Kirsch Konrad (47 results)
Lebensgut. Ein deutsches Lesebuch für Mädchen. Erster Teil (5. Schuljahr). Mit Abbildungen.
Schellens, Maria/Konrad, Hilde/Schneider, Grete/Kirsch, Erich (Hg.):
Published by Frankfurt a.M./Berlin/Bonn 1956;, Verlag Moritz Diesterweg,, 1956
- Hardcover
Seller: buc online, Erika Trautmann-Aschmann, Göttingen, Germanybuc online, Erika Trautmann-Aschmann
Contact seller4-star seller6. Aufl.; 242 S.; Halbleinen; 15,5x23cm. Ecken u. Kanten berieben; Papier etwas gedunkelt; solides Exemplar.
Published by Bonifacius Paderborn 1914, 1914
Seller: Antiquariat Bücherparadies, Landsberg, GermanyAntiquariat Bücherparadies
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- Hardcover
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- Hardcover
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- Hardcover
Seller: PBShop.store UK, Fairford, GLOS, United KingdomPBShop.store UK
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Lebensgut Ein deutsches Lesebuch für Mädchen Fünfter Teil
Maria Schellens Hilde Konrad und Grete Schneider Erich Kirsch:
Language: German
Published by Diesterweg Moritz Frankfurt Berlin Bonn,, 1964
- Hardcover
Seller: Clerc Fremin, Steingaden, GermanyClerc Fremin
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Add to basket239 Seiten / Sprache: Deutsch Gewicht in Gramm: 250 Kein Schutzumschlag Hardcover Gut.
Lebensgut / Ein deutsches Lesebuch für Mädchen Fünfter Teil
Maria Schellens Hilde Konrad und Grete Schneider Erich Kirsch:
Language: German
Published by Diesterweg Moritz Frankfurt Berlin Bonn,, 1962
- Hardcover
Seller: Clerc Fremin, Steingaden, GermanyClerc Fremin
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Add to basketHardcover Gut. Sprache: Deutsch Gewicht in Gramm: 250.
Lebensgut - Ein deutsches Lesebuch für Mädchen - Sechster Teil
Maria Schellens Hilde Konrad und Grete Schneider Erich Kirsch:
Language: German
Published by Moritz Diesterweg, Frankfurt am Main Berlin Bonn,, 1955
- Hardcover
Seller: Clerc Fremin, Steingaden, GermanyClerc Fremin
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Add to basketSeiten 251 / kleberand gelockert / Sprache: Deutsch Gewicht in Gramm: 500 Kein Schutzumschlag Hardcover Gut.
- Hardcover
- First Edition
Seller: Kennys Bookshop and Art Galleries Ltd., Galway, GY, IrelandKennys Bookshop and Art Galleries Ltd.
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Condition: New. 2024. 1st Edition. hardcover. . . . . .
- Hardcover
Seller: Grand Eagle Retail, Bensenville, IL, U.S.A.Grand Eagle Retail
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Hardcover. Condition: new. Hardcover. Text in English & German. Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary science-fiction film Blade Runner a "700-layer cake". These buried structures are created in two ways: by elements that reson…ate throughout the film itself and by references to other films, texts, myths, paintings, historical events etc. that are adapted in a specific way by the director, the scriptwriter and the production team. The heroine in Hitchcock's film The Birds, for instance, is a modern Aphrodite / Venus. Just as Venus, born from the sea foam, was carried to land on a seashell, Melanie is carried across Bodega Bay in a boat that is not much bigger than Venus' vessel in Botticelli's painting. Melanie's name is another reference to Aphrodite, who was also known as Melaina, "the black one". In the fist scene of the film, in which she enters the pet shop where she later gets to know Mitch and buys the love birds, Melanie is also dressed in black. The Venus-like Melanie is felt to be a threat by others within their world, and especially by more conventional women. One of them screams at her hysterically: "I think you're evil! Evil!". This creates a particular connection between love and horror in the film. The classical Aphrodite also had a dark side -- her union with Ares produced not only Harmonia, but also Deimos and Phobos: "dread" and "fear". Detecting hidden references is only the first step in creating an analysis; the next step is to elucidate the function of the reference within the film. For instance, what does it mean that Hitchcock's heroine is attacked by birds, whereas Venus was depicted accompanied by a dove? And why does Melanie, our "Venus", wear furs? Kirsch's investigations of this and other questions open up new perspectives on a number of films, with extensive illustrations allowing the reader to follow these in detail. The book invites us to take a second look at The Birds, Blake Edwards' The Party, Ridley Scott's Blade Runner and Gladiator and Stefan Ruzowitzky's Anatomy. Konrad Kirsch is a PhD in literature and an enthusiastic viewer of films. He has published texts on Georg Buechner, Elias Canetti, Robert Walser, Franz Kafka and William Shakespeare. Most recently, his article on Heinrich von Kleist was published in the Zeitschrift fuer deutsche Philologie. Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary science-fiction film Blade Runner a 700-layer cake. These buried structures are created in two ways: by elements that resonate throughout the film itself and by references to other films, texts, myths, paintings, historical events etc. that are adapted in a specific way by the director, the scriptwriter and the production team. The heroine in Hitchcocks film The Birds, for instance, is a modern Aphrodite / Venus. Just as Venus, born from the sea foam, was carried to land on a seashell, Melanie is carried across Bodega Bay in a boat that is not much bigger than Venus vessel in Botticellis painting. Mela-nies name is another reference to Aphrodite, who was also known as Melaina, the black one. In the fist scene of the film, in which she enters the pet shop where she later gets to know Mitch and buys the love birds, Melanie is also dressed in black. The Venus-like Melanie is felt to be a threat by others within their world, and especially by more conventional women. One of them screams at her hysterically: I think youre evil! Evil! This creates a particular connection between love and horror in the film. The classical Aphrodite also had a dark side her union with Ares produced not only Harmonia, but also Deimos and Phobos: dread and fear. Detecting hidden references is only the first step in crea Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
- Hardcover
Seller: Rarewaves.com USA, London, LONDO, United KingdomRarewaves.com USA
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Hardback. Condition: New. Text in English and German. Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary science-fiction film Blade Runner a "700-layer cake". These buried structures are created in two ways: by elements that resonate throug…hout the film itself and by references to other films, texts, myths, paintings, historical events etc. that are adapted in a specific way by the director, the scriptwriter and the production team. The heroine in Hitchcock's film The Birds, for instance, is a modern Aphrodite / Venus. Just as Venus, born from the sea foam, was carried to land on a seashell, Melanie is carried across Bodega Bay in a boat that is not much bigger than Venus' vessel in Botticelli's painting. Melanie's name is another reference to Aphrodite, who was also known as Melaina, "the black one". In the fist scene of the film, in which she enters the pet shop where she later gets to know Mitch and buys the love birds, Melanie is also dressed in black. The Venus-like Melanie is felt to be a threat by others within their world, and especially by more conventional women. One of them screams at her hysterically: "I think you're evil! Evil!". This creates a particular connection between love and horror in the film. The classical Aphrodite also had a dark side -- her union with Ares produced not only Harmonia, but also Deimos and Phobos: "dread" and "fear". Detecting hidden references is only the first step in creating an analysis; the next step is to elucidate the function of the reference within the film. For instance, what does it mean that Hitchcock's heroine is attacked by birds, whereas Venus was depicted accompanied by a dove? And why does Melanie, our "Venus", wear furs? Kirsch's investigations of this and other questions open up new perspectives on a number of films, with extensive illustrations allowing the reader to follow these in detail. The book invites us to take a second look at The Birds, Blake Edwards' The Party, Ridley Scott's Blade Runner and Gladiator and Stefan Ruzowitzky's Anatomy. Konrad Kirsch is a PhD in literature and an enthusiastic viewer of films. He has published texts on Georg Büchner, Elias Canetti, Robert Walser, Franz Kafka and William Shakespeare. Most recently, his article on Heinrich von Kleist was published in the Zeitschrift für deutsche Philologie.
- Hardcover
Seller: GreatBookPricesUK, Woodford Green, United KingdomGreatBookPricesUK
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- Hardcover
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Condition: New. 2024. 1st Edition. hardcover. . . . . . Books ship from the US and Ireland.
- Hardcover
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Published by Edition Axel Menges., Stuttgart / London, 2013
- Hardcover
Seller: antiquariat volapük, Berlin, Germanyantiquariat volapük
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Add to basketOPpBd. 159 S. Zustand: Gutes Exemlar / Good copy. Fotos auf Anfrage.
Published by Konrad Kirsch Verlag, Sulzbach, 2006
- Softcover
Seller: Antiquariat "Der Büchergärtner", St. Ingbert, GermanyAntiquariat "Der Büchergärtner"
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20 x 13 cm. 527 S. Kartoniert. guter Zustand.
- Hardcover
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Hardcover. Condition: new. Hardcover. Text in English & German. Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary science-fiction film Blade Runner a "700-layer cake". These buried structures are created in two ways: by elements that reson…ate throughout the film itself and by references to other films, texts, myths, paintings, historical events etc. that are adapted in a specific way by the director, the scriptwriter and the production team. The heroine in Hitchcock's film The Birds, for instance, is a modern Aphrodite / Venus. Just as Venus, born from the sea foam, was carried to land on a seashell, Melanie is carried across Bodega Bay in a boat that is not much bigger than Venus' vessel in Botticelli's painting. Melanie's name is another reference to Aphrodite, who was also known as Melaina, "the black one". In the fist scene of the film, in which she enters the pet shop where she later gets to know Mitch and buys the love birds, Melanie is also dressed in black. The Venus-like Melanie is felt to be a threat by others within their world, and especially by more conventional women. One of them screams at her hysterically: "I think you're evil! Evil!". This creates a particular connection between love and horror in the film. The classical Aphrodite also had a dark side -- her union with Ares produced not only Harmonia, but also Deimos and Phobos: "dread" and "fear". Detecting hidden references is only the first step in creating an analysis; the next step is to elucidate the function of the reference within the film. For instance, what does it mean that Hitchcock's heroine is attacked by birds, whereas Venus was depicted accompanied by a dove? And why does Melanie, our "Venus", wear furs? Kirsch's investigations of this and other questions open up new perspectives on a number of films, with extensive illustrations allowing the reader to follow these in detail. The book invites us to take a second look at The Birds, Blake Edwards' The Party, Ridley Scott's Blade Runner and Gladiator and Stefan Ruzowitzky's Anatomy. Konrad Kirsch is a PhD in literature and an enthusiastic viewer of films. He has published texts on Georg Buechner, Elias Canetti, Robert Walser, Franz Kafka and William Shakespeare. Most recently, his article on Heinrich von Kleist was published in the Zeitschrift fuer deutsche Philologie. Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary science-fiction film Blade Runner a 700-layer cake. These buried structures are created in two ways: by elements that resonate throughout the film itself and by references to other films, texts, myths, paintings, historical events etc. that are adapted in a specific way by the director, the scriptwriter and the production team. The heroine in Hitchcocks film The Birds, for instance, is a modern Aphrodite / Venus. Just as Venus, born from the sea foam, was carried to land on a seashell, Melanie is carried across Bodega Bay in a boat that is not much bigger than Venus vessel in Botticellis painting. Mela-nies name is another reference to Aphrodite, who was also known as Melaina, the black one. In the fist scene of the film, in which she enters the pet shop where she later gets to know Mitch and buys the love birds, Melanie is also dressed in black. The Venus-like Melanie is felt to be a threat by others within their world, and especially by more conventional women. One of them screams at her hysterically: I think youre evil! Evil! This creates a particular connection between love and horror in the film. The classical Aphrodite also had a dark side her union with Ares produced not only Harmonia, but also Deimos and Phobos: dread and fear. Detecting hidden references is only the first Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
- Hardcover
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Gebunden. Condition: New.
- Hardcover
Seller: moluna, Greven, Germanymoluna
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Condition: New. Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary science-fiction film Blade Runner a 700-layer cake . These buried structures are created in two ways: by elements t.
- Hardcover
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- Hardcover
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- Hardcover
Seller: GreatBookPricesUK, Woodford Green, United KingdomGreatBookPricesUK
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- Hardcover
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Condition: As New. Unread book in perfect condition.
- Hardcover
- Photo
Seller: AHA-BUCH GmbH, Einbeck, GermanyAHA-BUCH GmbH
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Buch. Condition: Neu. Neuware - Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary science-fiction film Blade Runner a '700-layer cake'. These buried structures are created in two ways: by elements that resonate throughout the film itself a…nd by references to other films, texts, myths, paintings, historical events etc. that are adapted in a specific way by the director, the scriptwriter and the production team. The heroine in Hitchcocks film The Birds, for instance, is a modern Aphrodite / Venus. Just as Venus, born from the sea foam, was carried to land on a seashell, Melanie is carried across Bodega Bay in a boat that is not much bigger than Venus vessel in Botticellis painting. Mela-nies name is another reference to Aphrodite, who was also known as Melaina, 'the black one'. In the fist scene of the film, in which she enters the pet shop where she later gets to know Mitch and buys the love birds, Melanie is also dressed in black. The Venus-like Melanie is felt to be a threat by others within their world, and especially by more conventional women. One of them screams at her hysterically: 'I think youre evil! Evil!' This creates a particular connection between love and horror in the film. The classical Aphrodite also had a dark side - her union with Ares produced not only Harmonia, but also Deimos and Phobos: 'dread' and 'fear'.
