993 resultados para Roland, Mme (Marie-Jeanne), 1754-1793
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Sequel: The queen's necklace.
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Mode of access: Internet.
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Mode of access: Internet.
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Includes bibliographical references.
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A reprint of v. 1-9 was published by V. Palmé in Paris, 1869-80.
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Top Row: Mary Jo Ambrozy, Carolyn, Ashley, Gail Marie Barbaza, Jeanne Barr, Susan Bauer, Lynn Eva Becker, Christine Bibilikow, Kathy Biehl, Lisa Bloomfield, Bail M. Borowiak, Susan, M. Browning, Diane Louise Burgoon, Camille Carlson, Cindy marie Chaltry, Kathleen Anne Clegg, Ann cline
Row 2: Wendy Cogan, Annette Robin Cole, Barbara Compton, Elizabeth Connors, Norma K. Marshall, Michele Betts, Donna Jean Holihan, Pamela S. Harden, Kathleen McLaughlin, Mary M. Walker, Mary Lohr, Julia Cooney, Carol Crapo, Deborah D. Davis, Mary Dreisig
Row 3: Athena Eary, Eleanor Eckrich, Patti M. Eidenberger, Catherine Elmlinger, Annette Englund, Cynthis Fellencer, Karen Fischer, Carolyn B. Forbes, Nancy Ellen Freedman, Susan P. George, Annette Gervaix, Beverly Glogowski
Row 4: Jayne Goodrich, June A. R. Grimm, Marie Guerrini, Douglas Leon Hankins, Yvonne M. Harwoor, Linda Hecimovich, Catherine M. Herbel, Kelly Hocker, Brenda Lee Horness, Theresa A. Hosey, Karin E. Hunt, Beth Jackson
Row 5: Karen Sue Jaffe, Roland Jemerson, Tamera Johnson, Susan Kaczmarek, Laura S. Keverian, Julie A. Kimbrough, Eva Marie Kline, Nancy L. Kuehn, Margaret J. Labadie, Lori K. Lane, Elizabeth Lang, Linda Lawton, Judy Linden, Peggy Little, Sharon Lois Longe, Claire Lonstein
Row 6: Deloris Macon, Karen Marie Macsay, Susan E. Mapley, Maria Y. Maquera, Ann McCullough, Michael Meade, Barbara Messink, Mary Elizabeth Mick, Susie E. Mikolajewski, Marilyn Millman, Debra A. Mills, Lu Ann Minore, Jean M. Mischel, Terri Ann Mitchell, Catherine Jean Moore, Michelle A. Mourad
Row 7: Mary Lynn Musial, Kathleen Myles, Denise Oliphint, Patrice M. Orlowski, Susan Orne, Carolyn Pernell, Holly Perry, Paula L. Petkoff, Arlene Ann Popovich, Barbara A. Quinn, Carol Reid, Sandra J. Remington, Gisselle Rodriguez, Susan Roelant, Laura S. Rogers, Nancy Rudd
Row 8: Karen Beth Salem, Barbara Santavy, Linda Schairer, Marie B. Schneider, Julie Schoettley, Julie Rose Schuster, Mary V. Seibert, Tracy Shafer, Claire E. Sharda, Susan D. Shortino, Judith Simon, Phillis Simpson, Donna Sledz, Cynthia Smith, Diane L. Smith, Mary Kay Smith
Row 9: Susan R. Smith, Sharon stansberry, Linda Suchocki, Susan Swoiskin, Leslie Ann Urban, Mary B. Van Wingen, Gretchen M. Vermeulen, Verland Z. Walker, Jayne Walworth, Elaine Devorah Webber, Julie Ann Webster, Sora Weller, Julie L. Weyburne, Malorie Whitefield, Frances Wiecha, Anne C. Wise
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Music by Peter von Winter; libretto by Karl Reger, based on J. N. Komareck's tragedy of the same name.
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Mode of access: Internet.
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"Éloge de du Marsais, par d'Alembert. Extrait du tome VII de l'Encyclopédie": v. 1, p. [xxxj]-xcij.
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I. L'opinion publique au XVIIIe siècle. Montesquieu. Jean-Jacques Rousseau d'après des publications nouvelles. Le secret du roi. Diderot inédit.--II. La société français en 1765. Deux types de femmes: mme Du Defíand et mme Roland. La famille de Mirabeau. Coppet et mme de Staël. André Chénier inédit; sa lutte contre la terreur, son procès, sa mort.
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At head of title: Crowned by the Académie française.
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Mode of access: Internet.
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Covers the year 1792 to the proclamation of the republic. In continuation of "Marie-Antoinette and the end of the old reǵime" and "Marie Antoinette at the Tuileries."
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Exemplaire, no. 280.
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Pilgrimage to Compostela was decreasing in the nineteenth century. This situation was still worse in France, where the number of pilgrims dwindled dramatically. In fact, there are not many travel narratives in this period, as no relevant French author showed any interest in this religious event. An analysis of these works reveals that the worship to Santiago was somehow considered by these authors a mere historical remnant with an aura of prestige. They allow almost no space for factual descriptions, and therefore used documentary sources to discuss the topic in their own texts. As a consequence, their knowledge of this universe became indirect and intertextual.