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Books on the topic 'Place des Vosges'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 March 2023

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1

Siguret, Catherine. Le mouton de la place des Vosges: Roman. Paris: Albin Michel, 2015.

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2

Feist, Raymond E. Koning der vossen. Amsterdam: Uitgeverij M, 2004.

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3

Blohm & Voss 155. Sturbridge, Massachusetts, USA: Monogram Aviation Publications, 1990.

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4

J, Nowarra Heinz. Blohm & Voss, Bv 222 Wiking, Bv 238. Atglen, PA: Schiffer Pub., 1997.

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5

Place des Vosges. SEUIL, 2017.

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6

Braudeau, Michel. Place des Vosges. SEUIL, 2017.

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7

Mazeran, Alain. Place des Vosges. Imprimerie nationale, 2002.

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8

Braudeau, Michel. Place des Vosges. SEUIL, 2017.

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9

Simenon, Georges. Sombras Na Place Des Vosges. Companhia das Letras2, 2015.

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10

Lacouture, Daniel. Inconnu de la Place des Vosges. Lulu Press, Inc., 2016.

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11

Lacouture, Daniel. Inconnu de la Place des Vosges. Lulu Press, Inc., 2012.

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12

De la place Royale a la place des Vosges. Paris, 1996.

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13

Alexandre, Gady, Andia Béatrice de, Action artistique de la ville de Paris., Académie d'architecture (France), and Centre culturel suédois, eds. De la Place royale à la Place des Vosges. Paris: Action artistique de la ville de Paris, 1996.

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14

Blohm & Voss Bv 222 Wiking. Schiffer Publishing, Ltd., 2012.

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15

van der Vossen, Bas, and Jason Brennan. In Defense of Openness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190462956.001.0001.

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The humane and workable solution to global poverty is freedom. We can help the poor—and help ourselves at the same time—by tearing down our walls and trade barriers. Both justice and good economic sense require that we open borders, free up international trade, and respect the economic liberties of people around the world. What global justice requires is an open world. Most books on global justice see the world’s poor as little more than mouths to be fed. Their authors see justice as a zero-sum game: some must lose so that others may win. They rely on controversial moral intuitions and outdated or mistaken economic beliefs about economic growth. Van der Vossen and Brennan present global justice as a positive-sum game: the methods that can best help the world’s poor also help everyone else. Using mainstream development economics and common-sense moral intuitions, they argue that instead of treating the world’s poor as helpless victims who must be rescued by the rich, we should remove the coercive limits that keep people poor in the first place. We should offer people the freedom to work, produce, trade, and migrate, in ways that help better themselves and others who are willing to cooperate with them. In Defense of Openness offers a new approach to global justice: we don’t need to “save” the poor. The poor will save themselves, if only we would get out of their way and let them.
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16

Harris, Margaret. Major Authors: Christina Stead, Patrick White, David Malouf. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.003.0019.

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This chapter examines the work of three Australian novelists who are read in the context of modernism, introducing a new dimension for the exploration of individual and national identity. David Malouf defines his Old and New World cultural heritage in a significant body of non-fiction prose, encompassing memoir and cultural commentary, along with reviews and interviews, that runs in tandem with his fiction. His intense literary self-consciousness is manifest in an extended mythology of place and history that emerges in his writing, such as Johnno (1975) and Remembering Babylon (1993). Patrick White's spiritual evocation of Australian landscape is evident from his first novel Happy Valley (1934) through The Tree of Man (1956) and Voss (1957), while issues of the construction of gender and identity are explicit in his memoir Flaws in the Glass: A Self-Portrait (1981) and the posthumously published The Hanging Garden (2012). Christina Stead's later international career, initiated by the republication in 1965 of The Man Who Loved Children (1940) followed by For Love Alone (1944), reveals her radical modernist techniques, her radical politics, and her focus on gender issues, particularly her concern with women artists, ending with the posthumous publication of I'm Dying Laughing: the Humourist (1986).
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