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Books on the topic 'Prince Daniel'

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Published: 29 June 2021
Last updated: 9 February 2022

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1

Doukhan, Jacques. Secrets of Daniel: Wisdom and dreams of a Jewish prince in exile. Hagerstown, MD: Review and Herald Pub. Association, 2000.

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2

Charles, Binam Bikoi, ed. Mpomo, le prince de la grande rivière: Épopée nzimé du Cameroun, recueillie auprès de Daniel Minkan. Paris: Karthala, 2007.

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3

Flinspach, Dagmar. Das Bild des Künstlers im zeitgenössischen englischen Roman: Untersuchungen zum Problem von Künstlertum und Mediokrität in Iris Murdochs The black prince, Anthony Burgess' Enderby-Zyklus und John Fowles' Daniel Martin. Tübingen: M. Niemeyer, 1996.

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4

Texas giant: The life of Price Daniel. Austin, Tex: Eakin Press, 2001.

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5

Greene, Carol. Hans Christian Andersen, prince of storytellers. Chicago: Childrens Press, 1991.

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6

Popova, Susanna. Vart bröllop: Kronprinsessan Victoria och Prins Daniel 19 Juni 2010. Stockholm: Natur och Kultur, 2010.

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7

Brummell, ou, Le prince des dandys. Paris: Presses de la Renaissance, 1985.

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8

Dansk grafik gennem 25 år. [Viby]: Centrum, 1985.

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9

Jullian, Philippe. Robert de Montesquiou: Un prince, 1900. Paris: Libr. académique Perrin, 1987.

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10

The Price of His Redemption. Richmond, Surrey: Mills & Boon, 2015.

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11

Sularto, B. KGPA Mangkubumi: Karya dan pengabdiannya. Jakarta: Departemen Pendidikan dan Kebudayaan, Direktorat Sejarah dan Nilai Tradisional, Proyek Inventarisasi dan Dokumentasi Sejarah Nasional, 1986.

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12

University, Kabarak, ed. Music in Kenya: Development, management, composition and performance : a tribute to Daniel T. Arap Moi. Nakuru, Kenya: Kabarak University, 2010.

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13

Literatur im Spiegel dänischer Grafik des 20. Jahrhunderts. Frankfurt am Main: P. Lang, 1997.

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14

Kaehr, Roland. Ex-libris en marge(s) d'un bicentenaire: Essai de reconstitution de la bibliothèque de Charles Daniel de Meuron. [Neuchâtel: Musée d'ethnographie, 1989.

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15

Alechinsky, Pierre. Flora danica. Paris: [Buchet-Chastel], 2011.

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16

Heydt-Museum, Von der. Sittenbilder des 18. Jahrhunderts: Graphik von William Hogarth (1697-1764), Daniel N. Chodowiecki (1726-1801) : aus dem Bestand der graphischen Sammlung des Von der Heydt-Museums Wuppertal : Katalog des Von der Heydt-Museums Wuppertal. Wuppertal: Das Museum, 1992.

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17

Nielsen, Lauritz. Dansk bibliografi 1482-1600. København: Reitzel, 1996.

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18

Guerrini, Mauro, ed. Nessuno poteva aprire il libro... Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-927-0.

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L’iniziativa di offrire una Festschrift a fr. Silvano M. Danieli per il suo settantesimo compleanno rende omaggio a un uomo, a un professionista che con la sua attività ha lasciato un segno profondo nelle relazioni umane e nel mondo delle biblioteche. Fr. Silvano, bibliotecario della Pontificia Facoltà teologica “Marianum” e dal 2014 priore della comunità di Studio Marianum di Roma, ha, infatti, svolto un ruolo strategico nello sviluppo di URBE, l’associazione che riunisce le biblioteche dei pontifici atenei romani in un’unica rete di servizi. Il qualificato elenco dei partecipanti, italiani ed europei, testimonia l’ampiezza dei gradimenti ottenuti nei suoi trent’anni d’attività bibliotecaria e di curatore della Bibliografia dell’Ordine dei Servi e della Bibliografia mariana. Le parole di Aelredo di Rievaulx (1109-1167), la figura di maggior spicco del monachesimo cistercense anglosassone, esprimono il senso del dono: «Un uomo, in virtù dell’amicizia che ha verso un altro uomo, diventa amico di Dio, secondo quanto dice il Signore nel Vangelo: Non vi chiamo più servi, ma amici miei» (De spirituali amicitia, II, 14).
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19

Rogers, Alice. Dance bands & big bands: Documenting over 30,000 golden age dance & big band recordings--all on 78 rpm singles. Tempe, AZ: Jellyroll Productions, 1986.

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20

München, Staatliche Graphische Sammlung, and Neue Pinakothek (Munich Germany), eds. O Musica du edle Kunst: Musik und Tanz im 16. Jahrhundert = Music for a while : music and dance in 16th-century prints. [München]: Staatliche Graphische Sammlung München, 1999.

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21

Bodt, Saskia de. Getekend, Hans Christian Andersen: Zijn geïllustreerde sprookjes in de Lage Landen. Warnsveld: Terra, 2005.

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22

Gasparini, Evel. Il matriarcato slavo. Edited by Marcello Garzaniti and Donatella Possamai. Florence: Firenze University Press, 2010. http://dx.doi.org/10.36253/978-88-8453-999-1.

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This book on Slavic matriarchy is the result of the studies and researches that Evel Gasparini carried out over the span of his lifetime. Intrigued by the possibility of a close link between the collective ownership of the land and the ancient agricultural-matriarchal substrate of Slav culture, Gasparini launched on the titanic enterprise of analysing the archaeological and historical sources of early Slavic civilisation. Basing himself on a concept of culture elaborated in the ethnological field, he brought to light certain contradictions in the application of the Indo-European paradigm to Slavic culture and identified a series of elements illustrating the matriarchal substrate. Exploiting an uncommon knowledge of cultural anthropology and profound linguistic competencies, in this book Gasparini maps out a complex panorama ranging from the economy to the social structure and from the religious traditions to music and dance. Out of print for some time, the book is now proposed in a new, more convenient form, complete with an appendix on Finns and Slavs – which was originally intended as another chapter in the book but was then left out – a detailed preface by Gasparini's disciple Remo Faccani, and a bibliography of the scholar's oeuvre edited by Donatella Possamai.
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23

Hans Christian Andersen. The wild swans. London: MacRae, 1986.

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24

Hans Christian Andersen. The wild swans. London: Hazar, 1997.

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25

Hans Christian Andersen. The wild swans. Bath: Barefoot Books, 2005.

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26

Hans Christian Andersen. The wild swans. Cambridge, Mass: Barefoot Books, 2005.

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27

Hans Christian Andersen. The wild swans. Woodbury, N.Y: Barron's, 1985.

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28

Hans Christian Andersen. The Wild Swans. S.l: Barefoot Books, 2005.

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29

Hans Christian Andersen. The wild swans. Woodbury, N.Y: Barrons's, 1985.

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30

Graphiksammlung, Heinrich-Heine-Universität Düsseldorf, ed. Narren, Masken, Karneval: Meisterwerke von Dürer bis Kubin aus der Düsseldorfer Graphiksammlung "Mensch und Tod". Regensburg: Schnell & Steiner, 2009.

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31

Silva, Daniel. Prince of Fire (Silva, Daniel). Brilliance Audio on CD Value Priced, 2006.

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32

Silva, Daniel. Prince of Fire (Silva, Daniel). Brilliance Audio Paperback Audiobooks, 2006.

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33

Bosanquet, J. W. Messiah, The Prince: Or The Inspiration Of The Prophecies Of Daniel. Kessinger Publishing, LLC, 2007.

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34

Bosanquet, J. W. Messiah, The Prince: Or The Inspiration Of The Prophecies Of Daniel. Kessinger Publishing, LLC, 2007.

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35

Creating the "New Musical" Harold Prince in Berlin: In Collaboration With Daniel Brunet and Miguel Angel Esquivel Rios. Peter Lang Publishing, 2006.

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36

Geraths, Armin. Creating the "New Musical" Harold Prince in Berlin: In Collaboration With Daniel Brunet and Miguel Angel Esquivel Rios. Peter Lang Publishing, 2006.

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37

Murph, Dan, and George Bush. Texas Giant: The Life of Price Daniel. Eakin Press, 2002.

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38

Nederman, Cary J. There Are No ‘Bad Kings’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199394852.003.0009.

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This chapter provides a discussion of the conceptual impossibility of the ‘bad king’ in the medieval Latin West—a conundrum that caused evil lords to be defined exclusively as tyrants. Nonetheless, political theorists from Isidore of Seville to John of Salisbury, Thomas Aquinas, and Dante display a remarkable ambivalence toward the tyrant’s role in civic life. While condemned in normative political theory, tyranny was often viewed as acceptable when a populace was deemed incapable of benefiting from good government, or when it was legitimized as an instrument of divine punishment. This chapter demonstrates furthermore that even overtly tyrannical behavior could be countenanced by attributing it not to the prince himself but to his evil counselors, who were subjected to much scrutiny in high and late medieval mirrors for princes.
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39

Clarke, Jay A., Jonathan Black, Sterling and Francine Clark Art Institute Staff, and Megan Kosinski. Machine Age Modernism: Prints from the Daniel Cowin Collection. Yale University Press, 2015.

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40

Machine Age Modernism: Prints from the Daniel Cowin Collection. Yale University Press, 2015.

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41

Scolieri, Paul A. Ted Shawn. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199331062.001.0001.

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This book is the first critical biography of Ted Shawn (1891–1972), the self-proclaimed “Father of American Dance.” Based on extensive archival research, it offers an in-depth examination of Shawn’s pioneering role in the formation of Denishawn (the first American modern dance company and school), Ted Shawn and His Men Dancers (the first all-male dance company), and Jacob’s Pillow (the internationally renowned dance festival and school located in the Berkshire Hills of Massachusetts). For many years and with great frustration, Shawn attempted to tell the story of his life’s work in terms of its social and artistic value, but struggled, owing to the fact that he was homosexual, something known only within his inner circle of friends. Though Shawn remained closeted, he scrupulously archived his journals, correspondence, programs, photographs, and motion pictures of his dances, anticipating that the full significance of his life, writing, and dances would reveal itself in time. By exploring these materials alongside Shawn’s relationship with contemporary thinkers who were leading a radical movement to depathologize homosexuality, such as the British eugenicist Havelock Ellis, writer Lucien Price, and sexologist Alfred C. Kinsey, this book tells the untold story of how Shawn’s homosexuality informed his extensive body of writings and choreography and, by extension, the history of dance in America.
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42

To Dance with a Prince Harlequin Romance. Harlequin, 2011.

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43

Conlon, Paula J. From Powwow to Stomp Dance. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.013.

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Oklahoma is home to 67 American Indian tribes, each of which has its own cultural heritage. The result is a wealth of parallel traditions, from powwows deriving from Plains warrior societies to stomp dances of Woodland tribes that were forcibly removed to Indian Territory (present Oklahoma) in the 19th century. Song and dance around the powwow drum contrast sharply with the stomp dance tradition, where all-night singing and dancing around a sacred fire, accompanied by the percussion of the female dancers wearing turtle or can rattles strapped around their lower legs, form the backbone of the Green Corn religion. This chapter will compare and contrast the powwow and the stomp dance in their historical cultural contexts as symbols of Native identity, and examine how these parallel dance traditions continue to reinforce a sense of ethnic pride for Native American communities in Oklahoma.
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44

(Association), Danske grafikere, ed. Dansk grafik i dette århundrede. København: Danske grafikere, 1989.

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45

Meftahi, Ida. Dancing Angels and Princesses. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.002.

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Linking twentieth-century discourse on dance to the staged body, this chapter presents a genealogy of Iranian “national dance” (raqs-i milli) in light of the biopolitics of the national(ist) stage of the Pahlavi era (1925–1979) in Iran. Through the process of heteronormalization of the stage, the transvestite bachchah raqqas and zanpush of the preexisting popular minstrel setting (mutribi) was eliminated from the early twentieth-century modernist-nationalist stage because it embodied an ambiguous sexuality that did not match the ideals of “modern” Iran. Instead, an educated and professionalized female national dancer with balletic moves and a controlled performance of sexuality performed the ego-ideal of modern Iranian women onstage. Often depicted as an angel or a Persian princess, this new female construct enacted the narratives of the nation on the prestigious “national(ist)” stage of the Pahlavi period.
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46

Price, Daniel. Plato’s Protagoras: The Authority of Beginning an Education. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412094.003.0004.

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Daniel Price’s “Plato’s Protagoras: The Authority of Beginning an Education” follows Derrida’s re-reading of Hegel’s framing of philosophical history through to Plato’s Protagoras. Price, seeking an alternative to the Hegelian frame, inquires into the place of the virtuous subject in Plato. In the Protagoras Price finds that the unity and goodness of virtue claims our subjectivity, not vice versa. This claim on our subjectivity orients us to the task of providing a ground for the unity of virtue. This does not concern the authority of a teacher, who demands that we reject any thought that is not owned, that does not pass through the lens of self-conscious self-appropriation. Instead it signifies the emergence of subjectivity through the claims that are made upon us by language.
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47

Gollance, Sonia. It Could Lead to Dancing. Stanford University Press, 2021. http://dx.doi.org/10.11126/stanford/9781503613492.001.0001.

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Dances and balls appear throughout literature as a place for young people to meet, flirt, and form relationships: as any reader of Pride and Prejudice, War and Peace, or Romeo and Juliet can attest, dance scenes provide an opportunity for writers to criticize societal expectations about courtship and partner choice, while simultaneously entertaining their readers. In this book, Sonia Gollance examines Jewish mixed-gender dancing in German and Yiddish literature, arguing that dance provides a powerful lens for understanding Jewish acculturation, secularization, and modernization. Gollance examines the specific literary qualities of dance scenes, such as the parallels between dance figures and plot structures, while also paying close attention to the broader social implications of Jewish engagement with dance during in the nineteenth and twentieth centuries. While traditional Jewish dance was among men only (or women only), mixed-sex dancing was the very sign of modernity, and thus a charged and complex arena for understanding the limits of acculturation, the dangers of class mixing, and the role of erotic engagement in modernization. Gollance’s book is organized around the spaces in which mixed dancing would take place: the tavern, the ballroom, the wedding, and the dance hall. Gollance also draws connections between the cultural history of social dance and contemporary popular culture, illustrating how mixed-sex dancing continues to function as a flexible metaphor for the concerns of Jewish communities in the face of cultural transitions.
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48

Van Leuven, Holly. Ray Bolger. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639044.001.0001.

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Ray Bolger: More Than a Scarecrow is the first book-length biography of the American eccentric dancer and popular culture figure, best known for his role in the 1939 film musical The Wizard of Oz. The book traces Bolger’s career from repertory and vaudeville into New York movie houses, Broadway, nightclubs, the major film studios, Las Vegas resorts, and television programs. Bolger’s dance lineage is also traced through eccentric dancers like Fred Stone and “Irish prince” soft-shoe dancers like George Primrose and Jack Donahue. Special attention is given to Bolger’s involvement in the nascent United Service Organizations (USO) Camp Shows, including his participation in the first ever camp show unit, which went to the Caribbean in November 1941, and later the first unit to entertain in the South Pacific. An entire chapter is dedicated to the creation and performance of Where’s Charley?, Bolger’s most important show and the one for which he earned a Tony Award for Best Featured Actor in a Musical. The Where’s Charley? material explores Bolger’s collaboration with his wife, Gwendolyn Rickard Bolger, who became the first female producer of a musical comedy on Broadway with her contributions to the production. Bolger’s later life as a political spokesperson, a television guest star, and a pop culture personality are also explored.
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49

Beebee, Helen, Christopher Hitchcock, and Huw Price, eds. Making a Difference. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746911.001.0001.

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Making a Difference presents fifteen original essays on causation and counterfactuals by philosophers and political theorists. Collectively, they represent the state of the art on these topics. The essays in this volume are inspired by the work of the late Australian philosopher Peter Menzies (1953–2015), who himself made a very great difference to our contemporary understanding of these matters. Topics covered include: the semantics of counterfactuals, agency theories of causation, the context-sensitivity of causal claims, structural equation models, mechanisms, mental causation, the causal exclusion argument, and free will. Contributors: Helen Beebee, Thomas Blanchard, David Braddon-Mitchell, Rachael Briggs, Nancy Cartwright, Christopher Hitchcock, Christian List, Cei Maslen, Peter Menzies, Daniel Nolan, Philip Pettit, Huw Price, Jonathan Schaffer, Brad Weslake, James Woodward.
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50

Ezell, Margaret J. M. 1700. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198183112.003.0024.

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The final section covers the reign of William III after the death of his wife, the literary responses to the situation of Princess Anne following the death of her son, and the continuing tensions in Parliament between the Whigs and Tories. There were increasing literary satires on foreigners in power and the desire to define Englishness. After the death of John Dryden, dramatists including William Congreve and John Vanbrugh continued to resist Jeremy Collier’s desire to reform the theatre. Newcomers such as Alexander Pope and Susanna Centlivre arrived and made their debut as poets and dramatists. Satires against women and marriage continued against a backdrop of famous divorce trials, while writers such as Daniel Defoe called for a reformed society starting with the aristocratic elite.
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