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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 19 lutego 2022

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1

Die letzte welt. Frankfurt: Eichborn, 1991.

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2

Christoph, Ransmayr. Die letzte Welt: Roman. Frankfurt am Main: Fischer Taschenbuch, 1996.

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Im Zyklus eine Welt: Mozarts letzte Sinfonien. München: Carl Friedrich von Siemens Stiftung, 2015.

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Im Zyklus eine Welt: Mozarts letzte Sinfonien. München: Carl Friedrich von Siemens Stiftung, 1997.

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5

Christoph, Ransmayr. Die letzte Welt: Roman : mit einem Ovidischen Repertoire. Nördlingen: F. Greno, 1988.

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Christoph, Ransmayr. Die letzte Welt: Roman mit einem Ovidischen Repertoire. Wyd. 2. Nördlingen: Greno, 1988.

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7

Borowiak, Simone. Erste Zeile, letzte Klappe: Aus der Wundersamen Welt des Films. Frankfurt am Main: Eichborn, 1998.

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8

Borowiak, Simone. Erste Zeile, letzte Klappe: Aus der Wundersamen Welt des Films. Frankfurt am Main: Eichborn, 1998.

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9

Steinwender, Fritz. Die kommende neue Welt: Das letzte Buch der Bibel--neu gehört. Lahr-Dinglingen: Verlag der St.-Johannis-Druckerei C. Schweickhardt, 1991.

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10

Vollstedt, Barbara. Ovids "Metamorphoses," "Tristia" und "Epistulae ex Ponto" in Christoph Ransmayrs Roman "Die letzte Welt". Paderborn: F. Schöningh, 1998.

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11

Christus und die mündig gewordene Welt: Dietrich Bonhoeffers letzte Denkphase und ihre Bedeutung für die Verkündigung heute. Hannover: Lutherisches Verlagshaus, 1990.

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12

Nexus: Postmoderne Mythenbilder--Vexierbilder zwischen Spiel und Erkenntnis : mit einem Kommentar zu Christoph Ransmayrs "Die letzte Welt". Frankfurt am Main: P. Lang, 1996.

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13

Lange, Carsten. Fantasie und Fantastik in Christoph Ransmayrs Roman Die letzte Welt: Ein Unterrichtsmodell für den Deutschunterricht in der Oberstufe. Frankfurt am Main: Lang, 2009.

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14

Gehlhoff, Esther Felicitas. Wirklichkeit hat ihren eigenen Ort: Lesarten und Aspekte zum Verständnis des Romans Die letzte Welt von Christoph Ransmayr. Paderborn: F. Schöningh., 1999.

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15

Illustrator, Schöffmann-Davidov Eva 1973, red. Letzten Donnerstag habe ich die Welt gerettet. Berlin: Tulipan-Verl., 2012.

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16

Hasebeck, Heinrich. Gasparan, oder, Die letzte Fahrt des Francis Drake. Zürich: Benziger, 1996.

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17

Schreibengehen: Literatur und Fotografie en passant. Köln: Böhlau, 2008.

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18

Widmer, Ruedi. Die letzten Geheimnisse einer rationalen Welt: Cartoon-Kolumnen 2000-2009. Winterthur: Sewicky-Verlag, 2009.

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19

Barthel, Günter. Die Geschichte der Kleinbahn Erfurt (West)-Nottleben 1926-1967: Eine der letzten nach preussischem Gesetz gebauten Kleinbahnen. Bad Langensalza: H. Rockstuhl, 2001.

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20

Josef, Sieben Hermann, red. Anticimenon: "Über die eine Kirche von Abel bis zum letzten Erwählten und von Ost bis West". Münster: Aschendorff, 2010.

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21

The complete idiot's guide to writing well. Indianapolis, IN: Alpha Books, 2000.

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22

The everything writing well book: Master the written word and communicate clearly. Avon, MA: Adams Media Corp., 2003.

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23

1854-1930, Carpenter Martha Bennett, Tyler Daniel i Henshaw Betty, red. Love in an envelope: A courtship in the American West. Albuquerque: University of New Mexico Press, 2008.

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24

Gauger, Jörg-Dieter. Authentizität und Methode: Untersuchungen zum historischen Wert des persisch-griechischen Herrscherbriefs in literarischer Tradition. Hamburg: Kovač, 2000.

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25

Scrib. New York: HarperCollins, 2005.

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26

Ransmayr, Christoph. Die letzte Welt. Fischer S. Verlag GmbH, 2008.

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27

Ransmayr, Christoph. Die Letzte Welt. Fischer Taschenbuch Verlag GmbH, 1991.

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28

Ransmayr, Christoph, i Thomas Epple. Oldenbourg Interpretationen, Bd.59, Die letzte Welt. Oldenbourg Schulbuchverlag, 1992.

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29

Ransmayr, Christoph, i Enzensberger Hans Magnus. Die letzte Welt. Die Andere Bibliothek - Erfolgsausgabe. Eichborn, 1989.

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30

1951-, Wacker Bernd, red. Die Letzte Chance?: Adoptionen aus der 3. Welt. Reinbeck bei Hamburg: Rowohlt, 1991.

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31

Ransmayr, Christoph. Die letzte Welt / Morbus Kitahara / Die Schrecken des Eises und der Finsternis. Fischer (Tb.), Frankfurt, 2002.

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32

Kiel, Martin. Nexus: Postmoderne Mythenbilder--Vexierbilder zwischen Spiel und Erkenntnis : Mit einem Kommentar zu Christoph Ransmayrs "Die letzte Welt" (European university ... Series I, German language and literature). P. Lang, 1996.

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33

Hunter, Erin. Warrior Cats - Die Welt der Clans. Die letzten Geheimnisse. Beltz GmbH, Julius, 2018.

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34

Berger, Thomas. Little Big Man. Der letzte Held. Dtv, 1997.

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35

Szeemann, Harald. Money and Value/the Last Taboo: Geld Und Wert/Das Letzte Tabu. Art Stock, 2002.

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36

Brockman, John. Die wichtigsten Erfindungen der letzten 2000 Jahre. Ideen, die die Welt veränderten. Ullstein Buchverlage GmbH & Co. KG / Ullstein Tas, 2000.

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37

Weis, Rene. Die Welt ist des Teufels. Die Geschichte der letzten Katharer 1290 - 1329. Lübbe, 2001.

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38

Häusler, Barbara. Was tut der Wind, wenn er nicht weht? Letzte Fragen und erste Antworten. Rowohlt Tb., 2001.

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39

Espinosa, Albert. Club der blauen Welt: An was glaubst du, wenn morgen dein letzter Tag wäre - Roman. Goldmann Verlag, 2016.

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40

Gündling, Christian. Letzter Aufruf Kundenorientierung: Vom Sinn zum Gewinn - warum in einer digitalisierten Welt nur echte Kundenorientierung zu Gewinn führen wird. Springer Gabler, 2018.

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41

Ich Sah Des Sommers Letzte Rose Stehn...: Vom Aktuellen Didaktischen Wert Der Gedankenlyrik Friedrich Hebbels (Beitrage Zur Literatur- Und Mediendidaktik). Peter Lang Publishing, 2004.

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42

1528-1598, Bry Theodor de, Potgieter, Barent Jansz, b. 1574., Arthus Gotthard 1570-1630?, Bry, Johann Israel de, d. 1611. i Acosta José de 1540-1600, red. Neundter vnd letzter Theil Americæ, darin[n] gehandelt wird von Gelegenheit der Elementen, Natur, Art und Eigenschafft der Newen Welt ... Gedruckt zu Franckfurt am Mayn: Bey Wolffgang Richter, 1994.

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43

Deroy, Ophelia, red. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0001.

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When she was sixteen, Patricia Duffy and her father were reminiscing about how, as a child, she learned to write all of the letters very quickly except for the letter ‘R’. She said to her father that this lasted ‘until one day, I realized that to make an “R” all I had to do was first write a “P” and then draw a line down from its loop. And I was so surprised that I could turn a yellow letter into an orange letter just by adding a line’. ‘Yellow letter? Orange letter?’ her father wondered, ‘what do you mean?’ ‘Well, you know, “P” is a yellow letter, but “R” is an orange letter. You know, the colours of the letters.’ ‘The colours of the letters?’ her father replied....

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44

Watson, Nicola J. Epistolary Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0020.

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This chapter examines epistolary fiction. The heyday of epistolary fiction, the novel told entirely or mostly in letters, stretched from the 1750s until the late 1790s, before it suffered abrupt decline and extinction. This pre-eminence is attributable to the century's well-documented investment in letter writing as the prime way of constituting the social and sociability, whether conceived as the private domain of the family or as the wider public sphere. A letter-writing and letter-publishing culture flourished in relation to economics, politics, religion, housekeeping, medicine, travel, and, especially, questions of conduct. Indeed, a new middle-class culture of writing was in the making, and letter writing and the depiction of letter writing played its own part in constructing that culture.

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45

Love In An Envelope A Courtship In The American West. University of New Mexico Press, 2009.

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46

Callaghan, Madeleine. ‘One is always in love with something or other’. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940247.003.0007.

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Epipsychidion and Shelley’s poems to Jane Williams show him poeticise his conception of love. These poems construct and deconstruct idealised states in his work with a self-consciousness that never undercuts the emotional intensity of the poetry. Reading Shelley’s letter to John Gisborne of 18 June 1822 reveals Shelley’s critical acumen as well as his attempt to lessen the distance between himself and his friend as he seamlessly moves from idea to idea. The letter retains a clear consciousness of the difficulty, the nigh impossibility, of the ideal in Epipsychidion and the gap between the real and poetic version of Jane Williams in the letter and the poems. Shelley’s multitonal performances echo from his prose to his poetry as he creates and dispels his own poetic fantasies.

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47

Tucker, Ernest. Iran and the Ottomans after Nader Shah. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190250324.003.0005.

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This chapter discusses correspondence in early 1761 between Ahmad Shah Dorrani and Ottoman Sultan Mustafa III. Just after Ahmad Shah secured control over northern India, he sent Mustafa a letter proposing that they divide Iran between them, since Ahmad had also recently conquered Khorasan. Ahmad also asked the Ottomans to give him land in Medina on which to build a mosque. Mustafa’s response was measured. It called on Ahmad to give charity to the poor if he wanted to show piety, but did not offer to provide him any land in Medina for building a mosque. The letter also asked Ahmad to honor the 1746 Kordan Treaty, which had created the basis for peace between the Ottomans and Nader Shah. The initial letter and its response are analyzed in the eighteenth-century context of the rapidly changing political circumstances of Iran as well as the Dorrani and Ottoman Empires.

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48

Billheimer, John. Hitchcock and the Censors. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177427.001.0001.

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The Motion Picture Production Code controlled the content and final cut on all films made and distributed in the US from 1934 to 1968. Code officials protected sensitive ears from the standard four-letter words as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed ‘excessively lustful’ kissing from the screen, and ensured that no criminal went unpunished. Censors demanded an average of twenty changes, ranging from trivial to mind-boggling, on each of Alfred Hitchcock’s films during his most productive years. No production escaped these changes, which rarely improved the finished film. Code reviewers dictated the ending of’ Rebecca, shortened the shower scene in’ Psycho, absolved Cary Grant of guilt in’ Suspicion, edited Cole Porter’s lyrics in’ Stage Fright, and decided which shades should be drawn in’ Rear Window. Nevertheless, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming (and occasionally tricking) the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. The director’s priorities in dealing with the censors highlight both his theories of suspense and the single-mindedness of Code officials. Hitchcock and the Censors’ traces the forces that led to the Production Code and describes Hitchcock’s interactions with Code officials on a film-by-film basis as he fought to protect his creations, bargaining with Code reviewers and sidestepping censorship to produce a lifetime of memorable films.

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49

Edmondson, Jonathan. Inscribing Roman Texts. Redaktorzy Christer Bruun i Jonathan Edmondson. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780195336467.013.007.

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This chapter considers how a Roman acquired an inscription and how Roman stonecutters went about producing the inscriptions that met this demand. Attention is paid to the layout (ordinatio) and carving of epigraphic texts, including letter forms, errors, modifications, and aids to visibility and legibility.

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50

Siracusa, Joseph M. 2. Building the bomb. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780198727231.003.0002.

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No single decision created the atomic bomb, but most accounts begin with the presidential discussion of a letter written by Albert Einstein. ‘Building the bomb’ describes how the bomb came about, from Einstein's letter to Roosevelt about the threat of nuclear weapons to the bombings in Japan. What were the ramifications of the atomic bombs? The impact of the Manhattan Project’s new weapon spread well beyond military and scientific circles, to an extent unprecedented in the popular imagination. A turning point in the history of the contemporary world had been reached. ‘The bomb’, as it was dubbed, became a defining feature of the post-World War II world.

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