Auswahl der wissenschaftlichen Literatur zum Thema „Cultures DIY“
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Zeitschriftenartikel zum Thema "Cultures DIY"
Chrysagis, Evangelos. „DIY Cultures and Underground Music Scenes“. Popular Music and Society 42, Nr. 5 (05.08.2019): 624–26. http://dx.doi.org/10.1080/03007766.2019.1650522.
Der volle Inhalt der QuelleBennett, Andy. „Conceptualising the Relationship Between Youth, Music and DIY Careers: A Critical Overview“. Cultural Sociology 12, Nr. 2 (19.02.2018): 140–55. http://dx.doi.org/10.1177/1749975517750760.
Der volle Inhalt der QuelleGuerra, Paula. „Raw Power: Punk, DIY and Underground Cultures as Spaces of Resistance in Contemporary Portugal“. Cultural Sociology 12, Nr. 2 (16.04.2018): 241–59. http://dx.doi.org/10.1177/1749975518770353.
Der volle Inhalt der QuelleThreadgold, Steven. „Creativity, Precarity and Illusio: DIY Cultures and ‘Choosing Poverty’“. Cultural Sociology 12, Nr. 2 (25.10.2017): 156–73. http://dx.doi.org/10.1177/1749975517722475.
Der volle Inhalt der QuelleKim, Min-Hyoung. „A Semiotic Adaptation of Materiality Studies: With a Focus of DIY Making Cultures“. Semiotic Inquiry 72 (30.12.2022): 7–37. http://dx.doi.org/10.24825/si.72.1.
Der volle Inhalt der QuelleHaenfler, Ross. „The Entrepreneurial (Straight) Edge: How Participation in DIY Music Cultures Translates to Work and Careers“. Cultural Sociology 12, Nr. 2 (27.06.2017): 174–92. http://dx.doi.org/10.1177/1749975517700774.
Der volle Inhalt der QuelleGuerra, Paula. „So close yet so far: DIY cultures in Portugal and Brazil“. Cultural Trends 30, Nr. 2 (24.01.2021): 122–38. http://dx.doi.org/10.1080/09548963.2021.1877085.
Der volle Inhalt der QuelleCleveston Gelain, Gabriela, Milene Migliano und Pedro De Assis Pereira Scudeller. „Experiências de uma Riot Grrrl: Kathleen Hanna, feminismo, DIY e cultura remix“. Revista PHILIA | Filosofia, Literatura & Arte 2, Nr. 2 (10.11.2020): 152–88. http://dx.doi.org/10.22456/2596-0911.104017.
Der volle Inhalt der QuelleBarnard, Katharine D., Ralph Ziegler, David C. Klonoff, Katarina Braune, Bettina Petersen, Til Rendschmidt, Daniel Finan, Aaron Kowalski und Lutz Heinemann. „Open Source Closed-Loop Insulin Delivery Systems: A Clash of Cultures or Merging of Diverse Approaches?“ Journal of Diabetes Science and Technology 12, Nr. 6 (06.08.2018): 1223–26. http://dx.doi.org/10.1177/1932296818792577.
Der volle Inhalt der QuelleCritchley, Tom. „DIY Design and Radical Worldbuilding at The Grove Skatepark, London“. Temes de Disseny, Nr. 39 (27.07.2023): 208–27. http://dx.doi.org/10.46467/tdd39.2023.208-227.
Der volle Inhalt der QuelleDissertationen zum Thema "Cultures DIY"
Messey, Orlane. „"C’est du sport, tu t’attendais à quoi ?". D'un entre-soi permissif à un sport inclusif : le cas du roller derby français“. Electronic Thesis or Diss., Bourgogne Franche-Comté, 2024. http://www.theses.fr/2024UBFCC001.
Der volle Inhalt der QuelleRoller derby is an American sports discipline that emerged in France in 2009. Its spread in Europe is notably linked to the film Bliss, which contributes to the popularization of this ancient sport, recreated in 2001 in the alternative music scenes of Texas. Roller derby establishes itself in France based on a carnival and permissive practice model through which the teams hijacked the mainstream sport. Furthermore, teams initially organized around the punk do-it-yourself (DIY) logic, which involved rejecting capitalist logic and favoring self-management. Ten years after the emergence of this practice in France, this sports science thesis aims to understand the structuring of roller derby in relation to the "traditional," mainstream sports model. Using a sociological and ethnographic approach, the aim is to examine how French roller derby managed to structure itself outside dominant frameworks. The observation of an obvious euphemization of subversive markers and the adoption of codes from the federal sports environment suggest the incorporation of the practice into a sportification process. However, this is not synonymous with a takeover by sports authorities here. On the contrary, this normalization of practice takes place within the teams themselves. By mobilizing symbolic interactionism frameworks, this research highlights the role played by the female practitioners during this sportsification and how they negotiate a practice framework articulated between the diversion and appropriation of the dominant sports model. The main challenge is to show the transition from a so-called "permissive" practice to an "inclusive" sport. While female players now defend their place on mainstream sports fields, the display of inclusion of gender minorities has gradually replaced the carnivalesque markers of subversion of sports codes. As teams are leaving the margins of the sport to enter its institutions, subversion gives way to inclusion, as a final marker of distance from the core of the sports environment. Nevertheless, some teams continue to resist the pressure of the competitive model. Some embrace DIY as a means of organizing sports practice differently (without hierarchy, but horizontally), while others choose to prioritize folklore as a mode of resistance to the homogenization of practice
Holtzhausen, Natasja. „Die rol van die openbare bestuurder in die ontwikkeling van 'n organisasiekultuur : 'n normatiewe beskouing (Afrikaans)“. Diss., University of Pretoria, 2000. http://hdl.handle.net/2263/26956.
Der volle Inhalt der QuelleDissertation (MA (Public Administration))--University of Pretoria, 2006.
School of Public Management and Administration (SPMA)
Unrestricted
Silva, Alex Gomes da. „Cultura luso-brasileira em perspectiva: Portugal, Brasil e o projeto cultural da revista Atlântico (1941-1945)“. Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-29012013-104158/.
Der volle Inhalt der QuelleThe Atlântico magazine was part of a larger project encompassed by Portugal and Brazil in the early 1940s. More precisely, in 1941 is signed the Luso-Brazilian culture agreement that resulted, among other elements, in the idealization of a project based on creating a magazine of culture and art. From this process arises Atlântico magazine, which owes its name to the attempt of finding a word sufficiently elastic, undulating to synthesize the vague and concrete of our aspirations, dreams and the reality of our vision, in the words of one of its directors António Ferro. Founded in 1942, the Atlântico magazine has had as proponents, António Ferro, the director of Secretariado da Propaganda Nacional (SPN) (Director of the Bureau of Propaganda Nacional) of Portugal and the director of the brazilian Departamento de Imprensa e Propaganda (DIP) (Department of Press and Propaganda), Lourival Fontes. This article, which covers the period from 1941 (year of the signing of the Cultural Luso-Brazilian) to 1945 (which marks both the end of the term of the DIP and the end of the first phase of the Atlântico), aims to discuss the idea defended by its writers that the nature of the Atlântico magazine is to be a journal of culture, literature and art, avoiding dealing with social problems, political or economic in the modern world, even when they concern to life in Brazil or Portugal. Moreover, the fact of bringing a bundle of intellectual rather diverse, systematic analysis of the Atlântico magazine aims to evaluate and understand the way in which authors and works appearing in the body of the publication.
de, Gioia Kathryn. „Beyond cultural diversity : exploring micro and macro culture in the early childhood setting /“. View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20060511.142734/index.html.
Der volle Inhalt der Quelle"A thesis submitted to the School of Applied Social and Human Sciences, University of Western Sydney in fulfilment of the Doctor of Philosophy". Includes bibliography : leaves 248 - 270.
Quader, Shams Bin. „Like a sustainable version: Practising independence in the Central Sydney independent music scene“. Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23381.
Der volle Inhalt der QuelleBorchi, Alice. „Culture and economic crisis : cultural value in Italy from 2008 to the present day“. Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/108584/.
Der volle Inhalt der QuelleReimers, Frank. „Security culture in times of war how did the Balkan War affect the security cultures in Germany and the United States?“ Thesis, Monterey, Calif. : Naval Postgraduate School, 2007. http://bosun.nps.edu/uhtbin/hyperion-image.exe/07Jun%5FReimers.pdf.
Der volle Inhalt der QuelleThesis Advisor(s): Biermann, Rafael ; Abenheim, Donald. "June 2007." Description based on title screen as viewed on August 14, 2007. Includes bibliographical references (p. 119-130). Also available in print.
Campagna, Desirée. „The Impacts of Participatory Governance on Cultural Development: Evidence from European Capitals of Culture“. Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3422217.
Der volle Inhalt der QuelleUomini, Steve. „Cultures historiques dans la France du XVIIe siècle /“. Paris : l'Harmattan, 1998. http://catalogue.bnf.fr/ark:/12148/cb37031560f.
Der volle Inhalt der QuelleEn appendice, choix de documents. Bibliogr. p. 602-609. Index.
Cunha, Sonia Regina Soares da. „A m?dia dos outros somos n?s: a experi?ncia audiovisual do Ponto de Cultura Cinema para Todos“. Universidade Federal do Rio Grande do Norte, 2012. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16406.
Der volle Inhalt der QuelleThis research aims to identify the process of appropriation of audio visual (in digital video) for collective symbolic production (participatory video practice that expresses popular culture) in a socio-cultural context where the minorities are. Therefore, we based this study on the students‟ experience of the film and video workshops held by Cinema para Todos (Culture Point Cine for All), in Natal, RN. Culture Point is the basis of the project Programa Nacional de Cultura, Educa??o e Cidadania Cultura Viva (National Program of Culture, Education and Citizenship - Living Culture) of the Brazilian Ministry of Culture. In 2010, the Cine for All developed three film and video workshops in the state of Rio Grande do Norte (Northeastern of Brazil), in the municipalities of A?u, Lajes and S?o Gon?alo do Amarante, within a public policy project of socio-cultural inclusion. These three workshops are the focus of this empirical investigation. To support the analysis of this research we consider that the spaces of workshops are sites of the social practices origin, assuming they show the development of the changes of actions that generate new practices. In this socio-cultural context the students as interlocutors process the communicative culture mediation, where come from the logics of action (using digital video) to become a mediatic practice (video auto ethnographic). With the overall goal set and the field of investigative action delimited we considered the methodology of case study suitable for the observation of the object, because it is a phenomenon of modernity, occurring in a context of real life and with little or no control over events. Participant observation and interviews was also applied to this case study. The analytical theoretical support comes from the notion of mediation by Jes?s Mart?n-Barbero and the concept of habitus by Pierre Bourdieu. The research found that a new way of communicating has been developing by this social group, and this reflects the technological change experienced by them. The auto ethnographic videos, short movies, reveal an allegorical trial of the mainstream media, because while they use the mainstream format, they rework the aesthetic, but without revising the history, in fact they proposing to retell the history of themselves full of colorful details and with richness of their forgotten popular culture.
Esta pesquisa tem como objetivo identificar o processo de apropria??o do recurso audiovisual (v?deo digital) para a produ??o coletiva simb?lica (pr?tica videogr?fica participativa que expressa a cultura popular) num contexto sociocultural onde est?o as minorias. Para tanto, baseamos este estudo na experi?ncia dos integrantes das oficinas de forma??o em cinema e v?deo ministradas pelo Ponto de Cultura Cinema para Todos, localizado em Natal, RN. Ponto de Cultura (PC) ? o projeto estruturante do Programa Nacional de Cultura, Educa??o e Cidadania Cultura Viva do Minist?rio da (MinC). Em 2010, o PC Cinema para Todos desenvolveu tr?s oficinas cinema v?deo nos munic?pios norte-rio-grandenses A?u, Lajes e S?o Gon?alo do Amarante, dentro de um projeto de pol?tica p?blica de inclus?o sociocultural. Estas tr?s oficinas comp?em o recorte emp?rico desta investiga??o. Para fundamentar a an?lise deste estudo investigativo consideramos que os espa?os das oficinas s?o locais de pr?ticas sociais embrion?rias, pressupondo-se que sejam reveladores do desenvolvimento das modifica??es das a??es que geram novas pr?ticas. Nesse contexto sociocultural, os agentes comunit?rios assumem o papel de interlocutores e processam as media??es comunicativas da cultura onde as l?gicas de produ??o passam da a??o (uso do v?deo digital) para a pr?tica cultural midi?tica (v?deo auto etnogr?fico). A estrat?gia metodol?gica de estudo de caso foi considerada adequada para a observa??o do objeto, por se tratar de um fen?meno da contemporaneidade, estar inserido em um contexto da vida real e proporcionar pouco ou nenhum controle sobre os eventos. A observa??o participante e a entrevista tamb?m se aliaram ao estudo de caso. Contribu?ram para o suporte te?rico anal?tico desta investiga??o a no??o de media??o formulada por Jes?s Mart?n-Barbero e o conceito de habitus de Pierre Bourdieu. Foi poss?vel identificar que a nova forma de comunicar reflete a mudan?a tecnol?gica cultural vivenciada pelo grupo social. Os v?deos auto etnogr?ficos revelam uma experimenta??o aleg?rica da m?dia hegem?nica, pois ao mesmo tempo em que se apropriam da linguagem, reelaboram a est?tica, sem revisar a hist?ria, mas se propondo a recont?-la com detalhes pitorescos e esquecidos da cultura popular.
Bücher zum Thema "Cultures DIY"
Guerra, Paula, und Pedro Quintela, Hrsg. Punk, Fanzines and DIY Cultures in a Global World. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-28876-1.
Der volle Inhalt der QuelleHelmut, Glück, und Hoffmann Hilmar, Hrsg. Die Semantik des Kulturbegriffs. Bamberg: Collibri, 1998.
Den vollen Inhalt der Quelle findenOberholzer, Hannes. Beleid vir die bewaring van die materiële kultuurerfenis. Bloemfontein, Republiek van Suid-Afrika: Nationale Museum, 1987.
Den vollen Inhalt der Quelle findenHoffmann, Hilmar. Die Aktualität von Kultur: Probleme mit dem Kulturboom. Wien: Picus, 1990.
Den vollen Inhalt der Quelle findenBraunstein, Dirk. Alles falsch: Auf verlorenem Posten gegen die Kulturindustrie. Berlin: Verbrecher Verlag, 2012.
Den vollen Inhalt der Quelle findenHoffmann, Hilmar. Die Aktualität von Kultur: Probleme mit dem Kulturboom. Wien: Picus, 1990.
Den vollen Inhalt der Quelle findenFriedrich, Thiessen, Hrsg. Die Wessis: Westdeutsche Führungskräfte beim Aufbau Ost. Köln: Böhlau, 2009.
Den vollen Inhalt der Quelle findenFriedrich, Thiessen, Hrsg. Die Wessis: Westdeutsche Führungskräfte beim Aufbau Ost. Köln: Böhlau, 2009.
Den vollen Inhalt der Quelle findenBen-Ari, Hadass S. Fallopian Falafel: DIY or Die! Jerusalem, Israel: Daily H Publications, 2010.
Den vollen Inhalt der Quelle findenRadtke, Frank-Olaf. Kulturen sprechen nicht: Die Politik grenzüberschreitender Dialoge. Hamburg: Hamburger Edition, 2011.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Cultures DIY"
Düster, Benjamin, und Raphaël Nowak. „Cassette cultures in Berlin“. In DIY Cultures and Underground Music Scenes, 150–59. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-14.
Der volle Inhalt der QuelleJungnickel, Katrina. „Do-it-Together Technology Cultures and Other Conclusions“. In DiY WiFi: Re-imagining Connectivity, 125–35. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137312532_9.
Der volle Inhalt der QuelleBenhaïm, Sarah. „Noise records as noise culture“. In DIY Cultures and Underground Music Scenes, 112–24. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-11.
Der volle Inhalt der QuelleBecuț, Anda Georgiana. „Between popular and underground culture“. In DIY Cultures and Underground Music Scenes, 41–51. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-5.
Der volle Inhalt der QuelleBennett, Andy, und Paula Guerra. „Introduction“. In DIY Cultures and Underground Music Scenes, 1–6. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-1.
Der volle Inhalt der QuelleKaitajärvi-Tiekso, Juho. „Proud amateurs“. In DIY Cultures and Underground Music Scenes, 101–11. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-10.
Der volle Inhalt der QuelleMartin-Iverson, Sean. „Punk positif“. In DIY Cultures and Underground Music Scenes, 125–36. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-12.
Der volle Inhalt der QuelleJanotti, Jeder Silveira, und Victor de Almeida Nobre Pires. „So far, yet so near“. In DIY Cultures and Underground Music Scenes, 139–49. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-13.
Der volle Inhalt der QuelleWillsteed, John. „‘Here Today’“. In DIY Cultures and Underground Music Scenes, 160–70. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-15.
Der volle Inhalt der QuelleBarna, Emília. „Birth of an underground music scene?“ In DIY Cultures and Underground Music Scenes, 171–82. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-16.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Cultures DIY"
Kinigama, I. M. M. K., und A. Weerasinghe. „Cultural identity formation through hybridization: dressing under portuguese intervention in Sri Lanka“. In Awakening the economy through design innovation. Department of Integrated Design, University of Moratuwa, Sri Lanka, 2023. http://dx.doi.org/10.31705/idr.2023.2.
Der volle Inhalt der QuelleHartescu, Ioana. „ONE SIZE FITS ALL? – CULTURAL DIVERSITY REFLECTED IN INSTRUCTIONAL DESIGN MODELS“. In eLSE 2012. Editura Universitara, 2012. http://dx.doi.org/10.12753/2066-026x-12-080.
Der volle Inhalt der QuelleEroğlu, Feyzullah, und Esvet Mert. „A Research on the Relationship between Preferred Music Type and Entrepreneurship Tendency“. In International Conference on Eurasian Economies. Eurasian Economists Association, 2017. http://dx.doi.org/10.36880/c08.01858.
Der volle Inhalt der QuelleDupuy, E., P. S. Rohrlich und G. Tobelem. „HEPARIN STIMULATES FIBROBLAST GROWTH INDUCED BY PDGF“. In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1643750.
Der volle Inhalt der QuelleReis de Matos Braz, Patricia. „CULTURA E DESENVOLVIMENTO URBANO NO PORTO. Variações de discursos e de práticas na política municipal recente da cidade.“ In Seminario Internacional de Investigación en Urbanismo. Universitat Politècnica de Catalunya, Grup de Recerca en Urbanisme, 2024. http://dx.doi.org/10.5821/siiu.12780.
Der volle Inhalt der QuelleDangol, Aayushi, Michele Newman, Robert Wolfe, Jin Ha Lee, Julie A. Kientz, Jason Yip und Caroline Pitt. „Mediating Culture: Cultivating Socio-cultural Understanding of AI in Children through Participatory Design“. In DIS '24: Designing Interactive Systems Conference. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3643834.3661515.
Der volle Inhalt der QuelleGautam, Matma, und Snehal Tambulwadikar. „Design Education and Multiculturalism“. In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.86.
Der volle Inhalt der QuellePyper, Brett, und Kgomotso Moshugi. „From Cosmopolitanism to Cosmology and Back Again: Co-Curating a Practice-Centred South African Jazz Collective, 2020-2022“. In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35885.
Der volle Inhalt der QuelleShiraishi, Toshihiko, Kazutaka Ohashi, Shin Morishita und Ryohei Takeuchi. „Investigation of Mechanism of Proliferation Promotion of Cultured Osteoblasts by Mechanical Vibration“. In ASME 2011 International Mechanical Engineering Congress and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/imece2011-64845.
Der volle Inhalt der QuelleShiraishi, Toshihiko, Tetsuo Shikata, Shin Morishita und Ryohei Takeuchi. „Investigation of Promotion of Bone Matrices in Cultured Osteoblasts by Mechanical Vibration“. In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-11131.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Cultures DIY"
Thunø, Mette, und Jan Ifversen. Global Leadership Teams and Cultural Diversity: Exploring how perceptions of culture influence the dynamics of global teams. Aarhus University, Oktober 2018. http://dx.doi.org/10.7146/aul.273.
Der volle Inhalt der QuelleSmiderle, Roberta. Workshop online: Planejamento urbanoacústico em zonas culturaisInter-relações entre a cidade e o som. Revista Acústica e Vibrações, Dezember 2021. http://dx.doi.org/10.55753/aev.v36e53.57.
Der volle Inhalt der QuelleConklin, David. The traditional and the modern : the history of Japanese food culture in Oregon and how it did and did not integrate with American food culture. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.5670.
Der volle Inhalt der QuelleLee, Aubra L., und Anne F. Gettys. Cultural Resources Survey. Road Alignment Alternatives Sunlight Day Recreational Area, Nimrod Lake, Arkansas. Fort Belvoir, VA: Defense Technical Information Center, Oktober 1986. http://dx.doi.org/10.21236/ada196833.
Der volle Inhalt der QuellePlessi, Fabrizio, Celestino Soddu und Adriano Abbado. digitalyart: An exhibition honoring Italy, Host of the 44th Annual Meeting of the Board of Governors of the Inter-American Development Bank. Inter-American Development Bank, Februar 2003. http://dx.doi.org/10.18235/0005909.
Der volle Inhalt der QuelleChallenger, Denise. Playin' Mas, Play and Mas | A Pedagogical Journey of Children in Caribana. York University, 2018. http://dx.doi.org/10.25071/10315/41551.
Der volle Inhalt der QuelleMiller, James E. Wild Turkeys. U.S. Department of Agriculture, Animal and Plant Health Inspection Service, Januar 2018. http://dx.doi.org/10.32747/2018.7208751.ws.
Der volle Inhalt der QuelleMitchell, Brian G., Amir Neori, Charles Yarish, D. Allen Davis, Tzachi Samocha und Lior Guttman. The use of aquaculture effluents in spray culture for the production of high protein macroalgae for shrimp aqua-feeds. United States Department of Agriculture, Januar 2013. http://dx.doi.org/10.32747/2013.7597934.bard.
Der volle Inhalt der QuelleBlaxter, Tamsin, und Tara Garnett. Primed for power: a short cultural history of protein. TABLE, November 2022. http://dx.doi.org/10.56661/ba271ef5.
Der volle Inhalt der QuelleReeve, Tammy. Pitfalls of Designing, Developing, and Maintaining Modular Avionics Systems in the Name of Sustainability. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, Mai 2024. http://dx.doi.org/10.4271/epr2024010.
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