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Ang Tanging Ina N'yong Lahat

Ang Tanging Ina N'yong Lahat

VDM Publishing House
2010
nidottu
Observera att förlaget som ger ut denna produkt baserar innehållet i sina produkter på fria källor som Wikipedia. Boken är med stor sannolikhet endast ett utdrag ur dessa informationskällor, alltså inte en vanlig bok i den bemärkelsen.
Zoran A InA'iAa

Zoran A InA'iAa

VDM Publishing House
2010
nidottu
Observera att förlaget som ger ut denna produkt baserar innehållet i sina produkter på fria källor som Wikipedia. Boken är med stor sannolikhet endast ett utdrag ur dessa informationskällor, alltså inte en vanlig bok i den bemärkelsen.
War Paintings of the Tsuu T'ina Nation

War Paintings of the Tsuu T'ina Nation

Arni Brownstone

University of Nebraska Press
2015
pokkari
During much of the nineteenth century, paintings functioned as the Plains Indians' equivalent to written records. The majority of their paintings documented warfare, focusing on specific war deeds. These pictorial narratives—appearing on hide robes, war shirts, tipi liners, and tipi covers—were maintained by the several dozen Plains Indians tribes, and they continue to expand historical knowledge of a people and place in transition.War Paintings of the Tsuu T'ina Nation is a study of several important war paintings and artifact collections of the Tsuu T'ina (Sarcee) that provides insight into the changing relations between the Tsuu T'ina, other plains tribes, and non-Native communities during the nineteenth and twentieth centuries. Arni Brownstone has meticulously created renderings of the paintings that invite readers to explore them more fully. All known Tsuu T'ina paintings are considered in the study, as are several important collections of Tsuu T'ina artifacts, with particular emphasis on five key works. Brownstone's analysis furthers our understanding of Tsuu T'ina pictographic war paintings in relation to the social, historical, and artistic forces that influenced them and provides a broader understanding of pictographic painting, one of the richest and most important Native American artistic and literary genres.
War Paintings of the Tsuu T'ina Nation

War Paintings of the Tsuu T'ina Nation

Arni Brownstone

University of Alberta Press
2015
pokkari
During much of the nineteenth century, paintings functioned as the Plains Indians' closest equivalent to written records. The majority of their paintings documented warfare, focusing on specific war deeds. These pictorial narratives continue to expand historical knowledge of a people and place in transition. Arni Brownstone studies several important war paintings and artifact collections of the Tsuu T'ina (Sarcee) that provide insight into the changing relations between the Tsuu T'ina, other plains tribes, and non-Native communities during the nineteenth and twentieth centuries. All known Tsuu T'ina paintings are considered in the study, as are several important collections of Tsuu T'ina artifacts. Brownstone's work furthers our understanding of Tsuu T'ina pictographic war paintings in relation to the social, historical, and artistic forces that influenced them and provides a broader understanding of pictographic painting, one of the richest and most important Native American artistic and literary genres.
The Rhythms and Rhymes of Ina Huggins

The Rhythms and Rhymes of Ina Huggins

Sue Huggins; Ina Degroff Huggins

Createspace Independent Publishing Platform
2018
nidottu
Ina Huggins was born in Oswego, New York on April 19, 1925. After graduation Ina worked at the Pentagon, where she met Emanuel Huggins from South Carolina. They married, and she became a homemaker, raising five children in Inman, South Carolina. She loved her family, church, and community. To fill a need and to serve her church, she taught herself how to play the organ. One talent remained hidden until after her Heavenly Home-going in 2017; her poetry. Some poems are witty and filled with godly-fun. Each one reveals her love and compassion for her family. Ina enjoyed her canary and her faithful puppy, Ladybug. She is reunited with the love of her life, Emanuel, as they worship their Savior, Jesus, throughout eternity, together.
I Ulu I Ka `?ina

I Ulu I Ka `?ina

University of Hawai'i Press
2013
nidottu
I Ulu I Ka `?ina: Land, the second publication in the Hawai`inui?kea series, tackles the subject of the Kanaka (Hawaiian) connection? to the ‘?ina (land) through articles, poetry, art, and photography. From the remarkable cover illustration by artist April Drexel to the essays in this volume, there is no mistaking the insistent affirmation that Kanaka are inseparable from the ‘?ina. This work calls the reader to acknowledge the Kanaka’s intimate connection to the islands. The alienation of ‘?ina from Kanaka so accelerated and intensified over the nineteenth and twentieth centuries that there are few today who consciously recognize the enormous harm that has been done physically, emotionally, and spiritually by that separation.The evidence of harm is everywhere: crippled and dysfunctional families, rampant drug and alcohol abuse, disproportionately high incidences of arrest and incarceration, and alarming health and mortality statistics, some of which may be traced to diet and lifestyle, which themselves are traceable to the separation from ‘?ina. This volume articulates the critical needs that call the Kanaka back to the ‘?ina and invites the reader to remember the thousands of years that our ancestors walked, named, and planted the land and were themselves planted in it.