Neck Yoder Hilda (16 results)

Soft cover. Condition: As New. 239 pages. Illustrated. This is a special issue of Callaloo: A journal of African- American and African Arts and Letters, Vol. 21, Nr. 3.

Paperback. 81pp. Very good plus condition with text clean & binding sound.

Soft cover. Condition: Very Good. Ex-lib with usual trappings. Laminated wraps. 81pp unmarked.

Condition: New. In.

Paperback. Condition: New.

Soft cover. Condition: Very Good. Ex-lib with usual treatments. Laminated wraps. 81pp unmarked and seemingly unread.

Condition: New. pp. 88.

Soft cover. Condition: Very Good. 1st Edition. Ex-lib with usual stamps etc. Laminated wraps. Appears unread. 81pp.

Paperback. Condition: Brand New. 1978 edition. 88 pages. 9.25x6.10x0.20 inches. In Stock.

Condition: New.

Taschenbuch. Condition: Neu. Dramatizations of Social Change: Herman Heijermans'Plays as Compared with Selected Dramas by Ibsen, Hauptmann and Chekhov | Hilda van Neck Yoder | Taschenbuch | v | Englisch | 2014 | Springer Netherland | EAN 9789400992887 | Verantwortliche Person für die EU: Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg, juergen[dot]hartmann[at]springer[dot]com | Anbieter: preigu.

Taschenbuch. Condition: Neu. Druck auf Anfrage Neuware - Printed after ordering - Herman Heijermans (1864-1924) was convinced that he lived in an 'overgangs 1 tijdperk,' a transitional period. As a young man in the eighteen nineties, he rejected those values and life styles which he felt belonged to the past period dominated by the bourgeoisie, and sought out situations and a profession which would attune him to the future when, he hoped, the proletariat would 2 be in power. He left the conservative business milieu of Rotterdam in 1892 and went to Amsterdam- then teeming with radical ideas. At first, Heijermans was attracted to a group of poets, de tachtigers, who were claiming to have enlivened the stale tradition of Dutch poetry by discovering language and beauty in a totally new way; but soon he felt them to be elitist. Then, in 1895, he became a member of the newly founded Dutch Social Democratic Workers Party. He alienated himself from the literary circles by claiming that art should be socialistic and by rejecting the class separation between artists and workers. He felt himself to be one with the proletariat and, through them, with 'The New Life' and 'The New Humanity. ' Stimulated by the ongoing theater revival, which he interpreted as an attempt to challenge the bourgeois smugness and moral self-righteousness, he had started to write plays before becoming interested in the Socialist Party.

Condition: New. Print on Demand pp. 88 49:B&W 6.14 x 9.21 in or 234 x 156 mm (Royal 8vo) Perfect Bound on White w/Gloss Lam.

Condition: New. PRINT ON DEMAND pp. 88.

Taschenbuch. Condition: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Herman Heijermans (1864-1924) was convinced that he lived in an 'overgangs 1 tijdperk,' a transitional period. As a young man in the eighteen nineties, he rejected those values and life styles which he felt belonged to the past period dominated by the bourgeoisie, and sought out situations and a profession which would attune him to the future when, he hoped, the proletariat would 2 be in power. He left the conservative business milieu of Rotterdam in 1892 and went to Amsterdam- then teeming with radical ideas. At first, Heijermans was attracted to a group of poets, de tachtigers, who were claiming to have enlivened the stale tradition of Dutch poetry by discovering language and beauty in a totally new way; but soon he felt them to be elitist. Then, in 1895, he became a member of the newly founded Dutch Social Democratic Workers Party. He alienated himself from the literary circles by claiming that art should be socialistic and by rejecting the class separation between artists and workers. He felt himself to be one with the proletariat and, through them, with 'The New Life' and 'The New Humanity. ' Stimulated by the ongoing theater revival, which he interpreted as an attempt to challenge the bourgeois smugness and moral self-righteousness, he had started to write plays before becoming interested in the Socialist Party. 88 pp. Englisch.

Taschenbuch. Condition: Neu. This item is printed on demand - Print on Demand Titel. Neuware -Herman Heijermans (1864-1924) was convinced that he lived in an 'overgangs 1 tijdperk,' a transitional period. As a young man in the eighteen nineties, he rejected those values and life styles which he felt belonged to the past period dominated by the bourgeoisie, and sought out situations and a profession which would attune him to the future when, he hoped, the proletariat would 2 be in power. He left the conservative business milieu of Rotterdam in 1892 and went to Amsterdam- then teeming with radical ideas. At first, Heijermans was attracted to a group of poets, de tachtigers, who were claiming to have enlivened the stale tradition of Dutch poetry by discovering language and beauty in a totally new way; but soon he felt them to be elitist. Then, in 1895, he became a member of the newly founded Dutch Social Democratic Workers Party. He alienated himself from the literary circles by claiming that art should be socialistic and by rejecting the class separation between artists and workers. He felt himself to be one with the proletariat and, through them, with 'The New Life' and 'The New Humanity. ' Stimulated by the ongoing theater revival, which he interpreted as an attempt to challenge the bourgeois smugness and moral self-righteousness, he had started to write plays before becoming interested in the Socialist Party.Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg 88 pp. Englisch.