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Libros sobre el tema "1933-"

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Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 4 de mayo de 2024

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1

Golopenţia, Anton. Corespondenţa germană: (1933-1936) = Deutsche Korrespondenz (1933-1936). Bucureşti: Spandugino, 2022.

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2

Bezaut, Jean. Oranienbourg, 1933-1935, Sachsenhausen, 1936-1945: Étude. Maulévrier, France: Hérault, 1989.

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3

Bonhoeffer, Dietrich. Berlin, 1932-1933. Minneapolis, MN: Fortress Press, 2009.

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4

Gide, André. Correspondance, 1933-1937. [Nantes]: Centre d'études gidiennes, Université de Nantes, 1996.

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5

Reiter-Zatloukal, Ilse, Christiane Rothländer y Pia Schölnberger, eds. Österreich 1933-1938. Wien: Böhlau Verlag, 2012. http://dx.doi.org/10.7767/boehlau.9783205792291.

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6

Zaldumbide, Gonzalo. Cartas, 1933-1934. Quito, Ecuador: Consejo Nacional de Cultura del Ecuador Ediciones, 2000.

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7

Bonhoeffer, Dietrich. Berlin, 1932-1933. Gütersloh: Chr. Kaiser, 1997.

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8

Bonhoeffer, Dietrich. Berlin, 1932-1933. Minneapolis, MN: Fortress Press, 2009.

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9

Ozu, Yasujirō. Carnets: 1933-1963. Paris: Editions Alive, 1996.

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10

Zaldumbide, Gonzalo. Cartas: (1933-1934). Quito, Ecuador: Consejo Nacional de Cultura del Ecuador Ediciones, 2000.

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11

Blatný, Ivan. Verše: 1933-1953. V Brně: Atlantis, 1995.

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12

Krug, Hans-Jürgen. Arbeitslosenhörspiele, 1930-1933. Frankfurt am Main: P. Lang, 1992.

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13

Josef, König. Briefwechsel, 1923-1933. Freiburg: Karl Alber, 1994.

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14

Bonhoeffer, Dietrich. Berlin, 1932-1933. Minneapolis, MN: Fortress Press, 2009.

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15

Pozzi, Antonia. Epistolario: (1933-1938). Milano: Viennepierre, 2008.

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16

Obrebski, Joseph. Poreče 1932-1933. Prilep: In-t za staroslovenska kultura, 2003.

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17

Gide, André. Correspondance (1933-1937). Nantes: Centre d'Études Gidiennes, Université de Nantes, 1996.

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18

Bonhoeffer, Dietrich. London, 1933-1935. Minneapolis, MN: Fortress Press, 2008.

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19

Giuseppe, Pasquali y Pinna Pasquale, eds. Sabaudia, 1933-1934. Milano: Electa, 1985.

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20

Bonhoeffer, Dietrich. London, 1933-1935. Minneapolis: Fortress Press, 2007.

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21

Horváth, Ödön von. Stücke, 1931-1933. Frankfurt am Main: Suhrkamp, 1988.

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22

Bonhoeffer, Dietrich. London, 1933-1935. Gütersloh: Chr. Kaiser, 1994.

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23

Peignot, Jérôme. Affiches, Air France, 1933-1983 =: Posters, Air France, 1933-1983. Paris: Hazan, 1988.

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24

Slutsch, Sergej y Carola Tischler, eds. Deutschland und die Sowjetunion 1933-1941 (1933/1934). München: DE GRUYTER, 2014. http://dx.doi.org/10.1524/9783486736069.

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25

Choquette, Adrienne. Gerbes liées, 1933-1963. Montréal, Québec: Guérin Littérature, 1990.

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26

Bercavi, A. Faik. Nâzım'la 1933-1938 yılları. Cağaloğlu, İstanbul: Cem Yayınevi, 1992.

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27

Africa, Union of Orthodox Synagogues of South. Diamond jubilee, 1933-1993. Johannesburg: Union of Orthodox Synagogues of South Africa, 1993.

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28

Nikolaevich, Afanasʹev I͡U︡riĭ, Ivnit͡s︡kiĭ N. A y Kompleksnai͡a︡ nauchno-izdatelʹskai͡a︡ programma "Novai͡a︡ informat͡s︡ionnai͡a︡ sreda prepodavanii͡a︡ gumanitarnogo znanii͡a︡ v vyssheĭ shkole Rossii"., eds. Golod 1932-1933 godov. Moskva: Rossiĭskiĭ gos. gumanitarnyĭ universitet, 1995.

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29

Gevond, Aizik. Tseror mikhtavim: (1933-1935). Tel-Aviv: Har ha-ḳesamim, 1995.

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30

Mrzel, Ludvik. Gledališke kritike: 1933-1939. Ljubljana: SAZU, 1998.

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31

Frashëri, Mehdi. Kujtime: Vitet 1913-1933. Tiranë: OMSCA-1, 2005.

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32

Gualdoni, Flaminio y Rosalia Pasqualino di Marineo. Piero Manzoni, 1933-1963. Milano: Skira, 2014.

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33

Nikolaevich, Afanas'ev Yuriĭ, Russia (Federation). Gosudarstvennyĭ komitet po vysshemu obrazovaniyu. y Rossiĭskiĭ gumanitarnyĭ universitet, eds. Golod 1932-1933 godov. Moskva: Rossiĭskiĭ gos. gumanit. un-t, 1995.

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34

Richard, Ball. Selected poems, 1933-1993. Palo Alto, Calif: Zapizdat Publications, 1994.

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35

1946-, Broder Henryk M. y Recher Hilde, eds. Jüdisches Lesebuch, 1933-1938. Nördlingen: Greno, 1987.

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36

Onetti, Juan Carlos. Cuentos completos (1933-1993). Madrid: Alfaguara, 2009.

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37

Mann, Klaus. Tagebücher 1931 bis 1933. München: Spangenberg, 1989.

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38

Marochko, V. I. Holodomor 1932-1933 rr. Kyïv: PP Natalii︠a︡ Brekhunenko, 2007.

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39

Shyti︠u︡k, M. M. Holodomory XX stolitti︠a︡: 1921-1923, 1932-1933, 1946-1947. Kyïv: Helion, 1997.

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40

Beal, Amy C. Compositional Beginnings, 1933–1936. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0002.

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This chapter examines Beyer's compositional beginnings. Aside from several solo pieces composed in 1931 and 1932—a piano waltz and two solo clarinet suites, respectively—Beyer composed several chamber pieces during 1933. She continued making strides in her compositional work and developed new working methods. By December 1934, Beyer was gaining recognition for her music, but no money. Like most musicians during the Depression, Beyer struggled financially. However, despite foreclosures and other threats, the year 1935 brought some relief through the Works Progress Administration and its associated initiatives, and it is probably during this time that she taught piano under the auspices of the Federal Music Project. Eventually, Beyer had the first of her two Composers' Forum-Laboratory concerts on May 20, 1936, during which a number of her pieces were performed.
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41

Kosstrin, Hannah. Dances of All Nations. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.003.0002.

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This chapter argues that Anna Sokolow’s 1930s proletarian and anti-fascist choreographies contributed to an increasingly vibrant conversation with the transnational Left through shared ideologies of egalitarianism and antiracism as they made space for women in these conversations. The chapter discusses a catalog of her work, including Histrionics (1933), Speaker (1935), Four Little Salon Pieces (1936), Strange American Funeral (1935), Case History No.— (1937), Excerpts from a War Poem (F. T. Marinetti) (1937), Façade—Exposizione Italiana (1937), Slaughter of the Innocents (1937), “Filibuster” from The Bourbons Got the Blues (1938), Dance of All Nations (1938), and Sing for Your Supper (1939). These choreographies match the progression of American Communism across the 1930s from early proletarian statements to aligning with the Popular Front against Fascism, and to Jewish–Black alliances across the American Left and leftist cries against the American government as it began to prosecute Communist-affiliated activities.
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42

Rae Casena Baldwin 1879-1952 Kennedy. Field Notebooks: Switzerland, 1931-1938; 1933-1934. Creative Media Partners, LLC, 2021.

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43

Books, Harlequin. Harlequin Present 01/98: 1929, 1930, 1931, 1932, 1933, 1934 (Harlequin Presents). Harlequin Books, 1998.

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44

Beal, Amy C. The People, Yes. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0006.

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This chapter focuses on Beyer's compositions for voice—songs and choral works—between 1933 and 1937. Her three single songs and two three-song sets make use of her own poetry and that of two other writers. Beyer's manuscripts of Sky-Pieces (1933) are accompanied by four different cover pages, three of which reproduce Carl Sandburg's quirky poem about fedoras, slouch and panama hats, derbies, and sombreros. Perhaps due to her acquaintance with the Boston Symphony Orchestra principle clarinetist Rosario Mazzeo, Beyer then wrote a total of four songs for soprano and clarinet in 1934. Also composed in 1934, Beyer's Three Songs for Soprano and Clarinet are settings of Beyer's own poetry. Two of the poems (“Total Eclipse” and “Universal-Local”) had been written in 1932, and the third (“To Be”) was dated December 1934. Additionally, between 1935 and 1937, Beyer wrote five choral works.
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45

Music, Curtis Institute of. Recital Programs 1933-1934; 1933-1934. Creative Media Partners, LLC, 2021.

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46

Tischler, Carola y Sergej Slutsch. 1933/1934. de Gruyter GmbH, Walter, 2014.

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47

Beowulf. Paramount International News (1932-1933-1934). Creative Media Partners, LLC, 2021.

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48

Beal, Amy C. Sonatas, Suites, and String Quartets. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0007.

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This chapter examines Beyer's instrumental chamber works and pieces for symphony orchestra or large ensemble. Beyer's two suites for solo clarinet, composed in 1932, are landmark works of dissonant counterpoint and modernist formalism. These clarinet suites are compositionally intricate and virtuosic in their demands. These are important in their theoretical implications, and they started Beyer down a path of writing a number of pieces for woodwinds. Meanwhile, Beyer composed only two duos for strings and piano: Movement for Double Bass and Piano (1936) and Suite for Violin and Piano (January 1937). She also composed four works for string quartet: String Quartet (1933–34), String Quartet No. 2 (July 1936), Movement for String Quartet (also called Dance for Strings, 1938), and String Quartet IV (undated).
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49

Edited by Students of Millsaps College. Millsaps College Purple and White, 1932-1933; 1932-1933. Creative Media Partners, LLC, 2021.

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50

Bonhoeffer, Dietrich. London 1933-1935. Editado por Hans Godeking, Martin Heimbucher y Hans-Walter Schleicher. Gütersloher Verlagshaus, 1994. http://dx.doi.org/10.14315/9783641106928.

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