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[null,"1.","Record Nr.",null,"UNISA996387785903316"]
[null,null,"Autore",null,"Brabourne Theophilus <b. 1590.>"]
[null,null,"Titolo",null,"An humble petition unto the high and most honourable Courts of Parliament [[electronic resource] ] : that they would be pleased to condiseend [sic] to the perusing of these short notes, tending to the refining of the Booke of Common-Prayer, in a few things. / / By Theophilus Brabourn"]
[null,null,"Pubbl/distr/stampa",null,"[London, : s.n., 1661?]"]
[null,null,"Descrizione fisica",null,"1 sheet ([1] p.)"]
[null,null,"Soggetti",null,"Broadsides17th centuryEnglandLondon"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Place and date of publication taken from Wing (2nd ed.)"]
[{"$nulls":4},"Reproduction of original in: Bodleian Library."]
[null,null,null,"Sommario/riassunto","eebo-0014"]
[null,"2.","Record Nr.",null,"UNINA9910966933603321"]
[null,null,"Autore",null,"Mojtahed-Zadeh Pirouz"]
[null,null,"Titolo",null,"Small players of the Great Game : the settlement of Iran's eastern borderlands and the creation of Afghanistan / / Pirouz Mojtahed-Zadeh"]
[null,null,"Pubbl/distr/stampa",null,"London ; ; New York, : RoutledgeCurzon, 2004"]
[null,null,"ISBN",null,"1-134-38377-0"]
[{"$nulls":4},"0-203-34743-9"]
[{"$nulls":4},"1-280-02549-2"]
[{"$nulls":4},"0-203-48027-9"]
[null,null,"Descrizione fisica",null,"1 online resource (281 p.)"]
[null,null,"Collana",null,"Islamic Studies Series"]
[null,null,"Disciplina",null,"320.1/2/0958"]
[null,null,"Soggetti",null,"Geopolitics - Asia, Central"]
[{"$nulls":4},"Afghanistan Boundaries"]
[{"$nulls":4},"Iran Boundaries"]
[{"$nulls":4},"Pakistan Boundaries"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references (p. 219-248) and index."]
[null,null,"Nota di contenuto",null,"Cover; Title; Copyright; Dedication; Contents; List of illustrations; Preface; Acknowledgements; Introduction; 1 The great game and its major players; 2 Small players: the Khozeimeh family; 3 Khozeimeh foreign relations; 4 The partitioning of Khorasan and the creation of Afghanistan; 5 The partitioning of Khorasan and Baluchistan and the emergence of modern boundaries; 6 The partitioning of Sistan and the evolution of boundaries with Afghanistan; Conclusion; Notes; Bibliography; Index"]
[null,null,null,"Sommario/riassunto","This book deals with the 19th century Anglo-Russian Great Game played out on the territorial chessboard of eastern and north-eastern parts of the waning Persian empire. The Great Game itself has been written about extensively, but never from a Persian angle and from the point of view of the local players in that game. Looking at the territorial consequences of the Great Game for the local players is a unique approach, which deserves a special place in the studies of history, geography, politics and geopolitics of the age of modernity."]
[null,"3.","Record Nr.",null,"UNINA9910875588203321"]
[null,null,"Autore",null,"Schreyer Lucia <p>Lucia Schreyer, Kuratorin, Deutschland </p>"]
[null,null,"Titolo",null,"Das Papier spricht – Der Körper zeichnet – Die Hand denkt : Zur Polysemantik, Funktion und Schlüsselrolle der Werkzeichnungen (1963-1974) Franz Erhard Walthers / Lucia Schreyer"]
[null,null,"Pubbl/distr/stampa",null,"Bielefeld, : transcript Verlag, 2022"]
[null,null,"ISBN",null,"9783839454909"]
[{"$nulls":4},"3839454905"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (341 pages)"]
[null,null,"Collana",null,"Image"]
[null,null,"Disciplina",null,"709"]
[null,null,"Soggetti",null,"Franz Erhard Walther"]
[{"$nulls":4},"Concept Art"]
[{"$nulls":4},"Konzeptkunst"]
[{"$nulls":4},"Drawing"]
[{"$nulls":4},"Zeichnung"]
[{"$nulls":4},"Participation"]
[{"$nulls":4},"Partizipation"]
[{"$nulls":4},"Agency"]
[{"$nulls":4},"Handlung"]
[{"$nulls":4},"Imagination"]
[{"$nulls":4},"Sculpture"]
[{"$nulls":4},"Skulptur"]
[{"$nulls":4},"Art"]
[{"$nulls":4},"Zensur"]
[{"$nulls":4},"Image"]
[{"$nulls":4},"Kunst"]
[{"$nulls":4},"Art History of the 20th Century"]
[{"$nulls":4},"Bild"]
[{"$nulls":4},"Kunstgeschichte des 20. Jahrhunderts"]
[{"$nulls":4},"European Art"]
[{"$nulls":4},"Art History"]
[{"$nulls":4},"Europäische Kunst"]
[{"$nulls":4},"Fine Arts"]
[{"$nulls":4},"Kunstgeschichte"]
[{"$nulls":4},"Kunstwissenschaft"]
[null,null,"Lingua di pubblicazione",null,"Tedesco"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"Frontmatter -- Inhalt -- Danksagung -- Prolog -- 1. DAS PAPIER SPRICHT -- 1.1 Papier und Zeichnung -- 1.2 ›Bildersturm‹ -- 1.3 Motiv des Rahmens -- 1.4 Wort und Bild -- 1.5 Durchschnitt in den Raum -- 1.6 Schraffuren -- 1.7 Informel und das ›offene‹ Kunstwerk -- 1.8 Sprache des Papiers -- 1.9 Hand-Stücke -- 1.10 Emanzipation von Farbe und Linie -- 1.11 Zusammenfassung -- 2. DER KÖRPER ZEICHNET -- 2.1 1. Werksatz (1963-1969) -- 2.2 Diagramme und Werkzeichnungen (1963-1974) -- 2.3 Zusammenfassung -- 3. DIE HAND DENKT -- 3.1 Stirnstück (# 1, 1963) -- 3.2 Gehstück, Sockel (# 2, 1963/64) -- 3.3 Blindobjekt (# 12, 1966) -- 3.4 Kopf Leib Glieder (# 26, 1967) -- 3.5 Form für Körper (# 29, 1967) -- 3.6 Zusammenfassung -- Epilog -- Literaturverzeichnis -- Anhang -- Abbildungsverzeichnis"]
[null,null,null,"Sommario/riassunto","Die Körperhaftigkeit der Werkzeichnungen (1963-1974) von Franz Erhard Walther und ihre Bedeutung für das Gesamtwerk des Künstlers wurde vielfach unterschätzt.Lucia Schreyer nimmt sich dieser beidseitigen Blätter an, in denen Sprache und Bild ineinandergreifen und die auf Erlebnissen und Vorstellungen bei der Handlung mit den 58 Werkstücken des 1. Werksatzes (1963-1969) beruhen. Dabei zeichnet sie ihre spannungsreiche Entwicklungsgeschichte zwischen Zensur und Emanzipation im ideologischen Zeitgeist der Konzeptkunst nach und stellt fest: Ihre Ambivalenz und Resistenz gegenüber tradierten Kunstformen steht für eine autonome künstlerische Sprache, in der die dialektische Verbindung von Gegensätzen gedacht wird."]