Articoli di riviste: "As good as dead"

1

Berger, A. "The Dead Good Funerals Book". BMJ 313, n. 7063 (19 ottobre 1996): 1023. http://dx.doi.org/10.1136/bmj.313.7063.1023b.

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Luttbeg, Barney, e Jacob L. Kerby. "Are scared prey as good as dead?" Trends in Ecology & Evolution 20, n. 8 (agosto 2005): 416–18. http://dx.doi.org/10.1016/j.tree.2005.05.006.

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Fagan, Jody Condit. "Federated Search Is Dead—and Good Riddance!" Journal of Web Librarianship 5, n. 2 (aprile 2011): 77–79. http://dx.doi.org/10.1080/19322909.2011.573533.

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Žižek, Slavoj, e Saše Tasev. "The Only Good Neighbor Is the Dead Neighbor". Identities: Journal for Politics, Gender and Culture 1, n. 2 (1 gennaio 2002): 9–32. http://dx.doi.org/10.51151/identities.v1i2.37.

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Author(s): Slavoj Žižek | Славој Жижек Title (English): The Only Good Neighbor Is the Dead Neighbor Title (Macedonian): Само мртвиот сосед е добар сосед Translated by (English to Macedonian): Saše Tasev | Саше Тасев Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 1, No. 2 (Winter 2002) Publisher: Research Center in Gender Studies - Skopje and Euro-Balkan Institute Page Range: 9-32 Page Count: 23 Citation (English): Slavoj Žižek, “The Only Good Neighbor Is the Dead Neighbor,” Identities: Journal for Politics, Gender and Culture, Vol. 1, No. 2 (Winter 2002): 9-32. Citation (Macedonian): Славој Жижек, „Само мртвиот сосед е добар сосед“, превод од англиски Саше Тасев, Идентитети: списание за политика, род и култура, т. 1, бр. 2 (зима 2002): 9-32.

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Misiewicz, J. J. "Is the Only Good Helicobacter a Dead Helicobacter?" Helicobacter 2, s1 (luglio 1997): 89–91. http://dx.doi.org/10.1111/j.1523-5378.1997.06b16.x.

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Earnshaw, Doris, e Mary Gordon. "Good Boys and Dead Girls and Other Essays". World Literature Today 66, n. 2 (1992): 349. http://dx.doi.org/10.2307/40148234.

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Coleman, P. "Review: Dead Good * Stephen Greenblatt: Hamlet In Purgatory". Cambridge Quarterly 33, n. 2 (1 febbraio 2004): 173–77. http://dx.doi.org/10.1093/camqtly/33.2.173.

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Kruhlov, Viktor. "„Der Markt ist so gut wie tot“". osteuropa 72, n. 6-8 (2022): 291. http://dx.doi.org/10.35998/oe-2022-0164.

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Atzeni, Paolo, Christian S. Jensen, Giorgio Orsi, Sudha Ram, Letizia Tanca e Riccardo Torlone. "The relational model is dead, SQL is dead, and I don't feel so good myself". ACM SIGMOD Record 42, n. 2 (giugno 2013): 64–68. http://dx.doi.org/10.1145/2503792.2503808.

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Holland, G. "THE PIG IS DEAD: Parrhesia and the Common Good". Common Knowledge 14, n. 1 (1 gennaio 2008): 124–35. http://dx.doi.org/10.1215/0961754x-2007-035.

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Clarke, Michelle J. "Never Let Me Go: “Almost Dead” Isn’t Good Enough". American Journal of Bioethics 23, n. 2 (22 gennaio 2023): 60–61. http://dx.doi.org/10.1080/15265161.2022.2159586.

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Kilcullen, Jack K. "“As good as dead” and is that good enough? Public attitudes toward brain death". Journal of Critical Care 29, n. 5 (ottobre 2014): 872–74. http://dx.doi.org/10.1016/j.jcrc.2014.06.018.

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Fabre, John W. "THE ONLY GOOD T CELL IS A DEAD T CELL?" Transplantation 69, n. 10 (maggio 2000): 2002–3. http://dx.doi.org/10.1097/00007890-200005270-00004.

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Fennerty, MB. "Is the only good H. pylori a dead H. pylori?" Gastroenterology 111, n. 6 (dicembre 1996): 1773–74. http://dx.doi.org/10.1016/s0016-5085(96)70047-1.

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Graham, David Y. "The only good Helicobacter pylori is a dead Helicobacter pylori". Lancet 350, n. 9070 (luglio 1997): 70–71. http://dx.doi.org/10.1016/s0140-6736(05)66278-2.

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Oderda, Giuseppina, Anna Rapa, Elena Chiorbioli, Maurizio Caradonna e Gianni Bona. "The only good Helicobacter pylori is a dead Helicobacter pylori". Lancet 350, n. 9070 (luglio 1997): 71. http://dx.doi.org/10.1016/s0140-6736(05)66279-4.

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van Doorn, Leen-Jan, Wim Quint, Peter Schneeberger, Guido NJ Tytgat e Wink A. de Boer. "The only good Helicobacter pylori is a dead Helicobacter pylori". Lancet 350, n. 9070 (luglio 1997): 71–72. http://dx.doi.org/10.1016/s0140-6736(05)66280-0.

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Blaser, Martin J. "The only good Helicobacter pylori is a dead Helicobacter pylori". Lancet 350, n. 9070 (luglio 1997): 72. http://dx.doi.org/10.1016/s0140-6736(05)66281-2.

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Oehler, Andreas, e Stefan Wendt. "Good Consumer Information: the Information Paradigm at its (Dead) End?" Journal of Consumer Policy 40, n. 2 (10 dicembre 2016): 179–91. http://dx.doi.org/10.1007/s10603-016-9337-5.

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Luper, Steven. "The moral standing of the dead". Philosophical Transactions of the Royal Society B: Biological Sciences 373, n. 1754 (16 luglio 2018): 20170270. http://dx.doi.org/10.1098/rstb.2017.0270.

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In choosing to do certain things, we appear to presuppose that we can act in the interests the dead, and that we have a duty to do so. For example, some of us go to great lengths to carry out their final wishes. Given that the dead no longer exist, however, it seems that nothing can be good or bad for them: they lack prudential interests. In that case, it is hard to see how we could owe them anything. They seem to lack moral standing altogether. In this essay, I will rebut this line of thought. I will claim that in some cases things that happen after people die are indeed good or bad for them. Their interests can still be advanced or hindered, so the dead have moral standing. This article is part of the theme issue ‘Evolutionary thanatology: impacts of the dead on the living in humans and other animals’.

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Cariani, Tesla, Ashley Coleman Taylor, Christopher Lirette e Marlo Starr. "Dead Forms; or, A Defense of Good, Old-Fashioned Scholarly Writing". PMLA/Publications of the Modern Language Association of America 133, n. 1 (gennaio 2018): 190–98. http://dx.doi.org/10.1632/pmla.2018.133.1.190.

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The university, an eldritch progeny of medieval Christianity and conglomerate capitalism, can feel like a gristmill to graduate students and junior scholars. We must produce acceptable articles and monographs after years of research. We must compete for a few good jobs, and we do this by teaching extra classes, submitting essays for publication, presenting papers at conferences. But we must also be beyond this world, needing neither food nor money, subsisting solely on ideas and conversation and self-promotion. he authors of these essays, all of us at the beginning of our careers as scholars, are not fooled by a system that masks its cold corporatist heart with the vestments of the liberal arts. We know that the university intends to make of our bodies machines that produce ideas and disseminate them; machines that round off the rough edges of our students and prepare them to be good, centrist, white-collar workers; machines that perpetuate the idea of the university. We know that we are disposable within the structure of the academy. Nevertheless, we are clear-eyed as we try to make a living in the knowledge industry. We believe, earnestly, that critique and research and thought experiments and the slow study of minutiae are worth fighting for.

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LISBOA, MARIA MANUEL. "Júlio Dinis and History Revisited: What Good is a Dead Mother?" Portuguese Studies 19, n. 1 (2003): 38–50. http://dx.doi.org/10.1353/port.2003.0014.

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Smits, Hans. "Is the “good Canadian” dead? Or still in search of life?" Interchange 35, n. 4 (dicembre 2004): 475–84. http://dx.doi.org/10.1007/bf02698894.

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THOMPSON, GRAHAM. "“Dead letters! … Dead Men?”: The Rhetoric of the Office in Melville's “Bartleby, the Scrivener”". Journal of American Studies 34, n. 3 (dicembre 2000): 395–411. http://dx.doi.org/10.1017/s0021875851006449.

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Although a good deal of recent critical attention to Melville's writing has followed the lead of Robert K. Martin in addressing the issue of sexuality, the predominant themes in discussions of “Bartleby” remain changes in the nature of the workplace in antebellum America and transformations in capitalism. But, if one of the abiding mysteries of the story is the failure of the lawyer–narrator to sever his relationship with his young scrivener once Bartleby embarks upon his policy of preferring not to, it is a mystery that makes sense within both of these critical discourses. On the one hand, the longevity of the relationship dramatizes a tension implicit in Michael Gilmore's suggestion that the lawyer–narrator straddles the old and the new economic orders of the American market-place. Although he may employ his scriveners “as a species of productive property and little else”, his attachment to his employees is overwhelmingly paternalistic and protective. On the other hand, James Creech suggests that Pierre (published the year before “Bartleby”) is a novel preoccupied with the closeting of homosexual identity within the values of an American middleclass family, while Gregory Woods describes Melville as the nearest thing in the prose world of the American Renaissance to the Good Gay Poet Whitman. In this critical context the longevity of the relationship suggests that the lawyer–narrator's desire to know Bartleby, to protect him, to tolerate him, to be close to him, to have him for his own, and then to retell the story of their relationship, needs to be considered in relation to sexual desire.

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Reinhardt, Lloyd. "Truth and a Good Life". Philosophy 90, n. 1 (17 settembre 2014): 125–34. http://dx.doi.org/10.1017/s0031819114000357.

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AbstractA discussion of how and whether judgment regarding the happiness, flourishing or well-being of a life is appropriately influenced by false belief or ignorance on matters central to that life. That is, is it so that what we don't know does not, or cannot hurt us? How much does it matter if the false belief was owing to betrayal or deception by others who mattered deeply to the now dead person? Further, is truthfulness about such betrayal something a friend of a dying person may eschew or is it itself a kind of betrayal?

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Arneson, Richard. "“Desire Formation and Human Good”". Royal Institute of Philosophy Supplement 59 (settembre 2006): 9–32. http://dx.doi.org/10.1017/s1358246100009449.

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InWuthering Heightsa man and a woman fall in love and their passion for each other wreaks havoc on several lives, theirs included. Long after his beloved is dead, Heathcliff's life revolves entirely around his love for her. Frustrated by events, his grand romantic passion expresses itself in destructive spasms of antisocial behavior. Catherine, the object of this passion, marries another man on a whim, but describes her feelings for him as like superficial foliage, whereas ‘her love for Heathcliff resembles eternal rocks beneath.’ ‘IamHeathcliff,’ she declares, shortly before dying at the age of nineteen.

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Arneson, Richard. "Desire Formation and Human Good". Royal Institute of Philosophy Supplement 59 (31 luglio 2006): 9–32. http://dx.doi.org/10.1017/s1358246106059029.

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In Wuthering Heights a man and a woman fall in love and their passion for each other wreaks havoc on several lives, theirs included. Long after his beloved is dead, Heathcliff’s life revolves entirely around his love for her. Frustrated by events, his grand romantic passion expresses itself in destructive spasms of antisocial behavior. Catherine, the object of this passion, marries another man on a whim, but describes her feelings for him as like superficial foliage, whereas ‘her love for Heathcliff resembles eternal rocks beneath.’ ‘I am Heathcliff,’ she declares, shortly before dying at the age of nineteen.

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Gomes, Jean Francesco A. L. "Dead-Ends and New Directions". Journal of Reformed Theology 15, n. 4 (7 dicembre 2021): 327–47. http://dx.doi.org/10.1163/15697312-bja10020.

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Abstract The aim of this article is to investigate how Abraham Kuyper and some late neo-Calvinists have addressed the doctrine of creation in light of the challenges posed by evolutionary scientific theory. I argue that most neo-Calvinists today, particularly scholars from the Vrije Universiteit Amsterdam (VU), continue Kuyper’s legacy by holding the core principles of a creationist worldview. Yet, they have taken a new direction by explaining the natural history of the earth in evolutionary terms. In my analysis, Kuyper’s heirs at the VU today offer judicious parameters to guide Christians in conversation with evolutionary science, precisely because of their high appreciation of good science and awareness of the nonnegotiable elements that make up the orthodox Christian narrative.

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McCray, Brigitte N. "“Good landscapes be but lies”". Christianity & Literature 66, n. 2 (marzo 2017): 293–310. http://dx.doi.org/10.1177/0148333116681304.

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Many of W. H. Auden’s poems written between 1939 and 1944 explored the Second World War, but only at a distance. After his experience in the Morale Division of the United States Strategic Bombing Survey, however, his poems started to more fully examine the effects of the War. Auden’s grief over the War’s destruction would find voice in poems that are haunted by ghostly figures he encountered. Ruined places contain experience and memory. Auden’s postwar placed-based poems develop his theory of haunted places. There, Auden lived with the dead, and those figures showed him that both sin and love reside in the same space, thus offering hope for the future.

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Saraiva, Clara. "Circulating Spirits and Dead Bodies". African Diaspora 9, n. 1-2 (2016): 61–76. http://dx.doi.org/10.1163/18725465-00901003.

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Death is the ultimate rite of passage, one that no one can avoid, with multiple implications for the life of the individuals and of the groups within which they move. Throughout this article, I intend to show how death is a good metaphor to think about the production of places and spaces of belonging in transnational contexts, and how circulation is the key term to understand how such transnational trends are produced. I argue that in a transnational setting – in this case of Guinean migrants in Portugal – death functions as a true regeneration source as it shapes the continuity of the relationship between the migrant and the place of origin. The circulation of dead bodies, symbolic universes, spiritual healers and spirits re-shape the ties between the world of the living and the world of the dead across continents and oceans.

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Poletti, Samuele. "The Good, the Dead, and the Other: Chronicles of a Nepali Phantasmicide". Ethos 48, n. 3 (settembre 2020): 271–94. http://dx.doi.org/10.1111/etho.12279.

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Murray, Isobel. "DNB to New DNB: Good News for Dead Scottish Writers, Especially Women". Scottish Affairs 29 (First Serie, n. 1 (novembre 1999): 157–66. http://dx.doi.org/10.3366/scot.1999.0058.

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Schuman, Samuel. "“Good night, sweet prince”: Saying goodbye to the dead in shakespeare's plays". Death Studies 20, n. 2 (marzo 1996): 185–92. http://dx.doi.org/10.1080/07481189608252749.

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ASEGUINOLAZA, F. C. "Dead, or a Picture of Good Health? Comparatism, Europe, and World Literature". Comparative Literature 58, n. 4 (1 gennaio 2006): 418–35. http://dx.doi.org/10.1215/-58-4-418.

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Kee, Chera. "Good Girls Don't Date Dead Boys: Toying with Miscegenation in Zombie Films". Journal of Popular Film and Television 42, n. 4 (2 ottobre 2014): 176–85. http://dx.doi.org/10.1080/01956051.2014.881772.

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Schuberth, John M. "Hiding the Dead Man’s Gold". Journal of Foot and Ankle Surgery 44, n. 6 (novembre 2005): 423. http://dx.doi.org/10.1053/j.jfas.2005.08.006.

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Laugrand, Frédéric, Antoine Laugrand, Jazil Tamang e Gliseria Magapin. "Exchanges with the Dead". Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 176, n. 4 (6 novembre 2020): 475–503. http://dx.doi.org/10.1163/22134379-bja10017.

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Abstract The Ibaloy, an indigenous group of the Cordillera Central in the Philippines, perform complex burial rites. Often when someone falls ill, they also exhume human remains, a practice that has not received the attention it deserves in a cosmology where animism and analogism are intertwined. Here, we describe a variant of the késheng ja waray batbat ritual observed in 2017, the timeline of its sequences, and the many objects and acts it involves. This ritual is key to the exchanges that the living make with the dead. In it, pigs act more as ‘connectors’ than as sacrificial offerings, and their flesh, blood, and karashowa (soul) are used and shared. This three-day ritual questions death as the end of life, and sheds light on the extent to which Hertz’s ‘second funeral’ concept is useful in understanding the relationships between the living and the dead. It also illuminates how the dead need continuous help from the living and vice versa. Both groups strive to reach a state of diteng (well-being, healthiness) which can be reached only after the dead themselves experience it, thanks to the efforts of the living who take care of their remains and make offerings to them. Then, luck and prosperity can be expected from the dead. These exchanges appear to be necessary to live a good life, and they must be repeated and maintained at all cost.

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Zhuang, Sheng En, Ming Yu Gao, Xin Xin Zhan e Liang Wang. "Dead-Time Compensation of SPWM Based on STM32F103". Applied Mechanics and Materials 556-562 (maggio 2014): 1660–64. http://dx.doi.org/10.4028/www.scientific.net/amm.556-562.1660.

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This paper analyzes the negative influence of dead-time,point out the shortcomings of traditional dead-time compensation methods , and then present a dead-time compensation method. Simulink simulation shows that the proposed method is effective. The proposed method is applied to a 15kW inverter which is controlled by STM32F103 MCU,and it can significantly reduce the THD value of the inverter output voltage waveform. The experiment proved that this method is simple and reliable, with good results.

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Luo, Xiangyi. "Transcending Death by Telling Stories: On the Dead Narration in Yu Hua’s The Seventh Day". Journal of Education, Humanities and Social Sciences 11 (20 aprile 2023): 387–90. http://dx.doi.org/10.54097/ehss.v11i.7739.

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In the history of literature, the traditional narration of the dead is mainly characterized by the connection of “yin”(dead) and “yang”(alive) when the dead people return to the living world, there is no lack of the enlightenment of punishing evil and promoting good, and supporting justice. However the narration of the dead in Yu Hua's novel The Seventh Day is different from the tradition, which is emphasize the incoherence of yin and yang, reflecting the heavy realistic meaning. Starting from the tradition of literary history, this paper combs the development of the narration of the dead, studies the characteristics of the narration of the dead in Yu Hua's The Seventh Day, and compares it with the traditional narration of the dead, and then deeply explores the profound values behind Yu Hua's transformation of the narration of the dead.

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Tomášková, Silvia. "Picture me dead. Moral choices reimagined". Archaeological Dialogues 17, n. 1 (4 maggio 2010): 92–96. http://dx.doi.org/10.1017/s1380203810000103.

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Shortly before her death, my grandmother expressed a strongly felt sentiment not to lie in the family tomb next to her sister-in-law. It was not quite clear what was to be done with the bones of the woman who by then had occupied the space next to her brother, my grandfather, for some five years. My mother resolved the issue by depositing the urn with my grandmother's ashes on the other side of my grandfather's coffin, stating matter-of-factly, ‘We are not about to toss the aunt out, and we will certainly not build a new tomb.’ Acting in a relational web of moral obligations and duties as a good daughter, my mother also proceeded as a rational modern individual in the universe of limited choices in Eastern Europe. Cremation replaced interment, therefore ‘lying next to’ was no longer an issue in a literal sense. At the same time, the filial duty of a proper burial in the family tomb was conducted with all the necessary ritual, wide kin in attendance. This incident came to my mind when reading about the archaeological dilemma of mortuary analysis described in Voutsaki's essay: to what extent do burials express the will, agency and station in life of the deceased as opposed to those of the wider kin relations responsible for burying them? Do the actions that archaeologists interpret on the basis of burials derive from choices by individual, cognizant agents, or do they represent a moral world in which adherence to certain practices defines a ‘good person’? I wish to address two issues from this presentation, one more philosophical and the other directly addressing the archaeological record of the Mycenaeans. First, I will consider whether the shift from agency to personhood (and back) proposed in this essay solves interpretive problems created by the recent embrace of agency. Second, I am intrigued by the question that Voutsaki poses about why images appear in this period, as it seems to me that a potential answer may lie in her detailed exposition of moral theory if one looks carefully, or extends it slightly beyond the intended meaning.

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Nishimura, Akira, Kazuo Okuchi, Kunihiko Kobitsu, Masao Tominaga, Hisayuki Tabuse, Seiji Miyamoto e Toshisuke Sakaki. "A dead on arrival case of vertebral dissecting aneurysm with a good outcome." Nihon Kyukyu Igakukai Zasshi 5, n. 2 (1994): 187–91. http://dx.doi.org/10.3893/jjaam.5.187.

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Meyer, John J., e James E. Byers. "As good as dead? Sublethal predation facilitates lethal predation on an intertidal clam". Ecology Letters 8, n. 2 (17 dicembre 2004): 160–66. http://dx.doi.org/10.1111/j.1461-0248.2004.00700.x.

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Besser, Terry L., e Nancy Miller. "Is the good corporation dead? the community social responsibility of small business operators". Journal of Socio-Economics 30, n. 3 (maggio 2001): 221–41. http://dx.doi.org/10.1016/s1053-5357(01)00094-4.

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Irvine, Jaki. "The only good one is a dead one: An installation by Willie Doherty". Third Text 8, n. 26 (marzo 1994): 102–6. http://dx.doi.org/10.1080/09528829408576477.

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Gabbard, Krin. "La La Land Is a Hit, but Is It Good for Jazz?" Daedalus 148, n. 2 (aprile 2019): 92–103. http://dx.doi.org/10.1162/daed_a_01745.

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The debates around La La Land (2016) tell us a great deal about the state of jazz today and perhaps even in the near future. Many critics have charged that the film has very little real jazz, while others have emphasized the racial problematics of making the white hero a devout jazz purist while characterizing the music of the one prominent African American performer (John Legend) as all glitz and tacky dance moves. And finally, there is the speech in which Seb (Ryan Gosling) blithely announces that “jazz is dead.” But the place of jazz in La La Land makes more sense if we view the film as a response to and celebration of several film musicals, including New York, New York (1977), the Fred Astaire and Ginger Rogers films, and especially Jacques Demy's The Young Girls of Rochefort (1967). Both La La Land and Demy's film connect utopian moments with jazz, and push the boundaries of the classical Hollywood musical in order to celebrate the music.

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Meena, Dr Mukesh Kumar, Dr Bhavana Verma e Dr Pragya Dixit. "A Crucial Study on Dead Body Preservation". International Journal for Research in Applied Science and Engineering Technology 11, n. 9 (30 settembre 2023): 1365–66. http://dx.doi.org/10.22214/ijraset.2023.55820.

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Abstract: A medical student who never stepped in the cadaveric laboratory on his institute during the first year can neither be a good physician or surgeon in his medical career .so dissection plays a very important role in learning anatomy completely. Anatomy is the branch of medicine where study of structures of human body is done at the level of first year of academic course of every medical profession. For learning anatomy there must be a dead body for better knowledge and study. Dissection is a long-lasting procedure which is carried out in every medical teaching institute This process of preservation of human dead body is called embalming

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Rolnik, Zac. "Big Deal = Good Deal?" Serials Librarian 57, n. 3 (28 settembre 2009): 194–98. http://dx.doi.org/10.1080/03615260902913087.

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Načisčione, Anita. "Phraseological metaphor : Dead or alive ?" Recherches anglaises et nord-américaines 36, n. 2 (2003): 23–30. http://dx.doi.org/10.3406/ranam.2003.1685.

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The aim of my paper is to explore phraseological meaning in discourse from the cognitive point of view. I argue against the dead-metaphor view which treats all phraseological units as clichés that have “lost their first bloom and their potency” and have been “established as the bad guy of the English language”, having suffered “a fall from freshness” (Kirkpatrick 1996). This is an old approach that phraseological units were once alive but now they are fossilised. Surprisingly, this attitude still persists in the face of advances in cognitive linguistics and psycholinguistics (Lakoff and Johnson 1980 ; Gibbs [1994] 1999 ; Steen 1994) that show that the meanings of many phraseological units are motivated by peoples conceptual knowledge, which includes metaphorical and metonymic schemes of thought. The recent empirical research suggests that phraseological units are pervasive in discourse and that they are not simple dead metaphors but actually retain a good deal of their metaphoricity (Gibbs [1994] 1999). This goes against the idea that all phraseological units are dead metaphors. A cognitive approach to phraseological units in discourse reveals that stylistic use is not a deviation, a violation, a distortion or an anomaly but that these cases are stylistic instances of naturally occurring phraseological units. For phraseology stylistic use is a fact of discourse. It is a deliberate choice that reflects the cognitive processes of the mind in creative thinking, conveying a new perception, a different point of view, a novel vision calling for a change in the standard form of the phraseological unit. My claim is that phraseological metaphor is alive, it reflects a metaphorical concept while extended phraseological metaphor is an instantiation of creativity, reflecting extended figurative thought.

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Harari, Marco, Yaron Sela, Arieh Ingber e Daniel Vardy. "Dead sea climatotherapy for psoriasis vulgaris: analysis of short-term results". Global Dermatology 3, n. 3 (2016): 295–301. http://dx.doi.org/10.15761/god.1000177.

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Kouli, Yaman. "Ein guter Deal?" Jahrbücher für Geschichte Osteuropas 68, n. 1 (2020): 27. http://dx.doi.org/10.25162/jgo-2020-0002.

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