Academic literature on the topic 'New Rochelle Knickerbocker Press'

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Journal articles on the topic "New Rochelle Knickerbocker Press"

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Michielsen, John. "Ridley, Hugh. Buddenbrooks. Cambridge; New York; New Rochelle; Melbourne; Sydney: Cambridge University Press, 1987Ridley, Hugh. Buddenbrooks. Cambridge; New York; New Rochelle; Melbourne; Sydney: Cambridge University Press, 1987. Pp. xxi, 117. Cloth: $19.95, Paper: $5.95." Canadian Modern Language Review 45, no. 2 (January 1989): 383–84. http://dx.doi.org/10.3138/cmlr.45.2.383.

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Blumberg, Barbara. "Knickerbocker: The Myth behind New York. By Elizabeth L. Bradley. (New Brunswick, N.J.: Rutgers University Press, 2009. Pp.xiii, 191. $24.95.)." Historian 73, no. 2 (June 1, 2011): 330–31. http://dx.doi.org/10.1111/j.1540-6563.2011.00294_10.x.

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Pucciani, Oreste F. "Goldthorpe, Rhiannon. Sartre: Literature and Theory. Cambridge, London, New York, New Rochelle, Melbourne, Sydney: Cambridge University Press, 1984Goldthorpe, Rhiannon. Sartre: Literature and Theory. Cambridge, London, New York, New Rochelle, Melbourne, Sydney: Cambridge University Press, 1984. Pp. vii-x, 246. $39.50." Canadian Modern Language Review 45, no. 1 (October 1988): 168. http://dx.doi.org/10.3138/cmlr.45.1.168a.

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Calo, Mary Ann. "A Community Art Center for Harlem: The Cultural Politics of “Negro Art” Initiatives in the Early 20th Century." Prospects 29 (October 2005): 155–83. http://dx.doi.org/10.1017/s0361233300001721.

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During the interwar decades, African American artists grew in number and visibility, and a wide range of publications featured stories on so-called Negro art. Notices on Negro art exhibitions and educational initiatives appeared in the black press and the mainstream mass media, as well as in special interest publications ranging from Art News to the Club Candle (the newsletter of the New Rochelle Women's Club). Though small in number, collectively these events served as opportunities to measure the overall progress or pulse of the African American artist.
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Karbaum, K. "Yeast - characteristics and identification. Cambridge, London, New York, New Rochelle, Melbourne, Sydney: Cambridge University Press, 1983. 811 S., 75 £, 150 $." Acta Biotechnologica 5, no. 2 (1985): 221. http://dx.doi.org/10.1002/abio.370050226.

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Stassen, Frans L. "Molecular foundations of drug-receptor interaction. Cambridge University Press, Cambridge, London, New York, New Rochelle, Melbourne, Sydney 1987. 381 pp." Journal of Molecular Recognition 1, no. 3 (June 1988): ii. http://dx.doi.org/10.1002/jmr.300010308.

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Kanet, Rober E. "Olivier Roy. Islam and Resistance in Afghanistan. Cambridge-London-New York-New Rochelle-Melbourne-Sydney: Cambridge University Press, 1986. vi, 253 pp. $24.95." Canadian-American Slavic Studies 23, no. 4 (1989): 496–97. http://dx.doi.org/10.1163/221023989x00806.

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Shaw, D. "Book Review - A Dictionary of Plant Pathology. by Paul Holliday. Cambridge University Press, Cambridge (UK), New York, New Rochelle, Melbourne, Sydney, 1989. 369pp." Australasian Plant Pathology 18, no. 4 (1989): 106. http://dx.doi.org/10.1071/app9890106d.

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Van Driesche, Roy G. "Rational Pesticide Use. 1987. K. J. Brent and R. K. Atkin, Editors. Cambridge University Press, New Rochelle, New York. 348 pp. $49.50, hardcover." American Journal of Alternative Agriculture 4, no. 3-4 (December 1989): 183–84. http://dx.doi.org/10.1017/s0889189300003076.

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Gingrich, Kurt. "Between Empires: Print and Politics in Goa. By Rochelle Pinto. (New York, N.Y.: Oxford University Press, 2007. Pp. xv, 299. $52.95.)." Historian 71, no. 3 (September 1, 2009): 632–33. http://dx.doi.org/10.1111/j.1540-6563.2009.00246_39.x.

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Book chapters on the topic "New Rochelle Knickerbocker Press"

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Roberts, John Storm. "The Tango Rage." In The Latin Tinge, 44–75. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195121001.003.0003.

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Abstract The tango reached the U.S. from Buenos Aires by way of Paris and Broadway. Paul Reuben’s musical comedy The Sunshine Girl, which opened at the Knickerbocker Theatre on February 3, 1913, introduced a new singing star, Julia Sanderson; a new husbandand-wife dancing team, Vernon and Irene Castle; and the first massive nationwide Latin fad. In the words of the Variety Music Cavalcade, the Castles’ dancing of the turkey trot and Vernon’s tango with Julia Sanderson “eliminated the waltz from the musical comedy stage and substituted a vogue for dances of Western origin.” The Castles were, on the face of it, unlikely vehicles for this kind of revolution. An Englishman whose real name was Vernon Blyth, Castle had begun his stage career virtually by accident, as a boy in Lew Fields’s Girl Behind the Counter. Irene, who came from New Rochelle, had been rejected as a stage dancer for being “awkward.” Stranded on tour in Paris, the couple nearly starved before catching on at the Cafe de Paris and returning to New York at ten times their previous U.S. salary, bearing the tango with them.
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