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1000 tulosta hakusanalla Doris Howe

Sagan om Någon Annan : När Doris gick på tur och blev så där väldans arg
Visst har väl även du någon gång sagt eller tänkt: -Det var inte jag! Det var Någon Annan! Eller kanske: -Det vill inte jag göra. Det får Någon Annan göra? Men, vem är egentligen den där "Någon Annan"? Doris hoppas på att få träffa Någon Annan igen vid den stora rödgranen. Men, allt blir inte alls som hon tänkt sig... Detta är den andra boken om de små och stora äventyr som Doris och den ivrige hunden Sune upplever i skogen där Någon Annan bor. Serien består av berättelser med fokus på lärande för hållbar utveckling och vänder sig till såväl barn som vuxna barn.
Final cut : att göra en Doris

Final cut : att göra en Doris

Lisa Lindén; Agneta Slonawski; Gunnar Bergdahl

Bokförlaget Korpen
2021
nidottu
Dorismanifestet är världens första feministiska filmmanifest. Ett manifest som kräver jämställdhet, både framför och bakom kameran. Att göra en Doris är att sätta igång och hålla ut. Att våga ifrågasätta, agera och genomföra aktioner. Det är vad Doris Film har gjort de senaste tjugo åren i Sverige, men även på Island, i Ryssland och i många andra länder. Boken Final Cut vänder sig till dig som vill veta mer om kvinnors organisering och om hur Doris Film startade. Boken speglar en lustfylld och lärorik resa som började i Göteborg. Ett arbete som har varit en viktig del i att göra den svenska filmbranschen mer jämställd. Medverkar gör Astrid Askberger, Gunnar Bergdahl, Jenny Brusk, Gunilla Burstedt, Catti Edfeldt, Elena Emelianova, Anna Eriksson, Annika Hellström, Silva Hildbrand, Aase Högfeldt, Susann Jonsson, Lisa Lindén, Dögg Mósesdottír, Anne Otto, Lis Svensson Brandberg samt Gertrud Åström.
A Life Made with Artists: Doris Littrell and the Oklahoma Indian Art Scene
Some are born to paint. Others, to admire. And a few are born with the eye to spot great artistic talent and the passion to bring it to the world. Doris Littrell was always one of the latter. Whether tromping through mud to track down a promising canvas or whispering the needed word of encouragement in a struggling painter's ear, she made her life with Native American artists. And in doing so, this longtime Oklahoma gallery owner helped make possible the contemporary Oklahoma Indian Art Movement. This is her true story--told in her own words, in the words of the artists she championed, and those of the collectors who admired them both--graced by 32 pages of the art that Littrell loved so much.
Reading Women's Worlds from Christine de Pizan to Doris Lessing
In this work, Jansen explores a recurring theme in writing by women: the dream of finding or creating a private and secluded retreat from the world of men. These imagined "women's worlds" may be very small, a single room, for example, but many women writers are much more ambitious, fantasizing about cities, even entire countries, created for and inhabited exclusively by women.
Theatre-Fiction in Britain from Henry James to Doris Lessing
This volume posits and explores an intermedial genre called theatre-fiction, understood in its broadest sense as referring to novels and stories that engage in concrete and sustained ways with theatre. Though theatre has made star appearances in dozens of literary fictions, including many by modern history’s most influential authors, no full-length study has dedicated itself specifically to theatre-fiction—in fact there has not even been a recognized name for the phenomenon. Focusing on Britain, where most of the world’s theatre-novels have been produced, and commencing in the late-nineteenth century, when theatre increasingly took on major roles in novels, Theatre-Fiction in Britain argues for the benefits of considering these works in relation to each other, to a history of development, and to the theatre of their time. New modes of intermedial analysis are modelled through close studies of Henry James, Somerset Maugham, Virginia Woolf, J. B. Priestley, Ngaio Marsh, Angela Carter, and Doris Lessing, all of whom were deeply involved in the theatre-world as playwrights, directors, reviewers, and theorists. Drawing as much on theatre scholarship as on literary theory, Theatre-Fiction in Britain presents theatre-fiction as one of the past century’s most vital means of exploring, reconsidering, and bringing forth theatre’s potentials.
Narrative Authority and Homeostasis in the Novels of Doris Lessing and Carmen Martín Gaite
This study, originally published in 1990, assesses a shift in the presentation of self-consciousness in two pairs of novels by Doris Lessing and Carmen Martín Gaite: 1) Lessing’s The Summer Before the Dark (1973) and Martín Gaite’s Retahílas (1974) and 2) Lessing’s The Memoirs of a Survivor (1974) and Martín Gaite’s The Back Room (1978). Three major structural divisions facilitate examining implications of the novels for 1) feminism 2) literary narrative and 3) the lives of people-at-large.