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Добірка наукової літератури з теми "1952-1995"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 1 лютого 2022

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Статті в журналах з теми "1952-1995"

1

Cornelio, Ferdinando. "Federica Dworzak (1952–1995)." Neuromuscular Disorders 6, no. 2 (March 1996): 137. http://dx.doi.org/10.1016/s0960-8966(96)90020-6.

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2

Thompson, P. D. "Anita Harding. (1952-1995)." Movement Disorders 11, no. 4 (July 1996): 361–62. http://dx.doi.org/10.1002/mds.870110402.

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3

Dubowitz, Victor. "Anita Harding (1952 – 1995)." Neuromuscular Disorders 5, no. 6 (November 1995): 519–20. http://dx.doi.org/10.1016/0960-8966(95)90017-9.

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4

A Prisoner. "Billy Boomer, 1952-1995." Journal of Prisoners on Prisons 7, no. 2 (December 1, 1997): 9–10. http://dx.doi.org/10.18192/jpp.v7i2.5754.

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5

Worley, Jeff. "For Dennis Betz, 1952-1995." College English 61, no. 2 (November 1998): 212. http://dx.doi.org/10.2307/378881.

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6

Ho, Samuel P. S., Hsueh Tien-tung, and Li Qiang. "China's National Income, 1952-1995." Pacific Affairs 73, no. 1 (2000): 105. http://dx.doi.org/10.2307/2672291.

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7

DiMauro, S. "Anita E. Harding (1952-1995)." Neurology 46, no. 6 (June 1, 1996): 1770. http://dx.doi.org/10.1212/wnl.46.6.1770.

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8

Pannell, Sandra. "Jeffrey Lawrence Clark 1952-1995." Australian Journal of Anthropology 6, no. 1-2 (August 1995): 201–2. http://dx.doi.org/10.1111/j.1835-9310.1995.tb00137.x.

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9

Marsden, C. D., and A. K. Asbury. "Anita E. Hardings: 1952-1995." Annals of Neurology 39, no. 1 (January 1996): 144. http://dx.doi.org/10.1002/ana.410390123.

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10

Wray, Shirley. "Professor Anita Harding 1952–1995." Current Opinion in Neurology 9, no. 1 (February 1996): 1. http://dx.doi.org/10.1097/00019052-199602000-00001.

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Дисертації з теми "1952-1995"

1

Melo, Antonio Alves de. "A evangelização no Brasil : dimensões teológicas e desafios pastorais : o debate teológico e eclesial : 1952-1995 /." Roma : Ed. pontificia università gregoriana, 1996. http://catalogue.bnf.fr/ark:/12148/cb370313570.

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2

Smith, Andrews Bertrand Tilton. "An analysis of the changes in the bird communities of four forest habitats in Algonquin Park, Ontario from 1952-53 to 1995-96." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0006/MQ28813.pdf.

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3

Geider, Thomas. "Jan J. de Wolf: Bukusu tales. Collected arround 1936 by research assistant of Dr. Gunter Wagner (1908-1952). (Beiträge zur Afrikanistik, Bd. 5). Münster: LIT, 1995. 93 pp." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97894.

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4

Cardinet, Antona Marie-Dominique. "Identité et écriture : le roman sarde contemporain (1950-1990)." Paris 4, 1995. http://www.theses.fr/1995PA040013.

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De Salvatore Cambosu à Sergio Atzeni, une approche littéraire et sociologique du roman sarde contemporain en tant que reflet d'un monde insulaire bien spécifique et de la "sarditude" des auteurs<br>From Salvatore Cambosu to Sergio Atzeni, a literary and sociological approach to the contemporary Sardinian novel as a reflection of a really specific insular world and of the "sarditude" of the authors

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5

Gray, Sally Suzette Clelland School of Art History &amp Theory UNSW. "There's always more: the art of David McDiarmid." Awarded by:University of New South Wales. School of Art History and Theory, 2006. http://handle.unsw.edu.au/1959.4/32495.

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Анотація:

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

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6

Bricout, Romain. "Les enjeux de la lutherie électronique : de l'influence des outils musicaux sur la création et la réception des musiques électroacoustiques." Lille 3, 2009. http://www.theses.fr/2009LIL30081.

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Анотація:

Portant les traces du mode de pensée spécifique qui l'a conçu, l'outil s'avère être un médium même de ce mode de pensée, médium dont l'invisibilité témoigne de l'extrême efficacité. Si la charrue sert à labourer le champ, elle suppose aussi l'utilisation de la traction animale comme décuplement de la force humaine, et si l'instrument de musique sert à jouer de la musique, il sert surtout à jouer une certaine musique : l'instrument véhicule les fondements théoriques de la musique pour laquelle il a été conçu. Ayant pour vocation première celle du "faire" et non celle du "transmettre", l'instrument peut toutefois être appréhendé en tant qu'objet de mémoire à part entière jouant - par procuration - un rôle décisif dans l'établissement d'une certaine efficacité symbolique. L'étude de l'organologie musicale des outils de création électroacoustique sera ainsi à même de nous dévoiler le phénomène de "plasticisation" du temps dont ils relèvent à certains égards, ainsi que celui d'une suggestion du geste par le son (ou "g-son"), synesthésie rendue sensible par la "réduction" instrumentale que réalisent les interfaces musicales comme instruments de musique "aphones". La transformation du temps en matière plastique n'est cependant pas une conséquence directe de la phonofixation, mais est bien fonction du régime sémiotique du geste qui est fixé, créé ou recomposé sur le support d'enregistrement. Dans son rapport au mouvement et au temps, le geste musical électroacoustique semble souffrir de sa condition dés-affective de "ça-n'a-pas-été" : une étude de la perception du temps ne peut être réalisée sans tenir compte de la prothéticité originelle de l'être humain<br>Marked by the specific conception which made it, the tool happens to be the very medium of this conception proving its efficiency through its invisibility. If the plough is used to dig the ground, it also requires the use of the animal haulage to strengthen the human action, and if the musical instrument is needed to play music, it is mainly determined to play a certain kind of music : the instrument represents the theoretical frame of the music for which it was created. Though it is firstly used to play music, the instrument can however be analysed as an object of memory which indirectly plays a significant role in the construction of a symbolical discourse. The sutdy of musical organology of the tools used in electroacoustic creation could then reveal the phenomenon of the "time turned into plastic material" on which they are partly based, and they could also suggest that sound leads to the gesture (or "g-sound"). This sensitive phenomenon can occur thanks to the instrumental "reduction" which is made by the musical interfaces - instruments which do not produce any sound. The transformation of time into plastic material is not the direct consequence of the recording activity, however it is directly implied by the semiotic dimension of the gesture when it is fixed, created or re-composed on the recording material. Because of its relation with movement and time, the electronic music gesture seems to be altered by its impersonal or "had not been" dimension : the study of the perception of time can not go without the analysis of the intrinsic relation between human being and tool

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7

Mvou, Perrine. "Violence et société dans le théâtre de Marco Antonio de la Parra à travers : King Kong Palace o el exilio de Tarzàn (1990), Ofelia o la pureza (1995), Lucrecia y Judith (1995)." Perpignan, 2004. http://www.theses.fr/2004PERP0508.

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Анотація:

Dans un pays où la liberté d'expression fait toujours défaut, Marco Antonio de la Parra, dramaturge et psychiatre chilien, a su se jouer de la censure, pour créer une œuvre théâtrale d'une richesse indéniable, qui recèle des couches sémantiques insondables, plongeant le public au milieu de thématiques multiples. Ses personnages sont des êtres constamment angoissés, égarés, mais surtout, enfermés dans des espaces oppressants, archétypes du climat social de la dictature militaire de Pinochet. Il nous ouvre les portes de l'Inconscient pour révéler les pulsions destructrices génératrices des conflits sociaux qui président notre existence. Ainsi, tout en participant du dévoilement de la réalité tragique du Chili contemporain, son œuvre pose, dans sa généralité, les questions humaines de notre époque<br>In a country where the freedom of expression is always lacking, Marco Antonio de la Parra, playwright and Chilean psychiatrist,knew to be played of the censure, to create a theatrical work of an undeniable richness, who conceals unsoundable semantic layers, plunging the public in the medium multiple sets of themes. Its characters are beings constantly distressed, mislaid, but especially, locked up in oppressive spaces, prototypes of the social climate of the military dictatorship of Pinochet. It opens the doors of Unconscious to us to reveal the generating destroying impulses of the social conflicts which chair our existence. Thus, while taking part of the revealing of the tragic reality of contemporary Chile, its work raises, in its general information, the human questions of our time

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8

Malufe, Annita Costa 1975. "Poeticas da imanencia : Ana Cristina Cesar e Marcos Siscar." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270291.

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Анотація:

Orientador: Marcio Seligmann-Silva<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-10T13:53:51Z (GMT). No. of bitstreams: 1 Malufe_AnnitaCosta_D.pdf: 1864725 bytes, checksum: 102361a29777328303e6fcf39624d67e (MD5) Previous issue date: 2008<br>Resumo: Este trabalho consiste na investigação de procedimentos de escrita em dois poetas brasileiros contemporâneos, Ana Cristina Cesar e Marcos Siscar, tendo como ponto de partida conceitual a filosofia da imanência de Gilles Deleuze e Félix Guattari. Ao invés de um ¿estudo de caso¿, o objetivo é a reflexão acerca da leitura de poesia contemporânea a partir, principalmente, do conceito de sentido enquanto acontecimento, tal como é formulado desde as obras de Deleuze Logique du sens e Différence et répétition. Nesta direção, as poesias de Ana C. e Siscar são tomadas como ressonâncias brasileiras atuais para se pensar o funcionamento de poéticas que sugeririam, ou possibilitariam, uma leitura imanente do plano de composição do poema<br>Abstract: The present thesis is an investigation of writing¿s procedures in two contemporaries brazilian poets, Ana Cristina Cesar and Marcos Siscar, having as conceptual starting the Gilles Deleuze¿s and Félix Guattari¿s philosophy of imanence. Instead of a ¿study of case¿, the objective is the reflexion concerning the contemporary poetry reading, starting from the concept of the sense as event, as it is formuled by Deleuze since his works Logique du sens and Différence et répétition. In this direction, Ana Cristina¿s and Siscar¿s poetries are taken as current brazilian resonances to think the functioning of poetical that would suggest, or would make possible, an imanent reading of the poem¿s plan of composition<br>Doutorado<br>Teoria e Critica Literaria<br>Doutor em Teoria e História Literária

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9

Ondo, Marina Myriam. "La peinture dans la poésie du vingtième siècle : Guillaume Apollinaire, Paul Éluard, Francis Ponge et Jean Tardieu." Lyon 3, 2009. https://scd-resnum.univ-lyon3.fr/in/theses/2009_in_ondo_m.pdf.

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Анотація:

Notre étude de la peinture dans la poésie vise à analyser la poétique de l’ambivalence de deux arts appartenant à des traditions artistiques différentes. D’autant plus que la poésie par sa diversité formelle et son questionnement sur l’être devient un champ d’étude vaste et privilégié. Notre analyse s’est limité à des corpus choisis à savoir les œuvres de Guillaume Apollinaire, de Paul Éluard, de Francis Ponge et de Jean Tardieu qui ont côtoyé des peintres. Elle s’est élaborée à partir de la recherche de nouvelles formes graphiques et plastiques. De fait, la peinture « dans » la poésie désigne cet espace pictural intermédiaire dans la disposition des mots du poème et surtout cette intrusion de la peinture et du dessin dans la poésie privilégiant l’image visuelle au XXème siècle. Cette intrusion nous permet de cerner la problématique de l’image poétique rendue picturale. D’une façon générale, notre méthode ne répond point à des objectifs comparatistes mais elle tente de faire ressortir la spécificité et le caractère éclectique de la poésie à travers une étude stylistique des procédés d’écriture. Cette méthode stylistique, tout en assurant la corporéité de la peinture dans la poésie du XXème siècle, examine une activité picturale qui se déploie dans le cadre poétique. C’est effectivement dans l’échange entre plusieurs arts que vit le langage poétique<br>Our study of the painting in the poetry aims at analyzing the poetics of the ambivalence of two arts belonging to different artistic traditions. Especially since the poetry by its formal variety and its questioning on the being becomes a field of vast study and privileged. Our analysis limited itself to corpuses chosen, to know the works of Guillaume Apollinaire, Paul Eluard, Francis Ponge and Jean Tardieu which went alongside to painters. It is elaborated from the search for new graphic and plastic forms. Actually, the expression of the painting "in" the poetry indicates this intermediate pictorial space in the arrangement of the words of the poem and especially this intervention of the painting and the drawing in the poetry privileging the visual image in the twentieth century. This intervention allows us to encircle the problem of the poetic image made pictorial. Generally speaking, our method does not answer comparative objectives but it tries to highlight the specificity and the eclectic character of the poetry through a stylistic study of the processes of writing. This stylistic method, while insuring the insertion of the painting in the poetry of the twentieth century, examines a pictorial activity which displays in the poetic frame. It is effectively in the exchange between several arts which lives the poetic language

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10

Raymond, Sylvie. "Iconographie publicitaire de l'activité sportive : le cas de Dupuis Frères dans La Presse, 1909-1952." Master's thesis, Université Laval, 1995. http://hdl.handle.net/20.500.11794/27427.

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Книги з теми "1952-1995"

1

Butler, David. India decides: Elections 1952-1995. 3rd ed. New Delhi: Books & Things, 1995.

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2

Allen, Ginsberg. Deliberate prose: Selected essays : 1952-1995. Harmondsworth: Penguin, 2000.

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3

Adrados, Francisco Rodríguez. La dialectología griega, hoy: 1952-1995. Madrid: Ediciones Clásicas, 1998.

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4

Allen, Ginsberg. Deliberate prose: Selected essays, 1952-1995. New York: HarperCollins Publishers, 2000.

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5

Jacques, Pain, and Villerbu Loïck M, eds. Adolescence, violences et déviances: 1952-1995. Vigneux: Matrice, 1997.

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6

Giacomelli, Mario. Giacomelli: La forma dentro, fotografie, 1952-1995. Milano: Charta, 1995.

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7

Sabapathy, T. K. Yeoh Jin Leng, art and thought, 1952-1995. Kuala Lumpur: National Art Gallery, 1995.

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8

Paz, Octavio. A tale of two gardens: Poems from India, 1952-1995. New York: New Directions, 1997.

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9

Fernand, Dumont. La part de l'ombre: Poèmes, 1952-1995 ; précédé de Conscience du poème. Montréal: L'Hexagone, 1996.

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10

Bashtykova, L. T. Trudy sotrudnikov Gorno-Altaĭskogo instituta gumanitarnykh issledovaniĭ: 1952-1995 gg. : ukazatelʹ literatury. Gorno-Altaĭsk: Gorno-Altaĭskiĭ in-t gumanitarnykh issledovaniĭ, 1997.

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Частини книг з теми "1952-1995"

1

MacMullen, Andrew. "European Commissioners 1952–1995: National Routes to a European Elite." In At the Heart of the Union, 27–48. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25791-1_2.

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2

Burgess, Greg. "The OFPRA and Its Refugees, 1952–1960." In Refugees and the Promise of Asylum in Postwar France, 1945–1995, 145–74. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-44027-3_6.

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3

Burgess, Greg. "The Refugee Convention and a Law of Asylum, 1951–1952." In Refugees and the Promise of Asylum in Postwar France, 1945–1995, 111–43. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-44027-3_5.

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4

TIAN, XIAOWEN, and RON DUNCAN. "China's Inter-Provincial Disparities: 1952–1995." In China's Economy into the New Century, 219–35. CO-PUBLISHED WITH SINGAPORE UNIVERSITY PRESS, 2002. http://dx.doi.org/10.1142/9789812778277_0009.

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5

"Un ethnologue-artisan à l’écart (1952-1995)." In Germain Lemieux sur le billochet. Confessions d'un passeur de mémoire, 101–204. Presses de l'Université Laval, 2020. http://dx.doi.org/10.2307/j.ctv1h0p4hx.4.

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6

"1. The Longest War: U.S. Military Influence in Colombia, 1952–1995." In Plan Colombia, 26–37. Duke University Press, 2020. http://dx.doi.org/10.1515/9781478002611-005.

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7

Ownby, David. "The Life and Times of Li Hongzhi in China, 1952–1995." In Falun Gong and the Future of China, 79–124. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195329056.003.0004.

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8

"GARY SOTO (1952-)." In Literatura chicana, 1965-1995, 182–86. Routledge, 1997. http://dx.doi.org/10.4324/9781315805412-25.

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9

"GARY SOTO (1952-)." In Literatura chicana, 1965-1995, 272. Routledge, 1997. http://dx.doi.org/10.4324/9781315805412-46.

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10

"CHERRIE MORAGA (1952-)." In Literatura chicana, 1965-1995, 333. Routledge, 1997. http://dx.doi.org/10.4324/9781315805412-71.

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Тези доповідей конференцій з теми "1952-1995"

1

MOSIEJ, Józef, and Teresa SUCHECKA. "THE ROLE OF IRRIGATION IN RIVER VALLEYS TO DEVELOP WATER QUALITY, PRODUCTION OF BIOMASS AND SUSTAINABLE RURAL DEVELOPMENT - CASE STUDY." In RURAL DEVELOPMENT. Aleksandras Stulginskis University, 2018. http://dx.doi.org/10.15544/rd.2017.076.

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Анотація:

Ner river and its valley for over 170 years has been receiver for sewages from the city of Łódź. The natural system of this region (on the border of the watershed location, limitations of water supplies sources, lack of bigger natural rivers) in connection to city growth, lead to forming of specific system involving an agglomeration and water supplies system as well as wastewaters utilization system. The Ner river valley has the great potential to be effective in production biomass for energy purposes. Irrigation with polluted Ner river water cover fast growing plants high water and nutritional requirements. This would also work for the improvement of Ner river water quality. The achievement of good quality of water is not possible without irrigation of agricultural land in river valley. An amount of sewage discharged to Ner (193,017 m³ per day) several times higher then its natural flow in river. This is a result of strategy of water supply that is supported by transfer of water from Pilica river and underground water uptake for agglomeration. Relatively high runoff coefficient in years 1952 – 2011 was equal to 0.325 for Ner, in comparison to 0.17 for other rivers in Warta watershed. Despite the low natural flow Ner river discharges annually relatively high contaminants’ load to Warta river. In the analysed period (1995-2003) the annual average flow of Ner river amounted 10 % of annual average Warta river flow below its estuary. The share of analysed indicators of contaminants’ load approximated 27 % for total nitrogen, 37 % for phosphorus, 39 % for BOD5 and 28% for suspended solids. In the period 2004-2011 the annual average flow of Ner river amounted 13.8 % of annual average Warta river flow. The share of investigated pollutants loads consists 27.9 % for total nitrogen, 42.6 % for phosphorus, 19.8 % for BOD5 and 19.6 % for suspended solids.

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