988 resultados para Mercer, Margaret, 1792-1846.
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Mode of access: Internet.
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Mode of access: Internet.
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Vol. 2 has title: Efemérides americanas, desde el descubrimiento del Rio de la Plata por D. Juan Diaz de Solis. Escritas por el Sr. D. Ignacio Nuñez. 2a. parte de las Noticias historicas ...
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Reprint. Originally published: Frankfurt am Main, 1891.
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Edited by Elieser Loeb and Abraham Berliner. cf. Vorwort.
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Thompson: "1857 reappeared as The Rose of sharon for all seasons, Boston, Tompkins, 1858...Longest lived of American literary annuals. Best known contributors are J.G. Adams, Henry Bacon, Alice and Phoebe Cary, Margaret Fuller (1846), Horace Greeley, and TB. Read...Oliver Pelton engraved most of the plates..."
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Mode of access: Internet.
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Poem.
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"A letter, which was circulated in London ... written for the information of the British ministry," with accompanying documents, extracts from reports, etc. The letter is signed (p. 66) Ignacio Nuñez.
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Includes the words to a number of hymns and several English poems. Notes in Welsh and English.
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Mode of access: Internet.
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Cf. Forman, H.B. ... The Shelley library ... London, 1886, p. 13-14.
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five:fashion musings is an upcoming 2009 publicaton to celebrate the fashion discipline's five-year milestone at the Queensland Unviesity of Technology. it represents a body of work by fashion practitioners, aceademic and educators commissioned to explore their research in fashion theory, practice and pedogogy through five key themes.
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In Transfigured Stages: Major Practitioners and Theatre Aesthetics in Australia, Margaret Hamilton traces the emergence of a postdramatic performance aesthetic in Australian theatre in the 1980s, 1990s and early 2000s through what she characterizes as an ‘analysis’ (p. 15) or ‘critique’ (p. 16)of a series of pivotal productions. For Hamilton, the transfigured aesthetic in the spotlight here is one typified by a focus on memory, imagination, desire, fear or disgust as facets of the human condition; by a visual, televisual or interactive dramaturgy; and, most critically, by a metatheatrical tendency to make tensions in the theatre-making process part and parcel of the tensions in the performance itself (pp.18–20)...