Relevant bibliographies by topics / 1943-2005

Academic literature on the topic '1943-2005'

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Published: 26 July 2024
Last updated: 26 July 2024

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Journal articles on the topic "1943-2005"

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Carpenter, Andrew, and Ian Campbell Ross. "Alan Harrison (1943-2005)." Eighteenth-Century Ireland: Volume 20, Issue 1 20, no. 1 (January 1, 2005): 9–10. http://dx.doi.org/10.3828/eci.2005.4.

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No authorship indicated. "Thomas O. Nelson (1943-2005)." Journal of Experimental Psychology: Learning, Memory, and Cognition 31, no. 2 (2005): 350. http://dx.doi.org/10.1037/0278-7393.31.2.350.

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GUBER, ROSANA. "Eduardo P. Archetti (1943--2005)." American Anthropologist 108, no. 3 (September 2006): 631–35. http://dx.doi.org/10.1525/aa.2006.108.3.631.

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BAUM, RUDY M. "Richard E. Smalley, 1943-2005." Chemical & Engineering News 83, no. 45 (November 7, 2005): 3. http://dx.doi.org/10.1021/cen-v083n045.p003.

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Fjellström, Christina, and Maria Magnusson. "Per-Olow Sjödén (1943–2005)." Appetite 45, no. 3 (December 2005): 203–4. http://dx.doi.org/10.1016/j.appet.2005.10.001.

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Curl, Robert F. "Richard E. Smalley (1943–2005)." Nature 438, no. 7071 (December 2005): 1094. http://dx.doi.org/10.1038/4381094a.

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Eriksen, Thomas Hylland, and Marit Melhuus. "Eduardo P. Archetti (1943-2005)." Anthropology Today 21, no. 6 (December 2005): 23. http://dx.doi.org/10.1111/j.1467-8322.2005.00402.x.

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Khosrowshahi, Farzad. "Professor Rodney Howes, 1943–2005." Construction Management and Economics 24, no. 3 (March 2006): 227–28. http://dx.doi.org/10.1080/01446190500466601.

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Strom, S. H. "Susan Porter Benson, 1943-2005." Radical History Review 2006, no. 95 (April 1, 2006): 272–75. http://dx.doi.org/10.1215/01636545-2006-95-272.

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Hargittai, István. "Richard E. Smalley (1943–2005)." Structural Chemistry 17, no. 1 (February 2006): 155–56. http://dx.doi.org/10.1007/s11224-006-9041-1.

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Dissertations / Theses on the topic "1943-2005"

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Ivkova, Rossitza. "Rettung und Mord in genozidalen Entscheidungsprozessen Bulgarien 1941-1943 /." PDF, 2005. http://bieson.ub.uni-bielefeld.de/volltexte/2005/702/index.html.

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Machover, Jacobo. "La memoire face au pouvoir. Ecrivains cubains en exil / guillermo cabrera infante, severo, sarduy, reinaldo arenas." Paris 3, 2000. http://www.theses.fr/2000PA030182.

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La litterature cubaine connait, depuis la revolution castriste de 1959, deux versants contradictoires. Les livres ecrits dans l'ile ont peu de choses a voir avec ce qui s'est fait a l'exterieur. La thematique, les formes d'ecriture, les objectifs sont radicalement differents. Guillermo cabrera infante, severo sarduy et reinaido arenas ont marque de leur empreinte l'ensemble de la creation litteraire en exil. Les prises de position politiques des uns et des autres, parfois ouvertement exprimees, parfois simplement insinuees, sont venues s'ajouter aux oeuvres de fiction, leur conferant un sens different. Dans la plupart de leurs ecrits, cependant, la litterature s'est maintenue intacte, fuyant l'engagement, dans une tentative de recuperation totale de la memoire des origines. Ce qui a ete perdu. La havane, la sensualite particuliere de l'ile, est devenu l'objet d'une quete permanente. Mais tous ont cru, au depart, aux possibilites offertes par la revolution. Ils ont adhere a certains de ses principes, ecrit des textes de soutien, participe a son evolution et a ses errements. Ce passe etait trop encombrant, vu a l'aune de leur evolution posterieure. C'est pourquoi le silence est venuse substituer a la critique d'eux-memes, en construisant une veritable dichotomie entre ce qui etait elabore a l'interieur de l'ile et ce qui est publie en exil. Ce travail pretend saisir, a travers les meandres des textes et des publications, les constantes, les particularites et les contradictions de ces trois ecrivains, dont la place dans la litterature cubaine, difficilement conquise, a ouvert la voie a d'autres expressions moins tragiques, moins tourmentees, davantage tournees vers le present que vers la memoire.
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Py, Jean-François. "L'expérience de l'histoire et la vérité en peinture : avec Claude Simon, François Rouan, Gerhard Richter, Sigmar Polke et Martin Kippenberger." Saint-Etienne, 2000. http://www.theses.fr/2000STET2067.

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Après la Seconde guerre mondiale et sous le choc des totalitarismes, la question de la représentation de l'histoire, qui échappe à la peinture (au profit du cinéma par exemple), ne cesse en réalité de la hanter. Mais elle le fait sur le mode de l'irreprésentable. Au-delà des questions de rhétorique picturale, quelques peintres, dans des parcours singuliers, affrontent cette question. Il s'agit rien de moins que de préserver la puissance de la peinture à atteindre au réel, alors qu'elle semble debordée, dans cette course à laquelle se livrent les nouvelles formes de l'art de la seconde moitié du 20eme siècle. Sans pour autant prétendre ressusciter le genre peinture d'histoire, largement dépassé. Seront ainsi étudiées et comparées les oeuvres de François Rouan (France, 1943), Gerhard Richter (Allemagne, 1932), Sigmar Polke (Allemagne, 1941) et enfin Martin Kippenberger (Allemagne, 1953-1997). Mais ces études successives ne prendront sens qu'à la suite de l'étude, dans une première partie, de la problématique historique dans l'oeuvre littéraire de Claude Simon (France, 1915). Le roman Les géorgiques (1981, Minuit, Paris), en particulier révèle un rapport spécifique de l'écriture au temps représenté propre à fournir une sorte de modèle, qu'il s'agira dès lors de mettre à l'épreuve de l'analyse des oeuvres picturales mentionnées. Au-delà de ses multiples et radicales remises en cause dans cette fin du 20eme siècle, c'est donc à confronter directement à l'épreuve de l'histoire (et non, plus immédiatement, de la seule histoire de l'art), la forme tableau (emblématique de la peinture moderne), dans ses développements les plus singuliers, des années 60 aux années 90, que sera consacré ce travail. On sera conduit à risquer l'hypothèse d'une dimension épique de la peinture, comme forme spécifique restant antérieure à la forme historique, et assumant cependant la dimension politique de l'oeuvre d'art, celle que précisément redoutait déjà Platon
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Chin, Keli da Silva. "Uma abordagem analítica da Chacona, recitativo e fuga (2005) de Almeida Prado e sua relação com três outras obras." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/15620.

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O presente trabalho apresenta uma análise de Chacona, Recitativo e Fuga (2005) para piano de Almeida Prado. Buscou-se encontrar elementos que dão coerência à obra como um todo, analisando a estrutura da obra, seus aspectos melódico, rítmico e harmônico, verificando a existência de padrões ou elementos recorrentes. A Cartilha Rítmica para piano (2005) de Almeida Prado, e Twentieth Century Fugue (1962) de Graves Jr., foram utilizados como referenciais teóricos. Foi verificada também, a relação da Chacona, Recitativo e Fuga com o Prelude, Choral and Fugue (1884) de César Franck, na qual foi inspirada, assim como com duas outras obras do mesmo compositor (Recitativo e Fuga, de 1968, e Haendelphonia, de 1991). Através desta análise foi possível concluir que a linguagem musical de Almeida Prado enfatiza a manipulação rítmica e contrapontística, além do uso de elementos recorrentes na construção de um discurso coerente.
O presente trabalho apresenta uma análise de Chacona, Recitativo e Fuga (2005) para piano de Almeida Prado. Buscou-se encontrar elementos que dão coerência à obra como um todo, analisando a estrutura da obra, seus aspectos melódico, rítmico e harmônico, verificando a existência de padrões ou elementos recorrentes. A Cartilha Rítmica para piano (2005) de Almeida Prado, e Twentieth Century Fugue (1962) de Graves Jr., foram utilizados como referenciais teóricos. Foi verificada também, a relação da Chacona, Recitativo e Fuga com o Prelude, Choral and Fugue (1884) de César Franck, na qual foi inspirada, assim como com duas outras obras do mesmo compositor (Recitativo e Fuga, de 1968, e Haendelphonia, de 1991). Através desta análise foi possível concluir que a linguagem musical de Almeida Prado enfatiza a manipulação rítmica e contrapontística, além do uso de elementos recorrentes na construção de um discurso coerente.
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Chabrier, Isabelle. "La carnavalisation dans le roman cubain contemporain." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030183.

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Cette étude met en lumière la dimension carnavalesque telle que théorisée par Mikhaïl Bakhtine chez Rabelais dans le roman cubain contemporain (El arpa y la sombra d’Alejo Carpentier, Paradiso de José Lezama Lima, De donde son los cantantes de Severo Sarduy, Tres tristes tigres de Guillermo Cabrera Infante, El color del verano o Nuevo “Jardín de las Delicias” de Reinaldo Arenas, La piel y la máscara de Jesús Díaz). Il s’agira principalement de montrer comment les caractéristiques de « ce monde à l’envers » qui marque la « vision carnavalesque » proposée par le théoricien russe s’inscrivent dans l’écriture, tant dans l’intégration des codes du carnaval comme motifs littéraires que dans les techniques narratives employées. Dans une lecture dépassant le concept baroque associé jusqu’ici aux romans cubains de notre corpus, nous envisageons la résurgence de traditions populaires anciennes de la fête carnavalesque, le mélange entre hommage et irrévérence, sacralisation et désacralisation, comme le symptôme d’une crise du sujet cubain, l’expression postmoderne du rejet des idoles en même temps que la manifestation d’un désir profond de retrouver une liberté provisoire dans la représentation littéraire carnavalisée et de se plonger dans l’âge d’or célébré par la fête
This study sets out the Bakhtine “carnival dimension” in the Cuban contemporary novel (El arpa y la sombra by Alejo Carpentier, Paradiso by José Lezama Lima, De donde son los cantantes by Severo Sarduy, Tres tristes tigres by Guillermo Cabrera Infante, El color del verano o Nuevo “Jardín de las Delicias” by Reinaldo Arenas, La piel y la máscara by Jesús Díaz). Our main concern is to demonstrate that “upside down world characteristics” that fixe the “carnavalesque vision” proposed by the Russian theorist is part of the writing in the integration of the carnival’s codes both as literary themes as narrative techniques. In a reading exceeding the baroque concept associated up to now with the Cuban novels of our corpus, we envisage the resurgence of the carnival’s former popular traditions, the mixture between tribute and irreverence, sacralization and deconsecration, as the symptom of the Cuban subject’s crisis, the postmodern expression of the rejection of the idols at the same time as the demonstration of a deep desire to recover a temporary freedom in the carnivalized literary representation and to plunge into a golden age celebrated by the carnival
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Anusooya, Y. "Properties Of The Correlated Electronic States In Conjugated Organic Molecules, Polymers And Metal-Halogen Chains." Thesis, 1996. https://etd.iisc.ac.in/handle/2005/1943.

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Anusooya, Y. "Properties Of The Correlated Electronic States In Conjugated Organic Molecules, Polymers And Metal-Halogen Chains." Thesis, 1996. http://etd.iisc.ernet.in/handle/2005/1943.

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Dias, Fernando Paulo Rosa 1964. "A nova-figuração nas artes plásticas em Portugal : 1958-1975." Doctoral thesis, 2008. http://hdl.handle.net/10451/1975.

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Tese de doutoramento, Ciências e Teorias da Arte, Universidade de Lisboa, Faculdade de Belas Artes,2009
A Nova-Figuração emergiu com sentido histórico por oposição ao domínio da arte abstracta no segundo pós-Guerra. Pertencendo a um tempo cultural pós-metafísico e sem a mesma consistência da percepção do real e da verdade, ela redefiniu a questão da figuração fora da autoridade e exclusividade do sistema tradicional de representação. A figura já não apresentava a mesma estabilidade ontológica, para passar a operar experimentalmente, em pluralidade e abertura. Enquanto na arte ocidental ela enquadrou movimentos como Pop Art, Nouveau Réalisme ou Figuration Narrative, no caso português verifica-se uma síntese destas orientações, localizadas particularmente em cada percurso artístico. Foi paralelamente à superação da querela neo-realista entre forma e conteúdo, como depois da querela entre figuração e abstracção necessária à afirmação da abstracção nos anos 50, que emergiu a nova-figuração ao longo da década seguinte. Perante novos projectos figurativos a crítica de arte participou na construção da noção de «nova-figuração», definindo um espaço cultural próprio na arte portuguesa. Numa primeira fase entendemos a génese criativa da nova-figuração como processo ainda assente numa superação de experiências abstractas (na primeira metade dos anos 60), com destaque para os projectos de Joaquim Rodrigo, René Bertholo, Lourdes Castro, Costa Pinheiro ou António Areal. Activando o esforço de reinvenção de tradições figurativas, sobretudo herdadas do surrealismo e do neo-realismo, desenvolveram-se as obras de Eduardo Luiz, Carlos Calvet, Cruz-Filipe, Júlio Pomar, Nikias Skapinakis ou Sá Nogueira. Outros nomes surgiram na segunda metade da década ou seguinte, já sem necessidade de superar a recente tradição abstracta, casos de Henrique Ruivo, Álvaro Lapa, Palolo, Jorge Martins, Batarda, José de Guimarães, Noronha da Costa, entre outros. Na dinâmica portuguesa a nova-figuração permitiu reequacionar as vanguardas numa exploração experimental que, ao contrário da abstracção, era dirigida ao mundo e o abarcava. Abstracção; Arte Portuguesa; Figura; Nova-Figuração; Representação.
In the aftermath of World War II, New-Figuration emerged as an historically significant trend in opposition to Abstract Art. As a style belonging to a post-metaphysical cultural period (without the same solid perception of “realness” and of “truth”), it redefined issues of figuration outside the authority and exclusivity that characterized the traditional system of representation. In these new settings, figuration ceased to present the same ontological stability and started to function at the experimental level with plurality and openness. While in western art it framed movements such as Pop Art, Nouveau Realism or Narrative Figuration, in the Portuguese fine art scene we find a kind of synthesis of all these artistic tendencies, marking idiosyncratically each artist’s production. Neo-Figuration emerged in the 60s as a result of the double quarrel that opposed form and content (neo-realism quarrel) on the one hand, and figuration and abstraction (crucial for the establishment of abstraction in the 50s) on the other. Facing emergent figurative works of art, Portuguese art criticism was involved in the construction of neo-figuration as a concept that resulted in the definition of a cultural space of its own in the Portuguese fine arts field. In this dissertation we depict firstly the creative genesis of New-Figuration as a process that was constructed in the aftermath of the abstract experiences of the first half of the 60s, as it can be emphasized in the work of artists such as Joaquim Rodrigo, René Bertholo, Lourdes Castro, Costa Pinheiro or António Areal. However, stimulated by the idea of reinvention of figurative traditions (mostly inherited from Surrealism and Neo-Realism), artists such as Eduardo Luis, Carlos Calvet, Cruz-Filipe, Júlio Pomar, Nikias Skapinakis or Sá Nogueira, developed their work. Some other names emerged in the second half of the 60s and throughout the 70s that did not demonstrate the need to move beyond the abstractionist tradition. This is the case of Henrique Ruivo, Álvaro Lapa, Palolo, Jorge Martins, Batarda, José de Guimarães, Noronha da Costa, among others. In the Portuguese fine arts scene, New-Figuration allowed rethinking the avant-garde, and contrary to abstractionism, it was directed to the world, while embracing it at the same time. Abstraction; Portuguese fine arts; Figure; New-Figuration; Representation.
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Books on the topic "1943-2005"

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Pivano, Fernanda. Pagine americane: [narrativa e poesia 1943-2005]. Milano: Frassinelli, 2005.

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Kireev, Aleksandr. Eparkhii i arkhierei Russkoĭ pravoslavnoĭ t︠s︡erkvi v 1943-2005 godakh. 2nd ed. Moskva: [s.n.], 2005.

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Kogan, Leonid Efimovich, and Denis Nosnitsin. Varia Aethiopica: In memory of Sevir B. Chernetsov (1943-2005). Piscataway, NJ: Gorgias Press, 2009.

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Aydin, Cemal, and Ahmet Karataş. Ankara Üniversitesi Fen Fakültesi tarihi: Tarihsel ve bilimsel bakış (1943-2005). Beşevler, Ankara: Ankara Üniversitesi Basımevi, 2007.

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Robinson, Docia. Depot South Dos Palos: Reunion book 2005, classes 1941, 1942, 1943. Fresno, CA (1133 'S' St., Fresno 93721): D. Robinson, 2005.

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Harte, Jack. Unravelling the spiral: The life and work of Fred Conlon (1943-2005). Dublin]: Scotus Press, 2010.

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Cangshan Xian ren min yi yuan. Cangshan Xian ren min yi yuan yuan zhi (1943-2005): Cang shan county people's hospital. [Cangshan Xian: Cangshan Xian ren min yi yuan, 2005.

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Vespa, Bruno. Storia d'Italia da Mussolini a Berlusconi: 1943, l'arresto del Duce, 2005, la sfida di Prodi. Roma: Rai-ERI, 2004.

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Claudio, Toscani, and Università di Milano. Sezione musica., eds. Musica e architettura nell'età di Giuseppe Terragni, 1904-1943: Giornata di studi, Milano, 18 gennaio 2005. Milano: Cisalpino, 2005.

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Association française Buchenwald-Dora et Kommandos., ed. Résister à Buchenwald: Journée d'étude, 3 juin 2005 - les français et la résistance à Buchenwald 1943-1945. Paris: Tirésias, 2006.

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Book chapters on the topic "1943-2005"

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"Bella Ulanovskaya (1943–2005)." In An Anthology of Jewish-Russian Literature: Two Centuries of Dual Identity in Prose and Poetry, 947–66. Routledge, 2015. http://dx.doi.org/10.4324/9781315706474-115.

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"Bella Ulanovskaya (1943–2005)." In Voices of Jewish-Russian Literature, 700–722. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618117939-080.

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Glasscock, Robin. "Maurice Warwick Beresford 1920–2005." In Proceedings of the British Academy, Volume 161, Biographical Memoirs of Fellows, VIII. British Academy, 2009. http://dx.doi.org/10.5871/bacad/9780197264577.003.0002.

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Maurice Warwick Beresford (1920–2005), a Fellow of the British Academy, was an economic and social historian born in Sutton Coldfield, Warwickshire to Harry Bertram Beresford and Nora Elizabeth Jefferies. He was ill at ease in the social fabric of Jesus College in the late 1930s. Still, Beresford flourished academically under the guidance of an understanding Tutor, Bernard Manning, and a supportive Director of Studies, Charles Wilson. Social work of various kinds was to remain a major interest throughout his life. In the autumn of 1942, Beresford moved to Rugby to take up a residential post as Sub-Warden (and later Warden, 1943–1948) of the Percival Guildhouse, an adult education centre. By early 1946, he had applied for posts in history at Glasgow and economic history at Nottingham. While settling in at the University of Leeds in 1948, several papers resulting from his archival and fieldwork in the midlands were published. But before moving to Leeds, Beresford trespassed into archaeology for the first time. Beresford retired from Leeds in 1985.
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Harding, Dennis. "Social and ritual violence and death." In Death and Burial in Iron Age Britain. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780199687565.003.0012.

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In recent years the issue of violence in Iron Age society has become polarized between those who believe that it was endemic and those who believe that it has been exaggerated, particularly by conventional stereotypes of ‘warrior Celts’ based on classical and Irish literary sources. Currently, the ‘postprocessual consensus that dominates academic archaeology in the United Kingdom retains, as its default position, a more or less pacifist view of the prehistoric past’ (Armit, 2011: 503). The conventional interpretation of ‘war cemeteries’ and ‘massacre sites’ in hillforts especially may have been unduly simplistic, and it is these therefore that we shall consider first. The archetypal Iron Age war cemetery was that excavated by Wheeler (1943) in the eastern entrance at Maiden Castle, Dorset, where several skeletons bore traces of physical trauma compatible with the sack of the hillfort by Vespasian’s Second Augustan legion. An adult male in grave P7A had an iron arrow-head buried in his spine, and another adult male in grave P7 had a small, square perforation through the left temporal bone, consistent with a Roman ballista bolt. In some instances there were multiple injuries, notably skeleton P12 whose skull bore at least nine sword cuts, a measure of ‘overkill’ that reflected either the ferocity of the attack or systematic degradation after death. In reviewing the physical evidence for warfare in Iron Age Britain Knüsel (2005) divided instances of weapon trauma into three principal categories, those inflicted with a sharp-bladed weapon, such as a sword, those resulting from crushing from a blunt instrument, and wounds from a weapon or missile that penetrated the skeleton. The first two are essentially the same classification as those offered by Wheeler (1943: 351) for the Maiden Castle war cemetery. He too had raised the question whether the peri-mortem injuries apparent on some of the victims were the cause of death, or were inflicted after death.
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Conference papers on the topic "1943-2005"

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Edwards, Tim. "Advancements in Gas Turbine Fuels From 1943 to 2005." In ASME Turbo Expo 2005: Power for Land, Sea, and Air. ASMEDC, 2005. http://dx.doi.org/10.1115/gt2005-68171.

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The first jet fuel specifications were published in 1943 in England (RDE/F/KER/210) and 1944 in the U.S. (AN-F-32a). Jet fuel has undergone many changes in subsequent years, with current specifications for JP-5 and JP-8 for the military in the U.S. and Jet A/Jet A-1 for commercial use world-wide. Jet fuel specifications are subject to constant tension between performance requirements and availability/cost considerations. This paper will discuss how jet fuels have evolved over the years from the first engines to current gas turbine engines. Jet fuels derived from non-petroleum sources will also be discussed.
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Froling, Tom, and Tadge Juechter. "2006 Chevrolet Corvette C6 Z06 Aerodynamic Development." In SAE 2005 World Congress & Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2005. http://dx.doi.org/10.4271/2005-01-1943.

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Reports on the topic "1943-2005"

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Rincón-Castro, Hernán. ¿Cuánto tributan efectivamente el consumo, el trabajo y el capital en Colombia? Cálculos con las Cuentas Nacionales base 2015. Banco de la República, May 2021. http://dx.doi.org/10.32468/be.1161.

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A partir de un análisis que no es contable ni financiero sino económico, Rincón-Castro y Delgado-Rojas (2017) calculan para Colombia las tasas efectivas promedio de tributación sobre el consumo y los factores de producción trabajo y capital para el período comprendido entre 1994 y 2016. Para su estudio los autores utilizan las Cuentas Nacionales del DANE bases 1994 y 2005. El objetivo del presente estudio es realizar los mismos cálculos y con la misma metodología para el período 2005-2019, pero con las Cuentas Nacionales base 2015. Los resultados indican que el cambio de base produjo una reducción sustancial de las tasas efectivas del trabajo y del capital. Por ejemplo, para 2016, la tasa efectiva promedio del trabajo se redujo en 3 puntos porcentuales y del capital en 6 puntos porcentuales. ¿Cuál es la explicación? Los cambios de las bases tributarias que introdujo la nueva base de la contabilidad nacional, ya que la metodología de cálculo, las definiciones de las tasas, los parámetros y los supuestos no cambian. Entre 2017 y 2019 se suman los efectos de las leyes de reforma tributaria 819 de 2016 y 1943 de 2018. Los cálculos para 2019 indican que la tasa efectiva promedio de tributación del consumo es 12,7%, del trabajo es 18% y del capital es 15%. La desagregación de la tasa del trabajo muestra que la tasa de los salarios es 2,3%, de la nómina es 2,7% y de la seguridad social es 13%. La desagregación de la tasa del capital muestra que la de los hogares, quienes son los dueños del capital, es 3,8%, mientras que la de las sociedades es 21,1%. Así, los impuestos en Colombia no son efectivamente tan altos, pero tampoco tan bajos ni tan bien repartidos.
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You might also be interested in the extended bibliographies on the topic '1943-2005' for particular source types:
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