Titlebook: European Cinema and Intertextuality; History, Memory and Ewa Mazierska Book 2011 Palgrave Macmillan, a division of Macmillan Publishers Li

children

書目名稱European Cinema and Intertextuality影響因子(影響力)




書目名稱European Cinema and Intertextuality影響因子(影響力)學(xué)科排名




書目名稱European Cinema and Intertextuality網(wǎng)絡(luò)公開度




書目名稱European Cinema and Intertextuality網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱European Cinema and Intertextuality被引頻次




書目名稱European Cinema and Intertextuality被引頻次學(xué)科排名




書目名稱European Cinema and Intertextuality年度引用




書目名稱European Cinema and Intertextuality年度引用學(xué)科排名




書目名稱European Cinema and Intertextuality讀者反饋




書目名稱European Cinema and Intertextuality讀者反饋學(xué)科排名

Lipoprotein

Goodbye Lenin or Not: Cinematic Representations of the End of Communism,urface of society’ (Sztompka 1996: 120). Michael Kennedy begins his book . with the words: ‘The world was radically transformed in 1989, much as it was in 1789 or 1848. Political and economic systems and everyday lives were radically changed’ (Kennedy 2002: 1). Another term which appears in the disc

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derogatory terms. I myself have been brought up in a tradition which presents the illegal fight of Polish insurrectionists during the period of Poland’s partitions (1795–1918), often involving bombings and assassinations, as patriotic acts in their noblest form. The word ‘terrorism’ in Poland, as I

addition

https://doi.org/10.1007/978-3-322-83840-7urface of society’ (Sztompka 1996: 120). Michael Kennedy begins his book . with the words: ‘The world was radically transformed in 1989, much as it was in 1789 or 1848. Political and economic systems and everyday lives were radically changed’ (Kennedy 2002: 1). Another term which appears in the disc

刺耳

刺耳

Introduction: Is the Past a Foreign Country?,rs in my head. These words, opening L. P. Hartley’s novel, . (Hartley 1953: 9), were repeated or paraphrased by so many historians (see, for example, Lowenthal 1985, 2007; Judt 1992; Hobsbawm 1997; Fuchs and Cosgrove 2006) that they became a cliché. And yet, they require scrutiny, because they are a

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節(jié)約

A Clear Dividing Line?: Cinematic Representations of German, Italian and Irish Terrorism,, but different terrorisms’ (Laqueur 1987: 9). Stefan Wolff adds: ‘No act of violence in itself carries the quality of terrorism, only its interpretation does’ (Wolff 2000: 129). These and other authors (for example Whittaker 2004) point to different ideologies, leading to terrorist attacks, differe