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Books on the topic 'Wario World'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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1

Spanier, John. American foreign policy since World WarII. New York: Holt, Rinehart, and Winston, 1985.

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2

Kownacki, Andrzej. Czy było warto?: Wspomnienia. Lublin: Tow. Naukowe Katolickiego Uniwersytetu Lubelskiego, 2000.

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3

Rubinstein, Alvin Z. Soviet foreign policy since World WarII: Imperial and global. 3rd ed. Glenview, Ill: Scott, Foresman, 1989.

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4

Warto być przyzwoitym: Szkic do pamiętnika. Paris: Editions Spotkania, 1986.

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5

Bartoszewski, Władysław. Warto być przyzwoitym: Teksty osobiste i nieosobiste. Poznań: "W drodze", 1990.

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6

Bartoszewski, Władysław. Warto być przyzwoitym: Teksty osobiste i nieosobiste. 2nd ed. Poznań: Wydawn. Polskiej Prowincji Dominikanów, 2005.

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7

Władysław, Bartoszewski, ed. Warto być przyzwoitym: Teksty osobiste i nieosobiste. 2nd ed. Poznań: W drodze, 2005.

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8

Farmer, Walter I. The safekeepers: A memoir of the arts of the end of World WarII. Cincinnati, OH: [s.n.], 1994.

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9

Daws, Gavan. Prisoners of the Japanese: POWs of World WarII in the Pacific : the powerful untold story. London: Robson, 1995.

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10

1946-, Kern Barbara, ed. Wari: The Pacaas Novos language of western Brazil. London: Routledge, 1996.

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11

Wario World. Prima Games, 2003.

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12

Wario World: The Official Nintendo Player's Guide. Redmond, WA: Nintendo of America, 2003.

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13

Life in World Warii (Hist.Projects). Hodder Children's Books, 1999.

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14

Olsen, Dale A. The Making of World Flutes. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037887.003.0002.

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All cultures have their specific ways of constructing their flutes, which fit within their particular and usually unwritten music theories, aesthetics, and practices. Folktales and mythology, like music iconography, however, offer very little reliable descriptive information about flute construction techniques or even flutes as material objects; artistic license, such as exaggeration, understatement, ambiguity, hyperbole, deception, exists in both the narrative and visual arts. To understand why cultures construct their flutes in the ways they do, the narrative arts with their use of metaphor, symbolism, double entendre, and other ways of saying (and writing or singing) things often provide indigenous perspectives about processes, including flute construction. This chapter discusses the construction of some world flutes in three case studies: the Warao of Venezuela, the Buganda of Uganda, and the Japanese.
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15

Longstreet, Stephen. Canvas falcons: Story of the men and planes of World WarI. Leo Cooper, 1995.

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16

Wilbert, Johannes. Mindful of Famine: Religious Climatology of the Warao Indians (Religions of the World). Harvard Center for the Study of World Religions, 1997.

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17

Susan, Williams A., ed. The lifted veil: The book of fantastic literature by women, 1800-World WarII. London: Xanadu, 1992.

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18

Graf, Kielmansegg Peter, Mewes Horst, Glaser-Schmidt Elisabeth, and German Historical Institute (Washington, D.C.), eds. Hannah Arendt and Leo Strauss: German émigrés and American political thought after World WarII. Washington, D.C: German Historical Institute, 1995.

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19

365th Fighter Squadron in World Warii: In Action over Europe With the P-47. Schiffer Publishing, 2006.

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20

Now the Hell Will Start: One Soldier's Flight from the Greatest Manhunt of World WarII. Penguin Books, 2009.

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