Littérature scientifique sur le sujet « Contemporaey »
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Articles de revues sur le sujet "Contemporaey"
Oguibe, Olu, et Nicole Guez. « L'Art Africain Contemporain/Contemporary African Art : Guide ». African Arts 30, no 1 (1997) : 91. http://dx.doi.org/10.2307/3337485.
Texte intégralButini, Riccardo. « Tuñón Arquitectos. Museo d’Arte Contemporanea Helga De Alvear, Cáceres, Spagna ». Firenze Architettura 27, no 1-2 (30 janvier 2024) : 42–53. http://dx.doi.org/10.36253/fia-15069.
Texte intégralSantos, Nelma Aronia. « Literatura e mídia na prática pedagógica : uma experiência com professores do Plano Nacional de Formação de Professores da Educação Básica – PARFOR ». Dialogia, no 18 (8 mai 2014) : 57–68. http://dx.doi.org/10.5585/dialogia.n18.4668.
Texte intégralKlinkhammer, Lutz. « Has "Il Novecento" Superseded "Storia Contemporanea" ? Some Thoughts on Italian Contemporary History ». Soudobé dějiny 15, no 2 (1 juin 2008) : 357–76. http://dx.doi.org/10.51134/sod.2008.025.
Texte intégralTahir, Gustia. « Arabic Language and Contemporer Civilization (Capturing Arabic Language Roles in Contemporary Era) ». Jurnal al-Hikmah 23, no 1 (30 juin 2021) : 30–39. http://dx.doi.org/10.24252/al-hikmah.v23i1.21446.
Texte intégralFrisina, Marco. « Il compositore di musica sacra e contemporanea nel contesto culturale contemporaneo ». Pro Musica Sacra 15 (16 novembre 2017) : 239. http://dx.doi.org/10.15633/pms.2264.
Texte intégralRobichaud, Lise. « ArTSchives : un tremplin vers divers types de musées et vers la création artistique ». Canadian Review of Art Education : Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, no 1 (17 octobre 2016) : 90. http://dx.doi.org/10.26443/crae.v43i1.19.
Texte intégralComunian, Roberta. « URBAN BRANDING AND CONTEMPORARY ART ‘TORINO CONTEMPORANEA’ AS A MODEL OF CULTURAL MARKETING ». Regions Magazine 268, no 1 (décembre 2007) : 15–17. http://dx.doi.org/10.1080/13673882.2007.8628826.
Texte intégralSpiridonova, Lidya A. « Горьковедение на современном этапе развития ». Studia Litterarum 1, no 3-4 (2016) : 419–33. http://dx.doi.org/10.22455/2500-4247-2016-1-3-4-419-433.
Texte intégralOrdaz Hernández, David, et Javier Figueroa Castellanos. « Hacia una criminología contemporánea ». Vox juris 33, no 1 (30 juin 2017) : 113–22. http://dx.doi.org/10.24265/voxjuris.2017.v33n1.10.
Texte intégralThèses sur le sujet "Contemporaey"
Masiero, Valentina <1989>. « Contemporary Love - panoramica sull'arte erotica giapponese contemporanea ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/7535.
Texte intégralOurrad, Samia. « Contre-culture et marginalité dans le roman contemporain : le signe d’un déclin littéraire ? » Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20022.
Texte intégralThe introduction of marginality and of the counterculture in the contemporary novel reveals a literature crisis at the end of the twentieth century and at the beginning of the millennium. The death of literature is often claimed as the fiction, narrative or identity crisis. There are increasing interferences between the highbrow Literature and “bad-literature”. Is this idea of End on a par with the extreme belief in the End of the World of Western and in the Death of the modernist thesis? Many contemporary novels explore extreme violence, sadism and cruelty to expose, with disappointment, a brutal and animal humanity. But are not these violence excess and overdeveloped marginality the expression of a radical disappointment or a strong writing that use acid language to refuse this new face of the world and of art? This writing, that elate journalistic critic, does it really change literature? Is it really new and subversive or is it popular literature that follows up the modernists experiments? The highbrow critic seems sceptic concerning its literarity; but the inscription in the “linguistic third-world” reveals the changes of the aims of literature. In fact, what is the function of literature in globalisation and mediacraty? Don’t these novels reveal a deep evolution of literature and a critic of the traditional artistic criterions?
Spinelli, Manuela. « Le personnage de l’inetto dans la littérature italienne de la fin du XXe siècle ». Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100166/document.
Texte intégralThis dissertation investigates the abulic, and weak character of the contemporary inetto, with the aim of showing how this figure’s feeling of unease and disquiet can be read as protest directed at modern-day society. The analysis focuses on novels published in the last two decades of the 20th century, the period in which the figure of inetto becomes a significant presence.The first part of this study reconstructs a possible genealogy of the character. The point of departure here is the general feeling of crisis, which permeated European Literature at the turn of the 20th century. With this broader literary context in mind and highlighting the decisive role of Svevo’s oeuvre, this part of the study delineates the traits of the character of inetto. The second part of the study is devoted to the inetti represented in the novels written in the 1980s. This part is composed of an introductory chapter providing contextualisation for the five novels analysed: Vita standard di un venditore provvisorio di collant (Busi), Diario di un millennio che fugge (Lodoli), Per dove parte questo treno allegro (Veronesi), Casa di nessuno et Gli sguardi cattivi della gente (Piersanti). The third part of the study starts with the depiction of Italian society in the 1990s, followed by the analysis of four selected novels: Tutti giù per terra, (Culicchia) Eccesso di zelo and Denti (Starnone) et Di questa vita menzognera (Montesano).The investigation shows how the presence of inetto can be read in the light of this character’s potential to counter hegemonic social models in an attempt to disclose the hypocritical and contradictory nature of contemporary society. More specifically, in this reading of inetto, this traditionally exclusively male character can be said to embody a new alternative mode of masculinity
L’obiettivo della tesi è analizzare l’inetto contemporaneo, cioè un personaggio abulico, velleitario e debole. La nostra ipotesi è che il sentimento di malessere che lo accompagna possa essere letto come una contestazione della società a lui contemporanea. Ci concentreremo sugli ultimi vent’anni del Novecento, che presentano una ritualizzazione significativa di questo personaggio nato alla fine dell’Ottocento. La prima parte traccia una possibile genealogia del personaggio. Si tratta di un momento necessario visto che l’inetto è un personaggio poco studiato e difficile da definire, le cui caratteristiche non mettono d’accordo tutti. Partendo dal sentimento di crisi che caratterizza la letteratura europea tra Otto e Novecento, delineeremo un possibile ritratto dell’inetto, per il quale l’opera di Svevo sarà determinante.In seguito, nella seconda parte, ci focalizzeremo sugli inetti degli anni Ottanta. Dopo un capitolo di contestualizzazione, analizzeremo: Vita standard di un venditore provvisorio di collant (Busi), Diario di un millennio che fugge (Lodoli), Per dove parte questo treno allegro (Veronesi), Casa di nessuno et Gli sguardi cattivi della gente (Piersanti). La terza parte si concentra sul decennio seguente: dopo aver tracciato un panorama dell’Italia dell’epoca, analizzeremo quattro romanzi: Tutti giù per terra, (Culicchia) Eccesso di zelo et Denti (Starnone) et Di questa vita menzognera (Montesano).La nostra ricerca dimostra la capacità di contestazione che si nasconde nella scelta di un personaggio inetto, la cui sfasatura rispetto ai modelli considerati vincenti svela le ipocrisie e le incongruenze della società stessa. In particolare l’inetto – che è sempre un personaggio maschile – si fa portatore di un tipo di mascolinità alternativa a quella egemonica
Rambaud, Mathias. « Les représentations chrétiennes dans le roman français contemporain de 1991 à nos jours ». Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30018.
Texte intégralThe taking back of the Judeo-Christian eschatology by political theorists of the nineteenth century is a topos of the history of ideas. Though it is less obvious, the religious foundation of the democratic ideology of the twentieth century is just as real. As for art, since it is perhaps the last otherness of positivist rational discourse, it leads, in an overterritorialized world, to the extraterritorial field par excellence. The speculative theory of Art showed how literature is much more a logos than a tekhnè, and how the writer is closer to the figure of the messenger than to that of the craftsman. Moreover, in its temptation of origins, artistic inspiration calls for upmanship: word by word, we come to the Word, and from idea to idea to the Holy Spirit. Shall it transpose or criticize it, illustrate or reject it, the book has always had close relations to the Bible – and those relations are much deeper than an simple mediological homothety, where every beginning would count as a genesis. Among the current practices of transplantation of the Christian heritage in the novel, few are architectural ambitions or big extensions; most common are grafts or slags. Fragments of bigger schemes that no longer exist. Our aim is to highlight the new insertions of the sacred in the profane world of literature and to study its unique nature in connection with the current French society. And to demonstrate that between descriptive models, speculative crutches and narrative detours, Christianity, more than a mere referent among others, remains, in spite of society’s secularization, one of the privileged backgrounds of French fictional creation today
Parcollet, Remi. « La photographie de vue d'exposition ». Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040222.
Texte intégralThe Exhibition as format has been the object of numerous analyses and nevertheless its relationship with photography is rarely evoked. Considered as a process, it develops numerous links with the process of Photography. Both consist in "showing". Beyond their analogies, Photography and Exhibition are interdependent. The study of Exhibitions is now inevitably related to photography. Today artists and curators use photography not as an end but as a tool allowing them to think about space.An exhibition view is a photograph but it is never a reproduction, it is determined according to time and space. It indicates and verifies at the same time, before, during and after the exhibition. The indications it supplies establish elements for the critical analysis of the exhibition. The process of photography, to which exhibitions have always been submitted allows "comparisons", and "verifications" which influence, consequently, its conception.Because the act of exhibiting, regularly questioned, is in perpetual evolution. Because it is autonomous, it is always more difficult to comprehend. Focusing on its ambiguities, in particular its capacity to become an image, allows to measure its complexity. This probably opens the way to new strategies of study which will gradually allow a more complete and effective understanding of its certainly decisive influence on the future evolution of contemporary art
Bassene, Reine. « L'art contemporain africain : enjeux et perspectives face à l'émergence du marché de l'art globalisé ». Thesis, Nice, 2013. http://www.theses.fr/2013NICE2046/document.
Texte intégralThe contemporary African art has made its entry into the globalized system, first through artistic exhibitions then in the auction houses. Since the 1960s’ a new vision of contemporary African art has emerged with the postcolonial discourse. These ideas have led to a different reading of the contemporary African aesthetic with the support of some curators. Meanwhile, a vision of the “authentic” artist remains in many European and American exhibitions. African artist give an image that can sometimes seem fossilized The contemporary African artists today find themselves in a situation, which can be source of conflicts. They can get close to the artistic centers pulse which means the Western art market or stay on the African continent and try by different initiatives to include a market which is still outlying areas like western countriesThe other areas however gradually mutate into centers pulse but remain modest for the time being. With the advent of new technologies, opportunities exist for artists from the third world in terms of use but also as media. Their application pushes the reflection, and then attempt to understand the challenges that lies ahead for contemporary African art and perspectives that will glimpse through the paradigm of postcolonial studies and through the advent of technologies of information and communication. Is it possible to suggest new approaches to promote the dissemination of contemporary African art through socio-technical devices available but also through information management? The first part, this thesis attempts to show the diversity of the arts of Africa to understand it’s complexity today. Then by analyzing the relationship it has with the West, to understand it’s history.The second part tries to understand the identity of the African artist but also its positioning and initiatives that are carried out on the continent will better understand the challenges and opportunities.The third part will give a point of view overall which today governs contemporary African art
POLA, FRANCESCA. « MITICO PLASTICO MAGICO. Italia e Germania 1918-1925. Episodi e figure di un dialogo artistico ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/218.
Texte intégralThis research has been considering as a specific element of interest the historical-critical reconstruction of the artistic relationships between Italy and Germany in the period 1918-1925. During these years, it has recognized the most relevant episodes and the originating moments for meaningful developments in the following decades, for artists, galleries, intellectuals involved in these relationships. The historical reconstruction of exhibitions, publications, documents, which determined the environment for the courses of the two cultural surroundings to develop and intertwine, has been enriched by the identification and study of some aspects and themes recognized as recurring and founding for the artistic dialogue between Italy and Germany in the analyzed period. The first chapter focuses on the historical-critical frame of reference and on the figures of mediators who allowed these exchanges, while the second concentrates on the relationships between Valori Plastici and Germany. The third chapter reconstructs the Italian stays of some German artist who reside in Italy during this period (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). The last chapter proposes some hypotheses for comparative analysis, that testify the common ground of research.
POLA, FRANCESCA. « MITICO PLASTICO MAGICO. Italia e Germania 1918-1925. Episodi e figure di un dialogo artistico ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/218.
Texte intégralThis research has been considering as a specific element of interest the historical-critical reconstruction of the artistic relationships between Italy and Germany in the period 1918-1925. During these years, it has recognized the most relevant episodes and the originating moments for meaningful developments in the following decades, for artists, galleries, intellectuals involved in these relationships. The historical reconstruction of exhibitions, publications, documents, which determined the environment for the courses of the two cultural surroundings to develop and intertwine, has been enriched by the identification and study of some aspects and themes recognized as recurring and founding for the artistic dialogue between Italy and Germany in the analyzed period. The first chapter focuses on the historical-critical frame of reference and on the figures of mediators who allowed these exchanges, while the second concentrates on the relationships between Valori Plastici and Germany. The third chapter reconstructs the Italian stays of some German artist who reside in Italy during this period (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). The last chapter proposes some hypotheses for comparative analysis, that testify the common ground of research.
Hugues, Henri. « 1914-2014, un siècle d’anthropophagie féminine dans l’art brésilien : pertinence et actualité ? » Thesis, Antilles-Guyane, 2014. http://www.theses.fr/2014AGUY0766/document.
Texte intégralAt the beginning of the twentieth century, in Brazil, a radical artistic rupture took place, which marked the beginning of a new era. The resulting modernity differed from its European counterpart by the awareness of geographical, cultural and political distances that alienated Brazil from Europe and more specifically from its former colonial owner, Portugal. Brazilian modernity sought to define its identity through important basic elements that constitute the stuff that the New World is made of: cross-breeding, mythology and post-colonialism. The Brazilian avant-garde emerged around 1928 with the publication of The Anthropophagy Manifesto by Oswald de Andrade (1890-1954), who is thus the founder of the Anthropophagy, that we can define as a backward step into a reinvented form of ″Amerindianness″. The ″bad savage″ voices his criticism against impostures of the world. « Anthropophagy art is not a literary revolution, nor is it a social plea, nor a political pamphlet, nor a religious tract. It is all these things at the same time. Its law is simple: everything that is not me is of interest to me. The law of men is the law of Anthropophagy ». It thus prescribes eating up imported models and digesting them through the process of hybridization in the name of Brazilian identity. By displacing Freudian concepts, «Anthropophagy is the permanent transformation of the Taboo (man-eating) into a Totem (Brazilian identity) ». The permeating influences of psychoanalysis and anthropology need to be put in perspective: the displacement of the anthropophagous taboo remains a symbolic act of transgression, a metaphor, but the anthropophagic reference does not concern the pre-Columbian period, because it is updated. We propose to study this phenomenon through four questions: 1°- What are the relations between Anthropophagy, history, esthetics and ideology? 2°- What is the place of women Brazilian artists in the emergence of this movement, taking into account their decisive presence right from the start? 3°- Taking into account the resurgence of Anthropophagy from the second half of the 20th century onwards, what is the place of women artists in this phenomenon? Are they pursuing the same interests as the founders of the movement?4°- Can we deduce that there exists a specifically female genre within the anthropophagic movement of yesterday and of today? If so, what is its relevance? Where does it stand with respect to the contemporary concepts of post-modernity and globalization in the present-day art world?
Riss, Sabine. « Ravage et carnage des subjectivités contemporaines : postures radicales et métapsychologie du chaos ». Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2013.
Texte intégralOur work will be built around a central hypothesis : The unheard echo found by the narrative and scopic plot proposed by ISIS, is explained by its adequacy with the pangs of contemporary subjectivities. It is thus a question of studying the conditions of this encounter which captures the subject, wandering in the troubled waters of the archaic with a death offer distilled by the deviation of a pseudo-Islam of cruelty that seems to bring the illusion of ‘answer. Because from the outset in the young subjects that we receive, the « transplant » fantasy takes, such a passionate meeting between an agonistic subject, and a miracle solution that comes to offer the possibility of getting out of a subjectivity made of inconsistency to abandon fright and emptiness in favor of a lenient filling. Their terrorism is not born of an ideological project but draws its force from a subjective disaster to which it gives shape. In this, the imagery of ISIS comes to actualize the collapse Real / Imaginary (imaginary grandiose but death) in these agonic subjects. The obscene is then exhibited, the impulse scopic unleashed. The pure archaic remains that will punctuate the life and the acts of a subject of discontinuity, in the name of the return of the cleave, a repetition identical to the mortifère. In this paper, we are going to do a clinical study of subjects willing become martyrs based on our experience of a clinical psychologist in detention. The framework of this mission is dedicated to treatement of subjects coming back from Syria, or who has wanted to go there, or else showing a sudden morbid bascule, towards death trajectories in the name of god. We will focuse on the psychic incounscious motivations of such process : addiction, prejudice and their dialectic with the Ideal to interrogate these forms of contemporary melancholia for subjects who can only reach feeling of existence in project of divine death. We will try to illustrate our 3ypothèses according to which the dossilution of an inconsistent Ego in an nihilist Ideal Ego is the key to an understanding of what we currently call radicalization, in its most extreme form, that of people aspiring to martyrdom, wandering in the morbid zone of the archaic, the “chahids”
Livres sur le sujet "Contemporaey"
Morozzi, Cristina. Mobili italiani contemporanei = : Contemporary Italian furniture. Milano : Edizioni L'archivolto, 1996.
Trouver le texte intégralFrontero, Dante. Barcellona : Architettura contemporanea = Barcelona : contemporary architecture. Roma : DBCARD-edizioni associate, 2003.
Trouver le texte intégralClaudia, Cavallo. Primitivo contemporaneo lagunare : Lagoon's primitive contemporary. Conegliano, TV : Anteferma, 2020.
Trouver le texte intégralArturo, Schwarz. Israele : Arte contemporanea = Israel : contemporary art. Cinisello Balsamo, Milano : Silvana, 2007.
Trouver le texte intégralSaladino, Antonio. Antonio Saladino : Reperti contemporanei = contemporary artifacts. Cinisello Balsamo, Milano : Silvana editoriale, 2018.
Trouver le texte intégralTagliafierro, Marco, et Martina Cavallarin. Giovanardi : Produrre arte contemporanea = producing contemporary art. Cinisello Balsamo, Milano : Silvana editoriale, 2022.
Trouver le texte intégralGallery, Hemus, dir. Contemporary Bulgarian art = : L'Art bulgare contemporain, 1985. Sofia, Bulgaria : Hemus, 1985.
Trouver le texte intégralMuteba, Luntumbue Toma, Poinas Claire et Musée royal de l'Afrique centrale., dir. ExitCongoMuseum : Hedendaagse kunst = art contemporain = contemporary art. Tervuren : Koninklijk Museum voor Midden-Afrika, 2001.
Trouver le texte intégralBresciani, Ana María, Caterina Benvegnù, Silvia Ferri de Lazara, Mario Gorni et Giulia D'Amaro Valle. Cos'è il contemporaneo ? : What is the contemporary ? Padova : CLEUP, 2008.
Trouver le texte intégralGuez, Nicole. L' art africain contemporain = : Contemporary African art : guide. 9e éd. Paris : Association dialogue entre les cultures, 1992.
Trouver le texte intégralChapitres de livres sur le sujet "Contemporaey"
Ballaster, Ros, Margaret Beetham, Elizabeth Frazer et Sandra Hebron. « Contemporary magazines, contemporary readers ». Dans Women’s Worlds, 126–68. London : Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21391-7_6.
Texte intégralWee, C. J. W. L. « Contemporary theatre, the contemporary, and historicity ». Dans The Routledge Companion to Theatre and Politics, 29–32. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series : Routledge theatre and performance companions : Routledge, 2019. http://dx.doi.org/10.4324/9780203731055-8.
Texte intégralHusquinet, Jean-Pierre. « Contemporary Totemism ». Dans Explorations in Art and Technology, 185–90. London : Springer London, 2002. http://dx.doi.org/10.1007/978-1-4471-0197-0_20.
Texte intégralMackey, Hollie J. « Contemporary Decolonolization ». Dans The Wiley Handbook of Educational Policy, 267–87. Hoboken, NJ, USA : John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781119218456.ch12.
Texte intégralHusquinet, Jean-Pierre. « Contemporary Totemism ». Dans Springer Series on Cultural Computing, 211–16. London : Springer London, 2018. http://dx.doi.org/10.1007/978-1-4471-7367-0_20.
Texte intégralChurton, Mel, et Anne Brown. « Contemporary Theory ». Dans Theory and Method, 118–59. London : Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-02163-2_4.
Texte intégralChurton, Mel, et Anne Brown. « Contemporary Debates ». Dans Theory and Method, 160–207. London : Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-02163-2_5.
Texte intégralAvery, Simon, et Nicolas Tredell. « Contemporary Reviews ». Dans Thomas Hardy, 15–30. London : Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-02168-7_2.
Texte intégralGordon, G. A. H. « Contemporary Circumstances ». Dans British Seapower and Procurement between the Wars, 69–75. London : Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-08958-1_7.
Texte intégralStanišić, M. M. « Contemporary Turbulence ». Dans Universitext, 423–50. New York, NY : Springer US, 1988. http://dx.doi.org/10.1007/978-1-4612-3840-9_6.
Texte intégralActes de conférences sur le sujet "Contemporaey"
Lisle, David A., et Lyle D. McGinnis. « Contemporary stress fields, ancient lithospheric blocks, and contemporary earthquakes ». Dans 1985 SEG Technical Program Expanded Abstracts. SEG, 1985. http://dx.doi.org/10.1190/1.1892747.
Texte intégralAkuru, U. B., et M. J. Kamper. « Contemporary wind generators ». Dans 2014 International Conference on the Industrial and Commercial Use of Energy (ICUE). IEEE, 2014. http://dx.doi.org/10.1109/icue.2014.6904205.
Texte intégralAubrecht II, Gordon J. « Teaching contemporary physics ». Dans AIP Conference Proceedings Volume 173. AIP, 1988. http://dx.doi.org/10.1063/1.37537.
Texte intégralEkhaguere, G. O. S. « Contemporary Stochastic Analysis ». Dans International Conference on Contemporary Problems in Stochastic Analysis and its Applications. WORLD SCIENTIFIC, 1991. http://dx.doi.org/10.1142/9789814538756.
Texte intégralBarnas, Janusz. « CONTEMPORARY TIMBER BUILDINGS ». Dans 18th International Multidisciplinary Scientific GeoConference SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgem2018v/6.4/s09.043.
Texte intégralMantziaras, Panos. « The contemporary picturesque ». Dans International Conference Virtual City and Territory. Guadalajara : Centre de Política de Sòl i Valoracions, 2007. http://dx.doi.org/10.5821/ctv.7469.
Texte intégralO'Neil, L. Jean, et Michael F. Passmore. « A Contemporary Fable ». Dans Wetlands Engineering and River Restoration Conference 1998. Reston, VA : American Society of Civil Engineers, 1998. http://dx.doi.org/10.1061/40382(1998)134.
Texte intégralSugimoto, Natsuki, et Minako McCarthy. « Magnificent Contemporary Hepburn ». Dans Breaking Boundaries. Iowa State University Digital Press, 2022. http://dx.doi.org/10.31274/itaa.13523.
Texte intégralVaida, Daria Nikolaevna. « Contemporary Religious Architecture ». Dans International Scientific and Practical Conference. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-530599.
Texte intégralVallières, Michel, et Da Hsuan Feng. « Symposium on Contemporary Physics ». Dans Symposium on Contemporary Physics. WORLD SCIENTIFIC, 1993. http://dx.doi.org/10.1142/9789814535359.
Texte intégralRapports d'organisations sur le sujet "Contemporaey"
Margolis, Leo, et Nicole Eckerson. Contemporary Utilitarianism. Ames : Iowa State University, Digital Repository, novembre 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1674.
Texte intégralCreamer, Elizabeth. Contemporary Mixed Methods Research. Instats Inc., 2023. http://dx.doi.org/10.61700/s0sqns3fhs62h469.
Texte intégralCreamer, Elizabeth. Contemporary Mixed Methods Research. Instats Inc., 2023. http://dx.doi.org/10.61700/ellubimu8hji0469.
Texte intégralLinn, II, et William D. Officer Development : A Contemporary Roadmap. Fort Belvoir, VA : Defense Technical Information Center, mai 2008. http://dx.doi.org/10.21236/ada485357.
Texte intégralLindbeck, Assar. Pensions and Contemporary Socioeconomic Change. Cambridge, MA : National Bureau of Economic Research, juin 2000. http://dx.doi.org/10.3386/w7770.
Texte intégralWirtz, James. Strategy in the Contemporary World. Fort Belvoir, VA : Defense Technical Information Center, juin 2000. http://dx.doi.org/10.21236/ada384204.
Texte intégralPfeffer, G. J. Weather and Overlord : Contemporary Lessons. Fort Belvoir, VA : Defense Technical Information Center, mars 1985. http://dx.doi.org/10.21236/ada159211.
Texte intégralPal, Nikhil, Jehangir Din et Peter O'Kane. Contemporary Management of Stent Failure. Radcliffe Cardiology, juillet 2019. http://dx.doi.org/10.15420/rc.2019.m028.
Texte intégralJayasimha, Sudhindra, et Anthony Devasia. Contemporary diagnosis of genitourinary tuberculosis. BJUI Knowledge, janvier 2021. http://dx.doi.org/10.18591/bjuik.0555.
Texte intégralSchluckebier, Kai. Intersections in contemporary traffic planning. Goethe-Universität, Institut für Humangeographie, août 2021. http://dx.doi.org/10.21248/gups.58866.
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