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Journal articles on the topic 'Prince of the cherusci'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Wagner, Norbert. "Lemovii, Helvecones*, Batavi, Βατίνοι, Chamavi, Cherusci." Historical Linguistics 128, no. 1 (November 8, 2015): 289–98. http://dx.doi.org/10.13109/hisp.2015.128.1.289.

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2

Green, M., and Simone Benmussa. "Le prince répète le prince." World Literature Today 59, no. 3 (1985): 403. http://dx.doi.org/10.2307/40140873.

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3

Ehrlich, Nina, Ib Michael, and Barbara Haveland. "Prince." World Literature Today 74, no. 2 (2000): 413. http://dx.doi.org/10.2307/40155724.

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4

Dale, Timothy M., and Joseph J. Foy. "The Rat Prince and The Prince." Philosophers' Magazine, no. 67 (2014): 48–53. http://dx.doi.org/10.5840/tpm201467111.

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5

Duiker, William J., and Milton Osborne. "Sihanouk: Prince of Light, Prince of Darkness." American Historical Review 102, no. 4 (October 1997): 1210. http://dx.doi.org/10.2307/2170745.

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6

Pouteyo, Michael. "Du Petit prince au Prince de Machiavel." Le Sociographe N° 74, no. 2 (May 17, 2021): 27–35. http://dx.doi.org/10.3917/graph.074.0027.

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7

Shurany, Vered. "Prince Manggala – The Forgotten Prince of Anxi." Asiatische Studien - Études Asiatiques 71, no. 4 (February 23, 2018): 1169–88. http://dx.doi.org/10.1515/asia-2017-0012.

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Abstract Manggala (忙哥剌 d. 1278）was the third son of Qubilai Qa’an (r. 1260–1294) and his chief wife, Chabi Qatun (察必 d. 1281). Although he was not the crown prince he ruled over a large and strategic territory between the frontiers of the Southern Song before it was fully conquered, and the northwestern frontier, where some of the Mongol princes still challenged Qubilai’s legitimacy as the Great Khan. In spite of this, Prince Manggala does not have a biography in the Yuanshi, and is mainly remembered as the father of Prince Ananda, Qubilai’s grandson, famous for embracing Islam. However, juxtaposing sources from different parts of the Mongol empire to compile Prince Manggala’s biography shows that he appears to have been a governor and capable military commander, who established his own princely administrative system, Wangxiangfu (王相府), showed interest in both Islam and Buddhism and addressed the various peoples and religions in his heterogeneous domain differently, thereby enhancing his legitimation. Manggala’s annotated biography can expand our knowledge of the role and status of princes in the Yuan dynasty (元代 1271–1368), as well as shed light on both administration and cross-cultural contacts in northwest China during the early Yuan era.

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8

Stuart-Fox, Martin, and Milton Osborne. "Sihanouk: Prince of Light, Prince of Darkness." Pacific Affairs 68, no. 3 (1995): 450. http://dx.doi.org/10.2307/2761163.

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9

Zajaczkowski, Henry. "'Prince Igor'." Musical Times 131, no. 1769 (July 1990): 377. http://dx.doi.org/10.2307/965769.

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10

Gray, Vivienne. "Xenophon’s Prince." Ancient Philosophy 24, no. 1 (2004): 193–96. http://dx.doi.org/10.5840/ancientphil200424111.

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11

Snell, Heather. "Disney Prince." Jeunesse: Young People, Texts, Cultures 9, no. 1 (June 2017): 1–19. http://dx.doi.org/10.3138/jeunesse.9.1.1.

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12

Bertrand, Anne. "le prince." Vacarme 36, no. 3 (2006): 47. http://dx.doi.org/10.3917/vaca.036.0047.

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13

Gyóni, Gábor. "Prince Andrew." Vestnik of Saint Petersburg University. History 62, no. 4 (2017): 817–25. http://dx.doi.org/10.21638/11701/spbu02.2017.409.

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14

Masoud, Tarek. "The Prince." Journal of Democracy 31, no. 3 (2020): 172–78. http://dx.doi.org/10.1353/jod.2020.0039.

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15

Snell, Heather. "Disney Prince." Jeunesse: Young People, Texts, Cultures 9, no. 1 (2017): 1–19. http://dx.doi.org/10.1353/jeu.2017.0009.

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16

Gueguen, John, Niccolo Machiavelli, and Harvey C. Mansfield. "The Prince." Sixteenth Century Journal 18, no. 3 (1987): 446. http://dx.doi.org/10.2307/2540744.

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17

Conrad, Joseph. "Prince Roman." Chesterton Review 40, no. 3 (2014): 595–603. http://dx.doi.org/10.5840/chesterton2014403/4113.

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18

Machiavelli (book author), Niccolò, Quentin Skinner (book editor), Russell Price (book translator), and Vincent Di Norcia (review author). "The Prince." Renaissance and Reformation 27, no. 4 (February 1, 2009): 344–47. http://dx.doi.org/10.33137/rr.v27i4.11829.

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19

Blewett, Peter. "Sweet Prince." JAMA: The Journal of the American Medical Association 278, no. 2 (July 9, 1997): 86m. http://dx.doi.org/10.1001/jama.1997.03550020012006.

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20

Boubrik, Rahal. "Les fuqahâ' du prince et le prince des fuqahâ'." Afrique & histoire 7, no. 1 (September 1, 2010): 153–72. http://dx.doi.org/10.3917/afhi.007.0153.

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21

Evans, Jane E. "Nietzsche au Paraguay by Christophe Prince, et Nathalie Prince." French Review 93, no. 3 (2020): 210–11. http://dx.doi.org/10.1353/tfr.2020.0201.

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22

Huwaidi, Nour. "THE ROLE OF THE CROWN PRINCE IN THE POLITICAL SYSTEM OF KUWAIT." Journal of Social Political Sciences 2, no. 1 (February 28, 2021): 1–11. http://dx.doi.org/10.52166/jsps.v2i1.36.

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This paper aims to study and analyze the role of the Crown Prince in the political system of Kuwait. This paper used analytical and descriptive methods in analyzing the role of the Crown Prince in political system of Kuwait, and describing and analyzing the rules and methods and the duties related to choosing crown prince in Kuwait. The Kuwaiti constitution specified how to assume the position of crown prince, defined the duties of the crown prince, and linked the position of prime minister in the government to that of crown prince, until the position of Crown Prince was separated from the position on prime minister in 2003. The position of Crown Prince in Kuwait has played an important role since the issuance of the Kuwaiti Constitution in 1962, as the constitution specified how to assume the position of Crown Prince, the functions of the Crown Prince, and linking the position of Crown Prince to the position of Prime Minister until 2003, when the two positions were separated.

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23

Park, Jiyoung. "The Formation and Development of Prince Portraits : With a Special Focused on the Portrait of Prince Yeonying." Korean Journal of Art History 315 (September 30, 2022): 149–76. http://dx.doi.org/10.31065/kjah.315.202209.005.

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The Portrait of Prince Yeonying was the official prince portrait, or yejin 睿眞, that was commissioned by the king. Prince Yeonying (1694~1776) attended to his prince portrait in person and used it as a statement of his power at the junctures of his political career even after he ascended to the throne to become King Yeogjo (r. 1724~1776). This paper tracks the trajectory of prince portraits acquiring new significance as the visual proclamation of royal authority in the late Joseon. The Portrait of Prince Yeonying was bestowed upon the prince by his father, King Sukjong (r. 1674~1720) in 1714. That event played out politically favorable for the prince for whom the political support was not yet built on a stronghold. When he was appointed as Crown Prince to his brother, King Gyeongjong (1720~1724), Prince Yeonying had his official portrait to be painted once more, and thereby sought to proclaim visually his elevated position in court politics. After his coronation, he continued to turn to his prince portrait, eventually having it moved to the interior of the royal palace so that it could be regularly examined and treated. Furthermore, he allowed his heir apparent, Crown Prince Sado, and grandson, who later became King Jeongjo, to have their official prince portraits, establishing the production of prince portraits as a norm to be observed by later generations. King Yeongjo, in other words, added political significance to his own prince portrait, which was a one-time gift from his father, as a means to bolster the basis of political support for not only himself but also his successors. Through this trajectory, prince portraits came to play a critical role in the visual politics of late Joseon.

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24

Tepper, Sabine. "Le prince serpent." Cahiers de Gestalt-thérapie 42, no. 2 (2019): 35. http://dx.doi.org/10.3917/cges.042.0035.

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25

Weigle, Jack, and Loren Stephens. "`Red Prince' Weigela." HortScience 26, no. 2 (February 1991): 218–19. http://dx.doi.org/10.21273/hortsci.26.2.218.

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26

Caldecott, Stratford. "A Chestertonian Prince." Chesterton Review 30, no. 1 (2004): 55–61. http://dx.doi.org/10.5840/chesterton2004301/211.

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27

Bauchau, Henry. "« Fantaisie du prince »." Roman 20-50 62, no. 2 (2016): 103. http://dx.doi.org/10.3917/r2050.062.0103.

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28

Sarmiento, Sergio Munoz, and Lauren van Haaften-Schick. "Cariou v. Prince." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (March 2014): 941–57. http://dx.doi.org/10.37419/lr.v1.i4.6.

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In the winter of 2008, Richard Prince had a major exhibition of new and controversial paintings at Gagosian Gallery in New York titled Canal Zone. For the exhibition, Prince, an early member of the appropriationist art group known as The Pictures Generation, presented a body of artworks that incorporated reproductions of published photographs protected by the United States Copyright Act of 1976 The original published photographs were taken by the artist Patrick Cariou for his book, Yes Rasta, which consisted of a series of portraits of Rastafarians in Jamaica.

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29

Waugh, Scott L., and David Green. "The Black Prince." Albion: A Quarterly Journal Concerned with British Studies 35, no. 1 (2003): 95. http://dx.doi.org/10.2307/4054522.

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30

Messina, Aïcha Liviana. "Le prince / 1." Vacarme 78, no. 1 (2017): 116. http://dx.doi.org/10.3917/vaca.078.0116.

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31

Messina, Aïcha Liviana. "Le prince / 2." Vacarme 79, no. 2 (2017): 92. http://dx.doi.org/10.3917/vaca.079.0092.

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32

Messina, Aïcha Liviana. "Le prince / 3." Vacarme 80, no. 3 (2017): 32. http://dx.doi.org/10.3917/vaca.080.0032.

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33

Messina, Aïcha Liviana. "Le prince / 4." Vacarme 81, no. 4 (2017): 107. http://dx.doi.org/10.3917/vaca.081.0107.

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34

Tardy, Jean-Noël. "Le prince déguisé." Sociétés & Représentations N° 52, no. 2 (October 11, 2021): 255–66. http://dx.doi.org/10.3917/sr.052.0255.

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35

Cazeaux, Jacques. "Prince de paix." Communio N° 257-258, no. 3 (May 2, 2018): 19–27. http://dx.doi.org/10.3917/commun.257.0019.

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36

Masad. "The Frog Prince." Fairy Tale Review 17 (2021): 65. http://dx.doi.org/10.13110/fairtalerevi.17.1.0065.

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37

Besançon, Alain. "Le prince Gagarine." Commentaire Numéro 132, no. 4 (October 1, 2010): 1117–18. http://dx.doi.org/10.3917/comm.132.1117.

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38

Pasto, David. "The Constant Prince." Comedia Performance 4, no. 1 (April 1, 2007): 261–65. http://dx.doi.org/10.5325/comeperf.4.1.0261.

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39

Wilkes, Alison. "Prince Albert, Saskatchewan." Raven: A Journal of Vexillology 18 (2011): 142–43. http://dx.doi.org/10.5840/raven20111871.

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40

Gratton, Peter. "Prince of Networks." Symposium 14, no. 2 (2010): 206–10. http://dx.doi.org/10.5840/symposium201014230.

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41

Salmon, Merrilee H. "Machiavelli’s The Prince." Inquiry: Critical Thinking Across the Disciplines 15, no. 1 (1995): 14–22. http://dx.doi.org/10.5840/inquiryctnews19951513.

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42

Chesterton, G. K. "Prince Wild-fire." Journal of Inklings Studies 6, no. 1 (April 2016): 13–60. http://dx.doi.org/10.3366/ink.2016.6.1.3.

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43

Damien, Robert. "Le Prince pornocrate." Cités 16, no. 4 (2003): 177. http://dx.doi.org/10.3917/cite.016.0177.

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44

Matthews, Gareth B. "The Little Prince." Thinking: The Journal of Philosophy for Children 16, no. 1 (2002): 3. http://dx.doi.org/10.5840/thinking20021611.

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45

Prince, Stephen. "Stephen Prince Replies." Cinema Journal 27, no. 3 (1988): 53. http://dx.doi.org/10.2307/1225294.

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46

Jerrard, Richard P., and John E. Wetzel. "Prince Rupert's Rectangles." American Mathematical Monthly 111, no. 1 (January 2004): 22. http://dx.doi.org/10.2307/4145012.

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47

Bayley, Peter. "Educating the Prince." Seventeenth-Century French Studies 26, no. 1 (June 2004): 137–52. http://dx.doi.org/10.1179/c17.2004.26.1.137.

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48

Frame, Jane. "The Happy Prince." World Literature Today 79, no. 3/4 (2005): 78. http://dx.doi.org/10.2307/40158950.

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49

Challet, Vincent. "Émouvoir le prince." Hypothèses 5, no. 1 (2002): 325. http://dx.doi.org/10.3917/hyp.011.0325.

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50

O'Reilly, Scott. "The fresh Prince." Philosophers' Magazine, no. 20 (2002): 57. http://dx.doi.org/10.5840/tpm20022026.

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