88,454 research outputs found

    J. F. Westermann, S. J., Archaische en archaistische Woordkunst, 1939

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    Juret A. J. F. Westermann, S. J., Archaische en archaistische Woordkunst, 1939. In: Revue des Études Anciennes. Tome 41, 1939, n°3. pp. 283-284

    Bewegungsspiele für den Mathematikunterricht

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    Rottmann T, Nordemann K, Bayer F, Schumacher T. Bewegungsspiele für den Mathematikunterricht. In: Rottmann T, Nordemann K, eds. Lernen durch Bewegung im Mathematikunterricht - Bewegungsspiele für Klasse 1 und 2. Braunschweig: Westermann; 2021: 18-111

    Oceanien [cartographic material] /

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    Map of Oceania showing British, Dutch, Spanish, Portuguese and French possessions and indigenous populations. Relief shown by hachures.; In upper left margin: Politische Karte.; In upper right margin: Liechtenstern's Schul-Atlas No. 44.; In lower right margin: Druck u. colorit von G. Westermann.; From: Schul-Atlas / von Theodor Frhrn. v. Liechtenstern und Henry Lange. Braunschweig : F. Vieweg & Sohn und G. Westermann, [1855-1857?]; Prime meridian: Ferro.; A list of geographical atlases in the Library of Congress, 6122.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.map-rm3765

    J. F. Westermann. Archaische en archaistische woordkunst. Nijmegen, Dekker en Van de Vegt (Dissertation suivie d'un abrégé en français)

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    van de Woestijne Paul. J. F. Westermann. Archaische en archaistische woordkunst. Nijmegen, Dekker en Van de Vegt (Dissertation suivie d'un abrégé en français). In: L'antiquité classique, Tome 8, fasc. 2, 1939. pp. 453-454

    Wörterbuch der französischen und Deutschen Sprache

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    Signaturizado numericamenteTexto a tres colPort. paralela alemán-francé

    Vollständiges Wörterbuch der Französischen und Deutschen Sprache

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    Variations on the Author

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    “Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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