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Books on the topic 'Filipe (1934-....)'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

"Delo kraevedov T︠S︡ChO" 1930-1931 godov: Kurskiĭ "filial". Kursk: Kurskiĭ gos. med. universitet, kafedra filosofii, 2007.

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2

Filip na konju: Letopis smešnog ratnika. Beograd: Delta Press, 1985.

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3

Kosiński, Jan. Niemieckie obozy koncentracyjne i ich filie. [Kassel?]: Drukarnia Polska "Kontrast", 1999.

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4

Filie obozu koncentracyjnego Gross-Rosen: Informator. Wałbrzych: Muzeum Gross-Rosen, 2008.

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5

Gross-Rosen, Muzeum. Filie obozu koncentracyjnego Gross-Rosen: Informator. Wałbrzych: Muzeum Gross-Rosen, 2008.

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6

Samsŏng Misul Munhwa chaedan (Korea). Hyohaengsang, 1975 (1-hoe)--1984 (10-hoe). Sŏul: Samsŏng Misul Munhwajaedan, 1985.

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7

Konieczny, Alfred. AL Bunzlau I i AL Bunzlau II: Filie KL Gross-Rosen w Bolesławcu. Wałbrzych: Muzeum Gross-Rosen, 2004.

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8

Konieczny, Alfred. AL Bunzlau I i AL Bunzlau II - filie KL Gross-Rosen w Boleslawcu. Walbrzych: Muzeum Gross-Rosen w Walbrzychu, 2004.

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9

Service, United States Internal Revenue. Ogden IRS Center presents... electronic filing, 1994. [Washington, D.C.?: Dept. of the Treasury, Internal Revenue Service, 1993.

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10

Hackbarth, Doris. DEFA 1946-1964: Studio für Populärwissenschaftliche Filme (und Vorläufer) : Filmografie. Edited by Schulz Günter 1906-. Berlin: Henschel, 1997.

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11

Pisis, Filippo De. De Pisis, gli anni di Parigi, 1925-1939. [Milano]: Mazzotta, 1987.

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12

Institut i͡azyka, literatury i istorii (Akademii͡a nauk SSSR. I͡Akutskiĭ filial) and Akademii͡a nauk SSSR. I͡Akutskiĭ filial. Nauchnai͡a biblioteka., eds. Izdanii͡a Instituta i͡azyka, literatury i istorii, 1937-1983 gg.: Bibliograficheskiĭ ukazatelʹ. I͡Akutsk: I͡Akutskiĭ filial SO AN SSSR, 1985.

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13

1941-, Lopez Robert J., ed. Maple V: Mathematics and its application : proceedings of the Maple Summer Workshop and Symposium, Rensselaer Polytechnic Institute, Troy, New York, August 9-13, 1994. Boston: Birkhäuser, 1994.

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14

Association, USENIX, ed. Proceedings of the Eighth Systems Administration Conference (LISA VIII), September 19-23, 1994, San Diego, CA, USA. Berkeley, CA: USENIX Association, 1994.

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15

Fascist modernism: Aesthetics, politics and the avant-garde. Stanford,Calif: Stanford University Press, 1993.

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16

Blum, Cinzia Sartini. The other modernism: F.T. Marinetti's futurist fiction of power. Berkeley: University of California Press, 1996.

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17

Dille, Ed. Across the Rhine: The official strategy guide. Rocklin, CA: Prima Pub., 1995.

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18

Mark, Walker. Fighter squadron: The screamin' demons over Europe : official strategy guide. Indianapolis, Ind: Brady Pub., 1999.

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19

Bailey, Vera Jones. Vera Jones Bailey: Migration of a working family, from the San Joaquin Valley to the Richmond shipyards, 1942. Berkeley, Calif: Regional Oral History Office, Bancroft Library, University of California, 1990.

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20

Fascist modernism: Aesthetics, politics, and the avant-garde. Stanford, Calif: Stanford University Press, 1993.

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21

Working with DisplayWrite 3. Blue Ridge Summit, PA: Tab Books, 1986.

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22

Clausen, Marguerite. Marguerite Clausen: Memories of a lifelong Richmond resident, 1912 to 1987. Berkeley, Calif: Regional Oral History Office, Bancroft Library, University of California, 1990.

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23

Reading visual poetry after futurism: Marinetti, Apollinaire, Schwitters, Cummings. New York: P. Lang, 1995.

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24

Loewy, Ronny, ed. Max Ophüls. edition text + kritik im Richard Boorberg Verlag, 2011. http://dx.doi.org/10.5771/9783869168876.

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Melancholisch erzählen Max Ophüls' Filme vom untergehenden Bürgertum in Europa, aber keine Geschichte verharrt oder endet im Stillstand. Schier unaufhaltsame Kamerafahrten, unendliche Raumkaskaden, verwirrende Spiegel- und Fensterdurchblicke und atemberaubende Treppengänge verweisen auf Ophüls' außerordentliche Beweglichkeit als Stil- und Lebensprinzip. Max Ophüls, geboren 1902 in Saarbrücken, arbeitete zunächst sehr erfolgreich als Schauspieler und Regisseur am Theater und als Autor für das neue Medium Radio, bevor er 1931 nach der Etablierung des Tonfilms Filmregisseur wurde. Mit "Liebelei" (1932/33), seinem vierten langen Spielfilm, hätte eine große Karriere in Deutschland ihren Anfang nehmen können, aber zwischen der Produktion des Films und dessen Kinostart mussten Ophüls und seine Familie 1933 den Weg aus dem "Dritten Reich" nach Frankreich antreten. Der Emigrant Ophüls erfuhr die Unbehaustheit des Exils, als Regisseur in Frankreich, Italien, den Niederlanden und den USA, wo er vor den Studios Hollywoods fünf Jahre auf seine erste Filmregie warten musste. Erst für seinen letzten Film "Lola Montez", einer deutsch-französischen Koproduktion von 1955, drehte Ophüls wieder in Deutschland. Der Beginn seiner Karriere in Deutschland, die Werke seiner europäischen Exilstationen vor und nach dem Krieg, natürlich auch der Jahre in Hollywood, werden in den Texten dieses Heftes vornehmlich danach befragt, ob es Ophüls tatsächlich gelang, seinen künstlerischen Eigensinn unter wechselnden und fremdbestimmten Umständen der Filmproduktion zu verwirklichen.
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25

Bock, Hans-Michael, Jan Distelmeyer, and Jörg Schöning, eds. Filmpionier und Mogul. edition text + kritik im Richard Boorberg Verlag, 2019. http://dx.doi.org/10.5771/9783869168647.

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Joe May (1880–1954) war eine Zentralfigur des Weimarer Kinos. 1911 kam er als Regisseur zum Film, war aber schon bald auch als Produzent tätig. Er baute eine eigene Produktionsfirma auf und feierte mit seriellen Formaten wie der Joe-Deebs-Detektivserie und der melodramatischen Mia-May-Serie schnell Erfolge. Nach dem Ersten Weltkrieg wuchs seine Firma zu einem kleinen Imperium heran und umfasste eigene Ateliers und Außengelände in Berlin-Weißensee und Woltersdorf. Es entstanden Großproduktionen wie die 8-teilige Abenteuerserie "Die Herrin der Welt" (1919) und der 2-Teiler "Das indische Grabmal" (1921). Mays Filme – vor allem "Heimkehr" (1928) und "Asphalt" (1928/29) – gehören zu den Höhepunkten des Weimarer Kinos. Star der May-Filme war zumeist seine Frau Mia May, auch Tochter Eva (1902–1924) machte in ihrem kurzen Leben als Schauspielerin Karriere. Zum "Team" May gehörten außerdem eine Reihe von Mitarbeitern, darunter auch Fritz Lang und Thea von Harbou, denen die May-Filme zu ersten Erfolgen verhalfen und den Weg für die weitere Karriere ebneten. Einen maßgeblichen Beitrag zu den May-Filmen leisteten u. a. die Film-Architekten Erich Kettelhut, Martin Jacoby-Boy und Paul Leni. Aber auch das Wirken anderer Beteiligter, die bisher eher unsichtbar blieben, gilt es zu entdecken. In den Texten dieses Buchs beleuchten Filmhistoriker und -wissenschaftler das Scha?en Joe Mays im Weimarer Kino und im Exil sowie das seiner Mitarbeiter und Weggefährten. Zum Thema des Sammelbands erschien im November 2018 bereits das cinefest-Katalogbuch "Meister des Weimarer Kinos. Joe May und das wandernde Bild".
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26

Lloyd, Ian J. 3. The scope of data protection. Oxford University Press, 2017. http://dx.doi.org/10.1093/he/9780198787556.003.0003.

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This chapter examines the core concepts which define the scope of data protection legislation. These include the concept of personal data; issues of identification; the concept of processing; non-automated filing systems; data protection actors: data controllers, data processors, and data subjects; and application of the Data Protection Act 1984.
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27

Aurich, Rolf, and Wolfgang Jacobsen, eds. Harald Braun. edition text + kritik im Richard Boorberg Verlag, 2014. http://dx.doi.org/10.5771/9783869169446.

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Harald Braun (1901–1960) war nicht nur ein erfolgreicher Regisseur und Autor in seiner Zeit, er war auch ein gläubiger Christ, der zu seiner Konfession stand. Mit seinen Filmen wollte er lebensdienlich sein, wie er selbst betonte. 1901 in Berlin geboren, Sohn eines konservativen evangelischen Pfarrers, trat Braun nach Studium und Promotion 1924 in die Schriftleitung der Literaturzeitschrift "Eckart" ein. Ideologisch nicht verbaut, verstand er den "Eckart" als ein Forum, in dem offen und mit literarischem Anspruch über Glaubensfragen verhandelt werden konnte. Harald Braun forderte stets zum Gespräch auf – auch in seiner Rundfunkarbeit, als Drehbuchautor und als Filmregisseur. Während des Nationalsozialismus entstanden unter seiner Regie intensive Filme wie "Zwischen Himmel und Erde" und "Träumerei". Ökonomischen Erfolg und künstlerische Anerkennung brachten ihm seine Filme "Nachtwache", "Herz der Welt" und die Thomas-Mann-Verfilmung "Königliche Hoheit". Die Dringlichkeit seines Fragens verbunden mit einer ästhetischen Strenge seiner filmischen Dramaturgie machten Harald Braun trotz aller Erfolge zu einem respektierten Außenseiter im Filmbetrieb. Die beigelegte Audio-CD enthält ein Gespräch zwischen Erwin Goelz und Harald Braun, das am 7. März 1952 innerhalb der Reihe "Film-Prisma" zum Thema "Der Filmregisseur" ausgestrahlt wurde.
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28

Horn, Gerd-Rainer. The Moment of Liberation in Western Europe. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199587919.001.0001.

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The moment of liberation in Western Europe, 1943-1948, regards the final two years of World War II and the immediate post-liberation period as a moment in twentieth century history, when the shape and contours of postwar Western Europe appeared highly uncertain and various alternatives and conflicting visions were up for grabs. After close to six years of total war, Nazi terror and brutal occupation policies, a growing number of Europeans were no longer content solely to fight for national liberation from fascist control. Having staked their lives in military and civilian resistance to Nazism and Italian fascism across the continent, surviving activists were aiming to ensure that such a political and social catastrophe would never befall Europe again. In the closing moments of World War II, hundreds of thousands of antifascist activists had begun to identify with the famous quote penned by the exiled German social theorists, Max Horkheimer, who had boldly proclaimed in early September 1939: ‘Whoever is not prepared to talk about capitalism should also remain silent about fascism.’ The economic and political elites in prewar societies were increasingly regarded as co-responsible for war, fascism and occupation policies, from which many had benefited significantly and often enthusiastically. There were extensive popular social movements at work in almost every single state which aimed to construct postwar societies in which grassroots democracy and the free association of rank-and-file activists would replace the profit principle and the top-down Jacobin orientation by traditional elites. This book for the first time reconstructs the parameters of this contest over the shape of postwar Western Europe from a consistently transnational perspective.
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29

Aurich, Rolf, and Wolfgang Jacobsen, eds. Peter W. Jansen. edition text + kritik im Richard Boorberg Verlag, 2018. http://dx.doi.org/10.5771/9783869169262.

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Peter W. Jansen begleitete als Filmkritiker die französische Nouvelle Vague, das bundesdeutsche Autorenkino und die Filme des New Hollywood. Der Film faszinierte Peter W. Jansen (1930-2008) früh, doch schrieb er zunächst über Literatur und war dem politischen Tagesgeschäft verpflichtet: Ende der 1950er Jahre beginnt er als Redakteur beim Düsseldorfer "Mittag", prägt mit seinen stilistisch pointierten und politisch ebenso standhaften wie offenen Texten und Glossen das Feuilleton der "Frankfurter Allgemeinen Zeitung". Viele Jahre moderiert er als Kolumnist die "Kino-Notiz" im Kulturmagazin "aspekte" des ZDF. Doch der Hörfunk war seine eigentliche Domäne. Auf unverwechselbare Art erweiterte er dort die Ästhetik des Mediums. Mit der Sendereihe "Jansens Kino" übersetzte er die Elemente des Films in Töne und machte die Sinnenwelt des Kinos im anderen Medium sichtbar. Mit Aufsätzen von Rolf Aurich, Anna Bitter und Wolfgang Jacobsen.
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30

N, Ivanov V., and Institut i͡a︡zyka, literatury i istorii (Akademii͡a︡ nauk Respubliki Sakha (I͡A︡kutii͡a︡)), eds. 60 let nauchnogo poiska: II͡A︡LI, 1935-1995. I͡A︡kutsk: II͡A︡LI AN RS(I͡A︡), 1995.

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31

Marina, Tugus, Gosudarstvennyĭ istoricheskiĭ muzeĭ (Moscow, Russia), and T͡S︡erkovʹ Svi͡a︡toĭ Troit͡s︡y v Nikitnikakh (Moscow, Russia), eds. Gosudarstvennyĭ istoricheskiĭ muzeĭ: Po putevoditeli͡a︡m 1914, 1921, 1956 godov ; Filial Gosudarstvennogo istoricheskogo muzei͡a︡ "T͡S︡erkovʹ Svi͡a︡toĭ Troit͡s︡y v Nikitnikakh" ; Ikony i kolokol t͡s︡erkvi Svi͡a︡toĭ Troit͡s︡y v Nikitnikakh. Moskva: Izd-vo Mezhregionalʹnyĭ t͡s︡entr otraslevoĭ informatiki Gosatomnadzora Rossii, 1998.

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32

De Bagdad a Ispahan: Manuscrits islamiques de la Filiale de Saint-Petersbourg de l'Institut d'etudes orientales, Academie des sciences de Russie : Musee du Petit-Palais, 14 octobre 1994-8 janvier 1995. Electa, 1994.

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33

A, Petrosi͡a︡n I͡U︡, Institut vostokovedenii͡a︡ (Rossiĭskai͡a︡ akademii͡a︡ nauk). Sankt-Peterburgskiĭ filial., and Musée du Petit Palais (Paris, France), eds. De Bagdad à Ispahan: Manuscrits islamiques de la Filiale de Saint-Pétersbourg de l'Institut d'études orientales, Académie des sciences de Russie : Musée du Petit-Palais, 14 octobre 1994-8 janvier 1995. Paris: Fondation ARCH, 1994.

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34

Holmes, Sean P. Epilogue. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037481.003.0008.

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This epilogue traces the collapse of the old theatrical economy after the onset of the Great Depression and assesses its impact on the men and women of the American stage. Highlighting the huge decline in employment opportunities in a perennially overcrowded labor market in the wake of the Great Crash, it argues that the brand of occupational unionism that had underpinned the activities of the Actors' Equity Association (AEA) in the 1920s ceased to meet the needs of the theatrical rank and file. In the highly politicized environment of the 1930s, traditional patterns of deference within the acting community broke down, and a new generation of actors, largely unschooled in the genteel tradition in American culture, began to question the wisdom of building an occupational identity around the twin ideals of workplace discipline and respectability. In 1935 a group of militants set out to seize control of the AEA and to guide it in a more radical direction. Though their insurgency failed, it had profound implications for actors' unionism in the American theater industry. It prompted a reorientation of the AEA toward the bread-and-butter needs of its constituents and a frank acknowledgment on the part of its leaders that actors are workers as well as artists—and that the first role is indivisible from the second.
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35

The Great Black Spider On Its Knockkneed Tripod Reflections Of Cinema In Early Twentiethcentury Italy. University of Toronto Press, 2012.

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36

Stung by Salt and War: Creative Texts of the Italian Avant-Gardist F.T. Marinetti (Reading Plus, Vol 2). Peter Lang Pub Inc, 1987.

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37

Ball, Molly C. Navigating Life and Work in Old Republic São Paulo. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401667.001.0001.

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This book examines the experiences of São Paulo’s diverse working class as they encountered rapid urbanization and industrialization brought on by the coffee boom during Brazil’s Old Republic (1891–1930). It places the rank-and-file at the center of its analysis to understand how macroeconomic trends connected to daily life and individual and family responses to labor market discrimination, inflation, and fluctuating (im)migration. The study emphasizes the family-centered nature of immigration to São Paulo in comparison to other immigrant cities like Buenos Aires and New York City. It shows how World War I exacerbated existing working-class hierarchies and cut short important standard-of-living advancements. The study demonstrates how despite its intended purpose to funnel agricultural laborers into the coffee interior, the city’s immigrant receiving station also played a decisive role in shaping the city of São Paulo, serving both as a safety net for residents and labor supplier for employers. Methodologically, this book embraces both social and economic history, deconstructing the population along racial, ethnic, national, and gender lines. Combining statistical analysis alongside close readings of immigrant letters provides a nuanced analysis of recently arrived Paulistanos from Italy, Portugal, Germany, Lebanon, and Japan and from northeastern Brazil. The research demonstrates how Portuguese, women, and Afro-Brazilians all faced significant labor market discrimination, impacting individual and family decisions about where to work and live and whether to join labor movements. The approach provides a powerful tool to address archival silences, recover embedded narratives, and understand historic underdevelopment.
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38

Institute Of Electrical and Electronics Engineers. IEEE Standards Interpretations for IEEE Std 1003.1-1990 and IEEE Std 2003.1-1992 (Ieee Std 1003.1/2003.1//Int October 1994). Institute of Electrical & Electronics Enginee, 1994.

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39

Blum, Cinzia Sartini. Other Modernism: F. T. Marinetti's Futurist Fiction of Power. University of California Press, 1996.

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40

Filippo Tommaso Marinetti: The Artist and His Politics. Fairleigh Dickinson University Press, 2015.

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41

Ialongo, Ernest. Filippo Tommaso Marinetti: The Artist and His Politics. Fairleigh Dickinson University Press, 2016.

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42

Holmes, Andrew R. Evangelism, Revivals, and Foreign Missions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199683710.003.0017.

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Dissenters in the long nineteenth century believed that they were on the right side of history. This chapter argues that the involvement of evangelical Nonconformists in politics was primarily driven by a coherent worldview derived from a Congregationalist understanding of salvation and the gathered nature of the church. That favoured a preference for voluntarism and a commitment to religious equality for all. Although Whig governments responded to the rising electoral clout of Dissenters after 1832 by meeting Dissenting grievances, both they and the Conservatives retained an Erastian approach to church–state relations. This led to tension with both those Dissenters who favoured full separation between church and state, and with Evangelical Churchmen in Scotland, who affirmed the principle of an Established Church, but refused government interference in ministerial appointments. In 1843 this issue resulted in the Disruption of the Church of Scotland and the formation of a large Dissenting body north of the border, the Free Church. Dissenting militancy after mid-century was fostered by the numerical rise of Dissent, especially in cities, the foundation of influential liberal papers often edited by Dissenters such as Edward Miall, and the rise of municipal reforming movements in the Midlands headed by figures such as Joseph Chamberlain. Industrialization also boosted Dissenting political capacity by encouraging both employer paternalism and trades unionism, whose leaders and rank and file were Nonconformists. Ireland constituted an exception to this pattern. The rise of sectarianism owed less to Irish peculiarities than to the presence and concentration of a large Catholic population, such as also fostered anti-Catholicism in Britain, in for instance Lancashire. The politics of the Ultramontane Catholic Church combined with the experience of agrarian violence and sectarian strife to dispose Irish Protestant Dissenters against Home Rule. The 1906 election was the apogee of Dissent’s political power, installing a Presbyterian Prime Minister in Campbell-Bannerman who would give way in due course to the Congregationalist H.H. Asquith, but also ushering in conflicts over Ireland. Under Gladstone, the Liberal party and its Nonconformist supporters had been identified with the championship of oppressed nationalities. Even though Chamberlain and other leading Dissenting liberals such as Isabella Tod resisted the extension of that approach to Ireland after 1886, preferring local government reform to Home Rule, most Dissenting voters had remained loyal to Gladstone. Thanks to succeeding Unionist governments’ aggressive foreign policy, embrace of tariff reform, and 1902 Education Act, Dissenting voters had been keen to return to a Liberal government in 1906. That government’s collision with the House of Lords and loss of seats in the two elections of 1910 made it reliant on the Irish National Party and provoked the introduction in 1912 of a third Home Rule Bill. The paramilitary resistance of Ulster Dissenters to the Bill was far from unanimous but nonetheless drove a wedge between British Nonconformists who had concluded that religion was a private matter and would do business with Irish Constitutional Nationalists and Ulster Nonconformists, who had adopted what looked like a bigoted insistence that religion was a public affair and that the Union was their only preservative against ‘Rome Rule’. The declaration of war in 1914 and the consequent suspension of the election due in 1915 means it is impossible to know how Nonconformists might have dealt with this crisis. It was the end of an era.
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43

Hewitt, Andrew. Fascist Modernism: Aesthetics, Politics, and the Avant-Garde. Stanford University Press, 1996.

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44

Institutions of Modernism: Literary Elites and Public Culture (Henry McBride Series in Modernism). Yale University Press, 1999.

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