(US Dollars) POLITICS and HISTORY
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Germany As We Saw It
DOCUMENT RESUME ED 045 000 FL 002 074 TITLE Germany as We Saw It. INSTITUTION Stanford Univ., Calif. SPONS AGENCY Office of Education (DFFW), Washington, D.C. PUB DATE 18 Aug 61 NOTE 173p.: Report of 1061 NDEA Institute held at Bad Boll, Germany EDRS PRICE EDRS "Price MF-$0.7c HC Not Available from EDRS. DESCRIPTORS Area Studies, Churches, Cross Cultural Training, Cultural Background, Cultural Context, Elementary Education, Employment, Family Life, *Foreign Culture, *German, Housing, Inservice Teacher Education, Institutes (Training Programs), International Education, Religion, Secondary Education, *Secondary School Teachers, *Second Language Learning, Study Abroad, *Summer Institutes IDENTIFIERS *Germany, NDEA Language Institutes ABSTRACT Close-up studies of German life in the Stuttgart area are reported by participants of Stanford University's 1051 National Defense Education Act second-level institute for secondary school teachers of German, held at Bad Boll, Germany. Topics covered include: (1) religious life, (2) political life,(3) problems of settlement, (4) occupational problems and the family,(5) aspects of the German educational system, and (6)general cultural life. 17.or related documents see ED 027 785 and ED 027 786. [Not available in hard copy due to marginal legibility of original document.) (WR) U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY. -report presented4the'partic.ipants n--the1961 Stanford -NDEA Institule '. eld...at -Bad. Boll,. Germany.. TABLE OF CONTENTS A. Religious Life in Airttemberg p. -
Perspectives on the Austrian Comic Book Author Nicolas Mahler
ADAPTATION IN THE GERMAN-SPEAKING COMIC BOOK GENRE: PERSPECTIVES ON THE AUSTRIAN COMIC BOOK AUTHOR NICOLAS MAHLER Clayton Robert Frist A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2015 Committee: Christina Guenther, Advisor Edgar Landgraf © 2015 Clayton Robert Frist All Rights Reserved iii ABSTRACT Christina Guenther, Adviser This thesis’s aim is to introduce the contemporary Austrian comic book author Nicolas Mahler and his work to an English-speaking readership. A background of the German comic book genre prefaces a discussion about Nicolas Mahler and his professional career. The central section of this study will be devoted to a close analysis of two of Nicolas Mahler’s works, Der Weltverbesserer (2014) and Franz Kafkas nonstop Lachmaschine (2014). For my analysis of these works, I explore Linda Hutcheon’s theory of adaptation, Roland Barthes’s narratology and Brian McFarlane’s notion of enunciation. These theories aid in unpacking Nicolas Mahler’s style and examining how he adapts works of German literary classics into the comic book genre. My thesis places Nicolas Mahler and his comic books within the tradition of the German literary context as well as within the study of contemporary German-language comic books. iv This thesis is dedicated to all of those who love to read comic books. v ACKNOWLEDGMENTS I would like to thank my adviser, Dr. Christina Guenther, for supporting me on this endeavor. This thesis would not have been possible without your wisdom, insight and, above all, patience. -
Animation: a World History Volume III: Contemporary Times Giannalberto Bendazzi
This article was downloaded by: 10.3.98.104 On: 01 Oct 2021 Access details: subscription number Publisher: CRC Press Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Animation: A World History Volume III: Contemporary Times Giannalberto Bendazzi Europe Publication details https://www.routledgehandbooks.com/doi/10.1201/9781315720746-3 Giannalberto Bendazzi Published online on: 17 Nov 2015 How to cite :- Giannalberto Bendazzi. 17 Nov 2015, Europe from: Animation: A World History, Volume III: Contemporary Times CRC Press Accessed on: 01 Oct 2021 https://www.routledgehandbooks.com/doi/10.1201/9781315720746-3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 EUROPE Great Britain: The Wonderful intended for adult audiences, and quite deliberately so. 1 That policy was formulated on the basis of trying to be Years different from other television channels. Animation for It is not possible to discuss British animation2 from the adults was scarcely seen on British television.’5 Channel 1990s onwards without talking about Channel 4. -
Children's Programming Report;
The international perspective The future of children’s programming research report - Online annex Research annex Publication date: 3 October 2007 Contents Section Page 1 Overview: the international perspective 1 2 France 25 3 Germany 32 4 Sweden 37 5 Australia 43 6 Canada 50 7 The USA 58 Annex E.1: Canadian broadcasters’ obligations in relation to children’s programming 65 Annex E.2: Data sources 67 The future of children’s programming – The international perspective 1 Overview: the international perspective 1.1. Summary of findings • Children’s television markets internationally have been shaped by two underlying trends: the increase in multichannel penetration and the growing number and popularity of dedicated children’s channels. In 2006, the vast majority of households in Germany (98%), Sweden (87%), Canada (81%) and the USA (86%) had multichannel television. The UK is now approaching these markets, with a 79% take- up rate, while multichannel penetration in France (46%) and Australia (41%) is lower. • In 2006, the UK had the highest number of dedicated children’s channels among the countries surveyed, with 18 channels (excluding time-shifted channels). France had the second highest level of dedicated provision, with 17 channels, followed by the USA with 15. • As the number of children’s channels grows, viewing is migrating away from the main channels. The relative decline was highest in the UK, where children’s viewing of the main five terrestrials fell by nearly a third between 2002 and 2006. The highest absolute decline, of 23 percentage points, was in Sweden. The declines were slowest in Canada and the USA – the two markets where dedicated channels have long dominated children’s viewing.