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Friederike Schmiga studied English literature, linguistics and philosophy at the Albert-Ludwigs-Universität Freiburg and the University of Edinburgh. Her academic interests include the history of medieval philosophy and English Renaissance literature. She is currently doing research at the Università degli Studi di Bari and the KU Leuven with a doctoral project on the notion of intellectual curiosity in Augustine and its transformation in the thirteenth century. Inhaltsverzeichnis Preface by Monika Fludernik Acknowledgement 1 Introduction 2 Unnatural and Unconventional Liaisons 2.1 Nature

English drama --- Renaissance --- History and criticism. --- Webster, John, --- Ford, John,

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Game wardens --- Wildlife management. --- Animal populations --- Game management --- Management, Game --- Management, Wildlife --- Plant populations --- Wildlife resources --- Natural resources --- Wildlife conservation --- Game reeves --- Wardens, Game --- Police, Rural --- Undercover wildlife agents --- Management --- Ford, John, --- Ford, John A.,

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John Ford is a monumental figure in Hollywood and world cinema. Throughout his long and varied career spanning the silent and sound era, he produced nearly 150 films of which Iron Horse (1924), Stagecoach (1939), The Grapes of Wrath (1940), How Green Was My Valley (1941), The Searchers (1956) and The Man Who Shot Liberty Valance (1962) are classics of cinema. Ford was also an influential figure in developing, and extending Hollywood''s traditions. Stylistically Ford was instrumental in developing new camera techniques, atmospheric lighting and diverse narrative devices. Thematically, long befo

Ford, John, --- Ford, John --- O'Feeney, Sean, --- O'Fearna, Sean Aloysius, --- O'Fienne, Sean Aloysius, --- Feeney, John Martin, --- Ford, Jack, --- Criticism and interpretation. --- 1894-1973. --- O'Feeney, Sean --- O'Fearna, Sean Aloysius --- O'Fienne, Sean Aloysius --- Feeney, John Martin --- Ford, Jack

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James Stewart once said, "For John Ford, there was no need for dialogue. The music said it all." This lively, accessible study is the first comprehensive analysis of Ford's use of music in his iconic westerns. Encompassing a variety of critical approaches and incorporating original archival research, Kathryn Kalinak explores the director's oft-noted predilection for American folk song, hymnody, and period music. What she finds is that Ford used music as more than a stylistic gesture. In fascinating discussions of Ford's westerns-from silent-era features such as Straight Shooting and The Iron Horse to classics of the sound era such as My Darling Clementine and The Searchers -Kalinak describes how the director exploited music, and especially song, in defining the geographical and ideological space of the American West.

Motion picture music --- History and criticism. --- Ford, John, --- O'Feeney, Sean, --- O'Fearna, Sean Aloysius, --- O'Fienne, Sean Aloysius, --- Feeney, John Martin, --- Ford, Jack, --- Criticism and interpretation. --- 82:791.43 --- 82:791.43 Literatuur en film --- Literatuur en film --- History and criticism --- Ford, John --- O'Feeney, Sean --- O'Fearna, Sean Aloysius --- O'Fienne, Sean Aloysius --- Feeney, John Martin --- Ford, Jack --- 20th century american film. --- american cinema. --- american film director. --- american filmmakers. --- american folk music. --- american folk songs. --- american west. --- biographical. --- cinema. --- film criticism. --- film studies. --- film. --- hollywood. --- hymnody. --- john ford. --- movie studies. --- movie. --- music in film. --- music. --- my darling clementine. --- old west. --- period music. --- stagecoach. --- the iron horse. --- the man who shot liberty valance. --- the searchers. --- western films. --- western united states. --- westerns.

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'Counterfeiting' Shakespeare addresses the fundamental issue of what Shakespeare actually wrote, and how this is determined. In recent years his authorship has been claimed for two poems, the lyric 'Shall I die?' and A Funerall Elegye. These attributions have been accepted into certain major editions of Shakespeare's works but Brian Vickers argues that both attributions rest on superficial verbal parallels; both use too small a sample, ignore negative evidence, and violate basic principles in authorship studies. Through a fresh examination of the evidence, Professor Vickers shows that neither poem has the stylistic and imaginative qualities we associate with Shakespeare. In other words, they are 'counterfeits', in the sense of anonymously authored works wrongly presented as Shakespeare's. He argues that the poet and dramatist John Ford wrote the Elegye: its poetical language (vocabulary, syntax, prosody) is indistinguishable from Ford's, and it contains several hundred close parallels with his work. By combining linguistic and statistical analysis this book makes an important contribution to authorship studies.

Poetry --- Authorship --- Poetics --- Authorship. --- W. S., --- Shakespeare, William, --- Ford, John, --- Foard, John, --- Ford, J. --- Forde, John, --- Shakespeare, William --- Shakespear, William, --- Shakspeare, William, --- Šekʻspiri, Uiliam, --- Saixpēr, Gouilliam, --- Shakspere, William, --- Shikisbīr, Wilyam, --- Szekspir, Wiliam, --- Šekspyras, --- Shekspir, Vilʹi︠a︡m, --- Šekspir, Viljem, --- Tsikinya-chaka, --- Sha-shih-pi-ya, --- Shashibiya, --- Sheḳspir, Ṿilyam, --- Shaḳspir, Ṿilyam, --- Syeiksŭpʻio, --- Shekspir, V. --- Szekspir, William, --- Shakespeare, Guglielmo, --- Shake-speare, William, --- Sha-ō, --- Şekspir, --- Shekspir, Uiliam, --- Shekspir, U. --- Šekspir, Vilijam, --- Ṣēkspiyar, Viliyam, --- Shakspir, --- Shekspyr, Vyli︠e︡m, --- Şekspir, Velyam, --- Ṣēkspiyar, Villiyam, --- Shēkʻspʻiyr, Vlilliam, --- Ṣēkspiyar, --- Ṣēkspiyar Mahākavi, --- Ṣēkspiyar Mahākaviya, --- Sheḳspier, Ṿilyam, --- Shēkʻspir, --- Shakespeare, --- Śeksper, --- Шекспир, Вильям, --- Шекспир, Уильям, --- שייקספיר, וויליאם, --- שייקספיר, וו., --- שיקספיר, וויליאם --- שיקספיר, ויליאם --- שיקספיר, ויליאם, --- שכספיר, ויליאם, --- שכספיר, וילים, --- שכספיר, ו׳ --- שעפקספיר, וויליאם, --- שעקספיער, וויליאם --- שעקספיער, וויליאם, --- שעקספיער, ווילליאם --- שעקספיער, וו., --- שעקספיר --- שעקספיר, וו --- שעקספיר, וויליאם, --- שעקספיר, וויליאמ --- שעקספיר, ווילליאם --- שעקספיר, ווילליאם, --- שעקספיר, וו., --- שעקספיר, װיליאם, --- שעקספיר, װילליאם, --- שעקספיר, װ., --- שעקספער --- שעקספער, וויליאמ --- שקספיר --- שקספיר, וו --- שקספיר, וויליאם --- שקספיר, וויליאם, --- שקספיר, ווילים, --- שקספיר, וילאם --- שקספיר, ויליאם --- שקספיר, ויליאם, --- שקספיר, ויליים, --- שקספיר, וילים --- שקספיר, וילים, --- شاكسبير، وليم --- شاكسپير، وليم --- شكسبير، وليام --- شكسبير، وليم --- شكسبير، وليم، --- شكسبير، و. --- شكسپير، وليم --- شكسپير، ويليام --- شيكسبير، وليام --- شيكسبير، وليام.، --- شيكسبير، وليم --- شکسبير، وليم --- وليم شکسبير --- 沙士北亞威廉姆, --- 沙士比亞威廉姆, --- 莎士比亞威廉姆, --- 莎士比亞威廉, --- 莎士比亞, --- Foarde, John, --- Ford, J., --- W. S. --- Arts and Humanities --- Literature --- Ford, John