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  1. 1
    Kleist on stage 1804-1987 /

    Kleist on stage 1804-1987 / by Reeve, William C., 1943-

    Published 1993
    Subjects: “…Kleist, Heinrich von, 1777-1811 Stage history.…”
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  2. 2
    Center Stage : Operatic Culture and Nation Building in Nineteenth-Century Central Europe /

    Center Stage : Operatic Culture and Nation Building in Nineteenth-Century Central Europe / by Ther, Philipp

    Published 2014
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  3. 3
    Introduction of an employee-led training system at stage entertainment Germany a qualitative study /

    Introduction of an employee-led training system at stage entertainment Germany a qualitative study / by Sutton, Kim Maya

    Published 2010
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  4. 4
    Laws of seeing

    Laws of seeing by Metzger, Wolfgang, 1899-1979

    Published 2006
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  5. 5
    Circulation and the city essays on urban culture /

    Circulation and the city essays on urban culture /

    Published 2010
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  6. 6
    The ego and the mechanisms of defence

    The ego and the mechanisms of defence by Freud, Anna, 1895-1982

    Published 1993
    Table of Contents: “…Examples of the avoidance of objective unpleasure and objective danger preliminary stages of defense -- pt. 3. Examples of two types of defense -- pt. 4. …”
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  7. 7
    Siegfried Kracauer's American writings essays on film and popular culture /

    Siegfried Kracauer's American writings essays on film and popular culture / by Kracauer, Siegfried, 1889-1966

    Published 2012
    Table of Contents: “…In Eisenstein's workshop (1943) -- The Russian director (1949) -- The movie colony (1942) -- A lady of valor (1947) -- The Teutonic mind (1948) -- Consciousness, free and spontaneous (1948) -- Indologian holiday (1948) -- Portrait in film (1948) -- Total teaching -- Pictorial deluge (1950) -- Movie mirror (1950) -- Reflexion faite (1952) -- Toward a theory of film. Stage vs. screen acting (1950) -- The photographic approach (1951) -- Silent film comedy (1951) -- The found story and the episode (1956) -- Letter to film 56 (1956) -- Afterword: Kracauer, the magical nominalist / Martin Jay.…”
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