999 resultados para Biron, Armand-Louis de Gontaut, duc de, 1747-1793.
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Title continued: ... gouverneur du Luxembourg; & plusieurs autres monumens très-utiles pour l'éclaircissement de l'histoire du XIV. & XV. siecle. Avec une table des matieres, & des noms des familles les plus considerables dont il est fait mention dans l'ouvrage.
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"Lu & approvué, ce 5 juillet 1784. Signé, Fournier, Adjoint": v. 6, colophon.
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By E.F.A.M. Miel. Cf. Querard. Les supercheries littéraires dévoillées, t. 3, c. 79.
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Mode of access: Internet.
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The "Maximes de la guerre" had been published 1611 under the name of Armand Gontault de Biron, authorship undisputed; how they came to be published 1740 with other documents from the Bourdeille family archives under the name of André de Bourdeille has never been explained. cf. Publisher's note, t. 13 (1895) p. 89-90; also Journal de Trévoux, déc. 1765, p. 1402-1413; and Le Long, Biblioth. hist., t. 3. nos. 32098, 32101, 32122; t. 4, p. 464, note to no. 32123.
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Vols. 2-13 have title: Mémoires du marquis de Sourches sur le règne de Louis XIV, publiés d'après le manuscrit authentique appartenant à M. le duc des Cars, par le comte de Cosnac (Gabriel-Jules) et Édouard Pontal ...
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Mode of access: Internet.
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Louis Nowra wrote 'Radiance' especially for the three actors who performed it in the play’s premier season at Belvoir Street Theatre in September 1993. And the Currency Press playscript / programme produced for that season foregrounds these three performers – Rachael Maza, Lydia Miller and Rhoda Roberts – in such a way that the usual distinction between dramatis personae and the actors who play them is considerably diminished. Both the blurb on the back cover and Nowra’s introduction emphasise this special relationship between text and actors, but it is the front cover shot which particularly reflects the conjunction between the two. Rather than depicting a scene from performance, or a ‘graphic’ suggesting something of the play’s thematic content, the front cover of Radiance features the three actors in a posed promotional shot. Arms joined warmly, lovingly, about each other’s waist, bodies turned away from but faces towards the camera, it is the actors we see, not their characters. It’s a very joyful image; they’re positively beaming. Radiant. They look as if they could really be the three half-sisters they portray, except that such moments of blithe sorority are just about non-existent in the play.
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This is an edited version of an interview recorded for Canadian Theatre Review in 1992. By that time Nowra had established a reputation as one of Australia's foremost playwrights. Part of the generation which succeeded the New Wave of the late 1960s and early 1970s, Nowra became known for a stylistic inventiveness which placed him outside the tradition of realist playwriting in Australia. The international outlook in his early plays, and the fact that he was not exclusively preoccupied with Australian settings and subject matter, was often a focal point in critical accounts of his work. In this interview Nowra discusses his 'internationalism', and a range of topics including the playwriting process; the presence of landscape in his plays; and the autobiographical elements in his work.
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From left to right: Julia Rothschild, Henriette Rothschild, Jenny Rothschild; Louis Gottschalk stanting
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Death Notice of Louis Gottschalk, Hannoversches Tageblatt, Tuesday, Aug 18, 1914
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