965 resultados para Gravesend, Richard de, Bishop of London, -1303.
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Disbound original held in Oak Street Library Facility.
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bk. I. The book of Yea.--bk. II. The book of Nay.
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Mode of access: Internet.
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Includes bibliographical references.
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Mode of access: Internet.
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The dissertation on Perkin Warbeck appeared as an article in the Contemporary review; a few paragraphs have been added. cf. Pref.
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Mode of access: Internet.
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Mode of access: Internet.
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Text in Latin.
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"First issue of this edition ... printed 1895. Reprinted ... 1930."
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Photostat (negative) of copy in the British museum.
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Wolff, R.L. 19th cent. fiction,
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Mode of access: Internet.
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Printed from Harleian ms., no. 641. cf. Introd.
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From the early-to-mid 2000s, the Australian horror film production sector has achieved growth and prosperity of a kind not seen since its heyday of the 1980s. Australian horror films can be traced back to the early 1970s, when they experienced a measure of commercial success. However, throughout the twenty-first-century Australian horror gained levels of international recognition that have surpassed the cult status enjoyed by some of the films in the 1970s and 1980s. In recent years, Australia has emerged as a significant producer of breakout, cult, and solid B-grade horror films, which have circulated in markets worldwide. Australian horror’s recent successes have been driven by one of its distinguishing features: its international dimensions. As this chapter argues, the Australian horror film production sector is an export-oriented industry that relies heavily on international partnerships and presales (the sale of distribution rights prior to a film’s completion), and on its relationships with overseas distributors. Yet, these traits vary from film to film as the sector is comprised of several distinct domains of production activity, from guerrilla films destined for niche video markets like specialist cult video stores and online mail-order websites to high(er)-end pictures made for theatrical markets. Furthermore, the content and style of Australian horror movies has often been tailored for export. While some horror filmmakers have sought to play up the Australianness of their product, others have attempted to pass off their films as faux-American or as placeless films effaced of national reference points.