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Books on the topic 'German Audience'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

James-Chakrabor. German Architecture for a Mass Audience. Taylor & Francis Group Plc, 2004.

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James-Chakrabor. German Architecture for a Mass Audience. Taylor & Francis Inc, 2004.

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3

German architecture for a mass audience. Routledge, 2000.

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4

Meyer-Dinkgräfe, Daniel. Boulevard Comedy Theatre in Germany. Cambridge Scholars, 2005.

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5

Bennett, Cherie. Anne Frank & me: A new play for multigenerational audiences. Dramatic Pub., 1997.

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6

Popularizing the nation: Audience, representation, and the production of identity in Die Gartenlaube, 1853-1900. University of Nebraska Press, 1998.

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7

Kiss, Robert James. The Doppelgänger in Wilhelmine cinema (1895-1914): Modernity, audiences and identity in turn-of-the-century Germany. typescript, 2000.

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8

Baer, Hester. Dismantling the dream factory: Gender, German cinema, and the postwar quest for a new film language. Berghahn Books, 2009.

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9

Dismantling the dream factory: Gender, German cinema, and the postwar quest for a new film language. Berghahn Books, 2009.

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10

Turkish German cinema in the new millennium: Sites, sounds, and screens. Berghahn Books, 2012.

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11

Baer, Hester. Dismantling the dreamfactory: Gender, German cinema, and the postwar quest for a new film language. Berghahn Books, 2009.

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12

Baer, Hester. Dismantling the dreamfactory: Gender, German cinema, and the postwar quest for a new film language. Berghahn Books, 2009.

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13

Fuhrimann, Daniel. Herzohren für die Tonkunst: Opern- und Konzertpublikum in der deutschen Literatur des langen 19. Jahrhunderts. Rombach, 2005.

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14

Joyless streets: Women and melodramatic representation in Weimar Germany. Princeton University Press, 1989.

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15

Republic, Dominican. Discurso pronunciado por el Dr. Mariano Germán Mejía en ocasión de la conmemoración del día del poder judicial: Audiencia solemne 7 de enero de 2013. Poder Judicial, 2013.

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16

Medienlebensstile zwischen Informationselite und Unterhaltungsproletariat: Wissensungleichheiten durch die differentielle Nutzung von Printmedien, Fernsehen, Computer und Internet. New York, 2000.

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17

Milne, A. A. Gấu Pooh xinh xắn. Nhà xuất b̉an Hội nhà văn, 2007.

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18

Milne, A. A. Winnie-the-Pooh. Dutton Children's Books, 2001.

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19

Milne, A. A. Winnie-the-Pooh. McClelland & Stewart, 2000.

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20

Milne, A. A. Winnie-the-Pooh. E.P. Dutton, 1988.

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21

Milne, A. A. Winnie-the-Pooh. Ishi Press International, 2011.

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22

Milne, A. A. Winnie-the-Pooh. Dutton Children's Books, 1988.

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23

Milne, A. A. Winnie-the-Pooh. Mammoth, 1991.

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24

Milne, A. A. Vinni-Pukh i vse-vse-vse i mnogoe drugoe. Astrelʹ, 2000.

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25

Milne, A. A. Winnie-the-Pooh. Egmont, 2000.

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26

Milne, A. A. Winnie-the-Pooh. 3rd ed. Yearling, 1985.

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27

James-Chakrabor. German Architecture for a Mass Audience. Routledge, 2000.

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28

James-Chakrabor. German Architecture for a Mass Audience. Routledge, 2000.

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29

James-Chakraborty, Kathleen. German Architecture for a Mass Audience. Routledge, 2002. http://dx.doi.org/10.4324/9780203449448.

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30

Kloes, Andrew. The German Awakening. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190936860.001.0001.

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Historians of modern German culture and church history refer to “the Awakening movement” (die Erweckungsbewegung) to describe a period in the history of German Protestantism between the end of the Napoleonic Wars in 1815 and the Revolution of 1848. The Awakening was the last major nationwide Protestant reform and revival movement to occur in Germany. This book analyzes numerous primary sources from the era of the Awakening and synthesizes the current state of German scholarship for an English-speaking audience. It examines the Awakening as a product of the larger social changes that were resha

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31

Lewis, C. S. Chroniken Von Narnia (German Edition). Imprint unknown, 2000.

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32

Bruford, W. H. Theatre, Drama and Audience in Goethe’s Germany. Routledge, 2018. http://dx.doi.org/10.4324/9780429431081.

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33

Bruford, Walter Horace. Theatre Drama and Audience in Goethe's Germany. Taylor & Francis Group, 2020.

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34

Reference, ICON. The Awakening & Other Short Stories (Webster's German Thesaurus Edition). ICON Reference, 2006.

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35

Das, Ranjana, and Anne Graefer. Provocative Screens: Offended Audiences in Britain and Germany. Palgrave Macmillan, 2018.

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36

Das, Ranjana, and Anne Graefer. Provocative Screens: Offended Audiences in Britain and Germany. Palgrave Macmillan, 2017.

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37

Müller-Wille, Klaus. Scandinavian Romanticism. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.30.

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According to more traditional accounts in literary history, the exact date when Romanticism first reaches Scandinavia can be identified. In 1802, the geologist and philosopher of nature, Henrik Steffens, returns to Copenhagen after spending seven years studying and researching in Jena. Back in Denmark, he holds a controversial and widely noted series of lectures that familiarize the Danish audience with the ideas of German Romanticism. The literary impact ascribed to Steffens’s lectures is at least equally as relevant as its philosophical content, as the young poet Adam Oehlenschläger was a me

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38

Bomberger, E. Douglas. Noise. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872311.003.0004.

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As the revelation of the Zimmermann telegram pushed the United States closer to war, jazz continued to grow in popularity. The Creole Band and Original Dixieland Jazz Band played simultaneous engagements in New York, and numerous journalists reported on the new musical genre. Fritz Kreisler played to loyal audiences of German Americans, while Karl Muck continued to emphasize Austro-German music in his Boston Symphony Orchestra concerts. Patron Henry Lee Higginson weighed the pros and cons of renewing Muck’s contract in light of the conductor’s frankly expressed loyalty to Germany. Walter Damro

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39

Lott, Marie Sumner. The Diversity of Dvořák’s String Quartet Audiences. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039225.003.0007.

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This concluding chapter analyzes how the diversity of Antonín Dvořák's audiences affected his string quartets. The strain of satisfying the disparate expectations of diverse audiences while attempting to establish himself as a composer of “universal” music in the tradition of German Classicism is most evident in Dvořák's string quartets. These works demonstrate his shrewdness in reading the musical climate and responding to it with appropriate stylistic choices that address not only the desire for exotic signifiers or their absence but also the types of engagement that listeners and performers

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40

Die Audienz: Ritualisierter Kulturkontakt in Der Fruhen Neuzeit (German Edition). Bohlau Verlag, 2014.

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41

Rowling, J. K. Harry Potter 1 und der Stein der Weisen. Schmuckausgabe (German Edition). French and European Publications Inc, 2015.

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42

Love It Or Loathe It Audience Responses To Tabloids In The Uk And Germany. Transcript Verlag, Roswitha Gost, Sigrid Noke, 2012.

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43

Ogihara-Schuck, Eriko. Miyazaki's animism abroad: The reception of Japanese religious themes by American and German audiences. 2014.

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44

Lange, Barbara Rose. Recuperating the Alpine Image in Austrian Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0008.

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Chapter 7 discusses the identity politics of alpine music in Austria; alongside art music, it defined the nation until the turn of the millennium. The chapter describes how past and present adherents of the far right claimed the alpine as German-speaking rather than multiethnic, and as traditional in its gender roles. The chapter then explores how intellectuals and artists proposed new concepts of the nation. Neue Volksmusik (new folk music) was one expression, while other musicians such as Hubert von Goisern were explicit in their criticisms especially by the early 2000s, when far-right polit

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45

Preston, Katherine K. Emma Abbott, the “People’s Prima Donna”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371655.003.0006.

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The focus of this chapter is the most successful grand opera company of the decade, the troupe of Emma Abbott. This prima donna was thoroughly trained in the Italian school and performed primarily translated versions of the same continental repertory mounted by companies like James Mapleson’s. A self-made woman who thoroughly understood marketing, Abbott created a new audience of middle-class American opera lovers by providing an entertainment-oriented middlebrow style of opera that was located on the operatic continuum somewhere between comic or light opera and the socially or culturally elit

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46

Zakhatsev, S. I., D. V. Maslennikov, and V. P. Salnikov. The Logos of law: Parmenides - Hegel - Dostoevsky. On the Speculative and Logical Foundations of the Metaphysics of Law. Europe books, 2021. http://dx.doi.org/10.17513/np.490.

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The monograph studies the relation between the "first philosophy" as the doctrine about the unity of thinking and existence, on one hand, and the philosophy of law as a specialised philosophical science, on the other. This paper explores the methodological and general theoretical foundations for the interpreting of the classical philosophy of law, the problems of monism and dualism in the justification of the theory of law, the relations between law and morality, law and religion, and the Absolute in law. The notion of absolute freedom as a paradigm of the classical German philosophical and le

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47

Curtis, Scott. Shape of Spectatorship: Art, Science, and Early Cinema in Germany. Columbia University Press, 2015.

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48

Rowling, J. K. Harry Potterund der Feuerkelch (German Audio Edition of "Harry Potter and the Goblet of Fire"). French & European Pubns, 2001.

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49

Rowling, J. K. Harry Potter und der Feuerkelch (German edition of Harry Potter and the Goblet of Fire). French & European Pubns, 2001.

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50

Art for All?: The Collision of Modern Art and the Public in Late-Nineteenth-Century Germany. Princeton University Press, 2003.

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