensorimotor experience and that phenomena such as metaphor and conceptual blending are basic building blocks of thought, the book proposes that inherited models of eucharistic presence are not necessarily mutually exclusive but can serve as complementary members of a shared ecumenical repertoire. The central element of this repertoire is the motif of identity, grounded in the Synoptic and Pauline institution narratives. The book argues that the statement “The eucharistic bread and wine are the body and blood of Christ” can be understood both as figurative and as true in the proper sense, thus resolving a church-dividing dichotomy. The identity motif is complemented by four major non-scriptural motifs: representation, change, containment, and conduit. Each motif with its entailments is explored in depth, and suggestions for ecumenical reconciliation in both doctrine and practices are offered. The book also provides an introduction to cognitive linguistics and offers suggestions for further reading in that field.

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38

Claremon, Neil. Zen in Motion: Lessons from a Master Archer on Breath, Posture, and the Path of Intuition. Inner Traditions, 1992.

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39

Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Daniele Huillet, Peter Watkins, and Lars Von Trier. State University of New York Press, 2017.

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40

Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Daniele Huillet, Peter Watkins, and Lars von Trier. SUNY Press, 2018.

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41

Roger, Halson. 2 The Modern ‘Penalty’ Rule. Oxford University Press, 2018. http://dx.doi.org/10.1093/law/9780198785132.003.0002.

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Prior to decision of the UK’s Supreme Court in Cavendish Square Holding BV v Makdessi; ParkingEye Ltd v Beavis (Consumers’ Association Intervening), (the Cavendish case) in 2015, the principles underlying the law relating to contractual liquidated damages and penalty clauses was last examined by the UK’s highest appellate court over 100 years ago in Dunlop Pneumatic Tyre Co Ltd v New Garage and Motor Co Ltd. The breadth and scope of the decision is obvious from the different commercial contexts of the two conjoined appeals in the Cavendish case. This chapter analyses the Supreme Court’s decision in these cases, covering the requirement of breach, applying the test for a penalty, the application of the penalty rule to obligations other than to make payments, and the relationship between the penalty rule and the equitable relief against forfeiture.

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42

Carroll, Maureen. Picturing Infants and Families in Roman Art. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199687633.003.0005.

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The focus of Chapter 5 is on visual images of infants and very young children. A variety of media and formats are considered, including portrayals of children in marble reliefs and on coins and objects of personal adornment. The chapter discusses the introduction and development of the motifs of birth, breast-feeding and baby-care with parents, wet-nurses and others, images that give us insight into family life and the socialization of children. The chapter also explores the ways in which Italian children and barbarian offspring are represented in Roman art.

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43

(Editor), Pia Kleber, and Colin Visser (Editor), eds. Re-interpreting Brecht: His Influence on Contemporary Drama and Film. Cambridge University Press, 1990.

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44

Koutsourakis, Angelos. Rethinking Brechtian Film Theory and Cinema. Edinburgh University Press, 2020.

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45

Rethinking Brechtian Film Theory and Cinema. Edinburgh University Press, 2018.

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46

At The Limit Of Breath Poems On The Films Of Jeanluc Godard. University of Alberta Press, 2013.

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47

Pagliari, Stefano. The Second Half. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190864576.003.0006.

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This chapter explores the implementation of the derivatives rules included within the Dodd-Frank by US regulatory agencies. This phase brought to a halt the tightening in the regulation of derivatives markets that had been set in motion by the financial crisis, as regulators have come to exclude a number of actors and transactions from regulatory requirements mandated by Congress. In order to explain this outcome, this chapter will map the ecology of interest groups from within and outside the financial industry that have mobilized during the implementation of Dodd-Frank. The analysis will reveal how the breadth and cohesiveness of the opposition front that emerged in response to different rules have influenced the capacity of regulators to withstand pressures to whittle down the scope and strictness of Dodd-Frank during the implementation phase.

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48

Yunhwa Rao, Nancy. The Affluent Years. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040566.003.0009.

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By 1926, the Great China Theater in Seattle boasted a cast of performers from the top tier of the Cantonese opera profession, and performed different operas daily all year long without breaks. A roster of key professionals, such as playwrights, musicians, and scene painters, took up residence at the theater. The stage designs and theatrical spectacle grew bolder and grander, showing influences from other entertainment; a record label of Cantonese opera was started. The opera culture also bore fruit in the younger generation, as seen in the increased participation of native-born Chinese Americans. This chapter describes the ways in which the Great China Theater played an important role in that community until the end of the decade, when motion pictures and other forms of entertainment eroded opera’s popular appeal.

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49

DeForest, Lee. Basketball Coaching : How to Coach the Dribble Drive Motion Offense: Includes Basic and Advanced Concepts, Basketball Drills, Quick Hitters, and Secondary Breaks. Independently Published, 2017.

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50

Sime, Stuart. 21. Limitation. Oxford University Press, 2017. http://dx.doi.org/10.1093/he/9780198787570.003.2413.

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This chapter discusses the rules on limitation. The expiry of a limitation period provides a defendant with a complete defence to a claim. Limitation is a procedural defence. It will not be taken by the court of its own motion, but must be specifically set out in the defence. Limitation runs from accrual, which is when all the necessary elements for the cause of action are in existence. Technically, time runs from the day after the accident or breach, and stops running when the claim is brought. This is when the claimant has done everything they can to issue the claim form. Time does not run if the claimant is under disability, and in cases of fraud, mistake, and concealment. In personal injury and latent damage claims time will not start running until the claimant has the requisite ‘knowledge’.

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