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1

1897-, Benedict an tAthair, and Mac Giolla Chomhaill Anraí, eds. Scéal anama: Dírbheathaisnéis Naomh Treasa leis an Leanbh Íosa. [Baile Átha Cliath]: FAS, 1997.

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2

Volʹf, Aleksandr. Ri͡a︡dom s nami. Moskva: Izd-vo polit. lit-ry, 1986.

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3

Michelle, Isenberg, and Starr Sandra Leonard, eds. Selections from the Naomi Feldman collection: Los Angeles art 1962-1988. Pasadena, Calif: Typecraft, 2000.

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4

Šmoldas, Miroslav. Před námi Praha. Praha: Naše vojsko, 1985.

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5

Mitchison, Naomi. Among you taking notes...: The wartime diary of Naomi Mitchison, 1939-1945. Oxford: Oxford University Press, 1985.

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6

Mitchison, Naomi. Among you taking notes -: The wartime diary of Naomi Mitchison 1939-1945. Oxford: Oxford University Press, 1986.

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7

Mitchison, Naomi. Among you taking notes--: The wartime diary of Naomi Mitchison, 1939-1945. London: V. Gollancz, 1985.

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8

Zagończyk, Konrad. Między nami sąsiadami: Wspomnienia. Warszawa: Fundacja Pomocy Antyk "Wydawnictwo Antyk Marcin Dybowski", 2005.

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9

Egorov, V. G. Geroi ostai͡u︡tsi͡a︡ s nami: Dokumentalʹnai͡a︡ povestʹ. Kharʹkov: Prapor, 1986.

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10

V, Gorbunov A., ed. Za nami Moskva: Borodino, 1941. Moskva: Kuchkovo pole, 2007.

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11

Sorokin, Konstantin. A za nami--Moskva!: Zapiski politrabotnika. Kuĭbyshev: Kuĭbyshevskoe knizhnoe izd-vo, 1985.

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12

Zubčeková, Helena. Žili medzi nami: História Židov v Tekovských Lužanoch. Tekovské Lužany: MZ YMCA, 2002.

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13

Beneš, Bohuš. Amerika jde s námi: Reportáž z přednáškového turné Edvarda Beneše po amerických univerzitách v roce 1939. 3rd ed. Praha: Společnost Edvarda Beneše, 1998.

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14

Cichoracki, Piotr. "Z nami jest On": Kult Marszałka Józefa Piłsudskiego w Wojsku Polskim w latach 1926-1939. Wrocław: Towarzystwo Przyjaciół Ossolineum, 2001.

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15

Tsutomu, Ōmachi. Kumo no hate nami no hate: Zoku Kaigun are kore. [Ōsaka-fu Suita-shi: Ōmachi Tsutomu], 1986.

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16

Prudnikov, V. Stalʹnoĭ uragan: Nashe delo pravoe! Pobeda budet za nami! Moskva: ĖKSMO, 2008.

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17

Mozgova, G. G. "Vot geroĭ ėpokhi pered nami": "ognennyĭ" pilot Pëtr Vikentʹevich Tarapata i ego semʹi︠a︡. Vladimir: Kaleĭdoskop, 2020.

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18

Godeša, Bojan. Kdor ni z nami, je proti nam: Slovenski izobraženci med okupatorji, Osvobodilno fronto in protirevolucionarnim taborom. Ljubljana: Cankarjeva založba, 1995.

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19

Erika, Cintulová, ed. Žili medzi nami II: Zborník referátov zo seminára III. Dní židovskej kultúry v Kežmarku 2004. Kežmarok: [s.n.], 2005.

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20

Stafa, Monika Shoshori. Monarkia kundër republikës ; Si u la Shën Naumi: Dy monografi dhe disa studime për shpëtimin e hebrenjve në Shqipëri. Tiranë: "Naimi", 2011.

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21

United States. Congress. Senate. Committee on the Judiciary. Subcommittee on Immigration. A private bill initiative for Michel Christophe Meili: Hearing before the Subcommittee on Immigration of the Committee on the Judiciary, United States Senate, One Hundred Fifth Congress, first session, on S. 768, a bill for the relief of Michel Christophe Meili, Mirjam Naomi Meili, and Davide Meili, May 20, 1997. Washington: U.S. G.P.O., 1998.

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22

Selections From the Naomi Feldman Collection: Los Angeles Art 1962-1988. Feldman-Horn Center for the Arts, 1998.

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23

Naomis Tree. Fitzhenry & Whiteside, 2011.

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24

Mitchison, Naomi. Phoenix: Among You Taking Notes...: The Wartime Diaries of Naomi Mitchison 1939-1945. Phoenix Press, 2001.

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25

Cohen, Leslie. Trapped Inside the Story: The Biography of Naomi Kalsky, Born Sonya Hebenstreit. Level 4 Press, 2007.

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26

Cohen, Leslie. Trapped Inside the Story: The Biography of Naomi Kalsky, Born Sonya Hebenstreit. Level 4 Press, Inc., 2008.

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27

Honisch, Stefan Sunandan. Moving Experiences. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.34.

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Abstract:
This essay asks how navigating the world without sight can influence musical interpretation and enable a blind performer to make music move in unfamiliar ways. A recording of Frédéric Chopin’s Prelude in B Minor Op. 28 No. 6 by the blind Hungarian pianist Imre Ungár (1909–1972) constitutes the focal point for an analysis guided simultaneously by Naomi Cumming’s (2000) conceptualization of “the performing self” (a musical identity that emerges through the performer’s ability to control the movement of notes) and by Joseph Straus’s (2011) conception of “mobility-inflected hearing” (musical understanding shaped by the experience of movement in a disabled body). Ungár’s pianistic self transforms blindness from a visual impairment into a moving (that is, kinesthetic) experience, carrying Chopin’s prelude through musical spaces at once unfamiliar and generative.
28

Kak ėto s nami bylo: Vospominanii︠a︡ byvshikh maloletnikh uznikov fashistskikh kont︠s︡lagereĭ. Sankt-Peterburg: Serebri︠a︡nyĭ vek, 2004.

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