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Books on the topic 'Elision'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2024

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1

Dunning, Alan. Elision. Calgary: A. Dunning, 1992.

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2

Śarmā, Jayabhagavāna. Lopa ki paramparā aura Pāṇini. Dillī: Īsṭarna Buka Liṅkarsa, 2006.

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3

"Zero" in the Aṣṭādhyāyī. New Delhi: Aditya Prakashan, 2008.

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4

Pandit, M. D. Zero in Pāṇini. Pune: Centre of Advanced Study in Sanskrit, University of Poona, 1990.

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5

Pandit, M. D. Zero in Pāṇini. Pune: Centre of Advanced Study in Sanskrit, University of Poona, 1990.

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6

La elisión sintáctica en español. Bellaterra: Publicacions de la Universitat Autònoma de Barcelona, 1987.

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7

al-Ḥājj, Muḥammad Ibn. al- Ḥadhf wa-al-taqdīr fī al-Qurʾān al-Karīm: Al-musammá bi (al-Maḥdhūfāt). [al-Qāhirah]: Maṭābiʻ Sijill al-ʻArab, 1986.

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8

Black markets, white boyfriends, and other acts of elision: By Ian Iqbal Rashid. Toronto: TSAR, 1991.

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9

Shinkeigo "maji yabaissu": Shakai gengogaku no shiten kara. Tōkyō: Hakutakusha, 2020.

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10

Hotel Elisio. London: Hearing Eye, 2001.

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11

Ward, Selena. Invisible man, Ralph Elison. New York, NY: Spark Pub., 2002.

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12

Invisible man, Ralph Elison. New York, NY: Spark Pub., 2002.

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13

Kalyuzhny, Alexander E. Handbook of ELISPOT. New Jersey: Humana Press, 2005. http://dx.doi.org/10.1385/1592599036.

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14

Kalyuzhny, Alexander E., ed. Handbook of ELISPOT. Totowa, NJ: Humana Press, 2012. http://dx.doi.org/10.1007/978-1-61779-325-7.

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15

Kalyuzhny, Alexander E., ed. Handbook of ELISPOT. New York, NY: Springer New York, 2018. http://dx.doi.org/10.1007/978-1-4939-8567-8.

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16

Kalyuzhny, Alexander E., ed. Handbook of ELISPOT. New York, NY: Springer US, 2024. http://dx.doi.org/10.1007/978-1-0716-3690-9.

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17

Corà, Bruno. Eliseo Mattiacci. Ravenna: Essegi, 1991.

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18

Sendrós, Paraná. Eliseo Subiela. Buenos Aires: Centro Editor de América Latina, 1993.

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19

1940-, Mattiacci Eliseo, and Museo d'arte moderna e contemporanea di Trento e Rovereto, eds. Eliseo Mattiacci. Milano: Electa, 2017.

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20

Basile, Bruno. L' elisio effimero: Scrittori in giardino. Bologna: Il Mulino, 1993.

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21

Donizetti, Gaetano. L' elisir d'amore. Bruxelles: Editions BEBA, 1985.

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22

Eliseo, Diego, and Orendáin Jorge 1967-, eds. Eliseo Diego: 1993. Guadalajara, Jalisco: Editorial Universitaria, 2006.

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23

Tullio, Pericoli, ed. L' elisir d'amore. Milano: Archinto, 1999.

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24

Pericoli, Tullio. L' elisir d'amore. Milano: Archinto, 1999.

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25

1941-, Saínz Enrique, ed. Acerca de Eliseo Diego. La Habana, Cuba: Editorial Letras Cubana, 1991.

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26

Caserta, Claudio. L' elisir di Luzzati. Salerno, Italy: Elea Press, 1996.

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27

Janetzki, Sylvia. Elispot for Rookies (and Experts Too). Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-45295-1.

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28

Handbook of ELISPOT: Methods and protocols. 2nd ed. New York: Humana Press, 2012.

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29

E, Kalyuzhny Alexander, ed. Handbook of ELISPOT: Methods and protocols. Totowa, N.J: Humana Press, 2005.

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30

Maretti, Mara Soldi. Prosit: Filtri, pozioni, elisir, polmenti. Cremona: Edizioni "Libreria del convegno", 1985.

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31

Abreu, Mauricio. Asomado al mundo de Eliseo Diego. Cuba: Ediciones URBE-ARTEX, 1993.

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32

Rafael, Luis. Eliseo Diego: Donde la demasiada luz. San Antonio de los Baños, La Habana, Cuba: Editorial Unicornio, 2004.

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33

Mattiacci, Eliseo. Eliseo Mattiacci: Galleria civica di Modena. [Modena?]: Cooptip, 1988.

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34

Alba, Rafael. Eliseo Parra: Nunca perseguí la gloria. [La Coruña]: Editorial Canela, 2017.

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35

Álvarez, Juan Antonio Bueno. El último viaje de Eliseo Guzmán. [Madrid]: Alfaguara, 2001.

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36

El cuento de Eliseo Pérez Cadalso. Tegucigalpa, Honduras: Editorial Universitaria, 2003.

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37

Seminário Internacional sobre Elisão Fiscal (2001 Escola de Administração Fazendária). Anais do Seminário Internacional sobre Elisão Fiscal. Brasília: Secretaria da Receita Federal, 2002.

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38

Torres, Ricardo Lobo. Planejamento tributário: Elisão abusiva e evasão fiscal. Rio de Janeiro, RJ, Brasil: Elsevier, 2012.

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39

Brynner, Angel. Elision: /grievechronic. Kokopellima Press, 2020.

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40

Miranda, Joao Pedro. Elision: Ascensão Dos Lords. Independently Published, 2021.

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41

Miranda, Joao Pedro. Elision: Ascensão Dos Lords. Independently Published, 2021.

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42

Allmend, Peter. Elision: Begegnung mit einer Weisen. Goldmann Verlag, 2016.

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43

Vowel elision in Florentine Italian. Bern: Peter Lang, 2012.

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44

Garrapa, Luigia. Vowel Elision in Florentine Italian. Lang AG International Academic Publishers, Peter, 2011.

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45

Karlan, Jesse. Elision: ɪˈlɪʒən. Independently Published, 2021.

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46

Yust, Jason. Hypermeter, Form, and Closure. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696481.003.0008.

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Closural strength of cadences is an important syntactic feature of tonal music, and is traditionally defined by means of harmonic and melodic, but not rhythmic, features. This chapter discusses the importance of hypermeter to the effect of closure, focusing especially on the important role of cadential elision in preventing closure. The denial of closure via elision is important at the end of the sonata form expositions. Separation of rhythmic, formal, and tonal closure as distinct phenomena informs recent debates on this topic. Beethoven’s use of hypermetrical means to deny closure was an important stage in his development of new approaches to musical form in his middle period, specifically the method of open expositions.

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47

C, Sajeev. !elisions. Independently Published, 2018.

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48

C, Sajeev. !elisions. Independently Published, 2018.

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49

Brown, Cory. elisions. Cayuga Lake Books, 2019.

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50

Fischer, Lucy. Generic Gleaning. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0008.

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This chapter examines Agnès Varda's The Gleaners and I (2000), an elision of documentary with autobiography that connects—through Varda's own working life, spanning feminist and postfeminist generations—to women's early film practice. The film depicts an extended “road trip” that Varda takes in order to encounter and film a variety of people who “glean” things—be their plunder the traditional rural harvest or urban garbage. In noting Varda's extension of the significance of “gleaning” for food to a woman's practice of collecting, the chapter delineates an encounter between a sensibility culturally defined as feminine with the feminized throwaway culture of mass consumerism. Authorship figures, then, as a form of creative recycling or bricolage.

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