Relevant bibliographies by topics / 1887-1968

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic '1887-1968'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "1887-1968"

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Johnson, V. K. "Sleeter Bull, 1887-1968: a brief biography." Journal of Animal Science 75, no. 11 (1997): 2831. http://dx.doi.org/10.2527/1997.75112831x.

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Adams, Nicholas. "Review: Dimitris Pikionis, 1887-1968 by Alberto Ferlenga." Journal of the Society of Architectural Historians 59, no. 1 (March 1, 2000): 126–28. http://dx.doi.org/10.2307/991577.

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Agazzini, Kathy. "La maladie comme apologie : la phénoménologie mystique de Padre Pio (1887-1968)." Corps N°18, no. 1 (2020): 167. http://dx.doi.org/10.3917/corp1.018.0167.

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Lehman, Thomas M. "Giant Cretaceous sawfish (Onchosaurus) from Texas." Journal of Paleontology 63, no. 4 (July 1989): 533–35. http://dx.doi.org/10.1017/s0022336000019752.

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Detached rostral teeth of fossil sawfishes of the family Sclerorhynchidae Cappetta (1974) are relatively common in Late Cretaceous marine strata of Texas. Most such teeth are referable to various species ofIschyrhizaandOnchopristis(Slaughter and Steiner, 1968). The extraordinarily large rostral teeth described herein are not referable to any sawfish presently known from North America. They belong toOnchosaurus pharao(Dames, 1887), which is known elsewhere from Egypt, Nigeria, Zaire, Angola, and Brazil (Arambourg, 1940; Tabaste, 1963; Cappetta, 1987). The specimens are the largest reported for any sawfish.
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LEWIS, JOHN G. E., ALESSANDRO MINELLI, and ROWLAND M. SHELLEY. "Taxonomic and nomenclatural notes on scolopendrid centipedes (Chilopoda: Scolopendromorpha: Scolopendridae)." Zootaxa 1155, no. 1 (March 20, 2006): 35. http://dx.doi.org/10.11646/zootaxa.1155.1.3.

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Some taxonomic and nomenclatural inconsistencies in the Scolopendridae are clarified. Heterostoma cribriferum var. robustum Haase, 1887 is placed in synonymy under Ethmostigmus rubripes platycephalus (Newport, 1845), and the synonymy of Congobius Dobroruka, 1968 and Parotostigmus Pocock, 1896 (a valid subgenus of Otostigmus Porat, 1876) is formalized. The nomen novum Scolopendra attemsi is proposed for Trachycormocephalus intermedius Attems, 1928, to avert homonymy with S. intermedia Porat, 1871, upon transferring the former into Scolopendra. The following seven new combinations are proposed: Scolopendra lutea (Attems, 1928) (transferred from Arthrorhabdus); S. arenicola (Lawrence, 1975), S. koreana (Verhoeff, 1934), S. langi (Chamberlin, 1927), S. monticola (Lawrence, 1975) and S. zuluana (Lawrence, 1958) (all from Trachycormocephalus); Otostigmus (Parotostigmus) kivuensis (Dobroruka, 1968) (from Congobius). Additionally, two subspecies of Rhysida nuda (Newport, 1845) — somala Manfredi, 1933 and subnuda Jangi, 1955 — are assigned to R. immarginata (Porat, 1876).
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Vivekanantham, Sayinthen, and Agneish Dutta. "Stanley Cobb (1887–1968): studying the link between the mind and the body." Journal of Medical Biography 22, no. 3 (April 15, 2014): 176–80. http://dx.doi.org/10.1177/0967772014526102.

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Klimas, Agnieszka. "Modernization of biographical narratology: Reflections on Arnold Zweig’s artistic novella Symphonie Fantastique." Germanica Wratislaviensia 145 (March 8, 2021): 19–28. http://dx.doi.org/10.19195/0435-5865.145.4.

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This article is devoted to the German-Jewish writer Arnold Zweig’s (1887–1968) biographical novella Symphonie Fantastique (1943), told from the perspective of a young musicologist participating in World War II, applied to the life and work of French composer Hector Berlioz. Arnold Zweig not only writes the biography of one of the most prominent French composers for Harold Breton, but he also confronts the Vichy Regime. The aim of this article is to capture the technique of Arnold Zweig, who combines history and the identification of an artist with a given object.
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Чисников, В. Н. "ЕЛИСЕЕВ АЛЕКСАНДР АКИМОВИЧ – ОДИН ИЗ ПЕРВЫХ РУКОВОДИТЕЛЕЙ НАУЧНО-ТЕХНИЧЕСКОЙ ЧАСТИ ОТДЕЛА УГОЛОВНОГО РОЗЫСКА ГЛАВНОГО УПРАВЛЕНИЯ МИЛИЦИИ И РОЗЫСКА УССР." Криміналістичний вісник 36, no. 2 (December 13, 2021): 123–30. http://dx.doi.org/10.37025/1992-4437/2021-36-2-123.

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На основе малоизвестных украинских милицейских изданий 20-х годов ХХ в., а также опубликованных работ по истории криминалистики рассматривается жизненный путь и творческая деятельность Александра Акимовича Елисеева (1887–1968) – одного из пионеров советской криминалистики, внесшего значительный вклад в развитие криминалистической науки и судебной экспертизы в Украине. Обращается внимание преимущественно на деятельность А. А. Елисеева в период его пребывания руководителем научнотехнической части (подотдела) отдела уголовного розыска Главного управления милиции и розыска УССР (1923–1926). Разработанные им в эти годы различные ведомственные руководства, инструкции, методические указания, а также опубликованные статьи сыграли важную роль в распространении криминалистических знаний среди практических работников Украины.
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SOMLYAY, LAJOS, and ALEXANDER N. SENNIKOV. "Atlas Florae Europaeae notes 30. Resurrection and typification of the name Sorbus semipinnata Borbás (Rosaceae)." Phytotaxa 266, no. 1 (June 17, 2016): 45. http://dx.doi.org/10.11646/phytotaxa.266.1.7.

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The name Sorbus dacica Borbás (1887: 404), which refers to a well-defined species endemic to Romania, is widely accepted (e.g. Jávorka 1924–1925, Nyárády 1939, Kárpáti 1940, 1960, Buia 1956, Warburg & Kárpáti 1968, Dihoru & Pârvu 1987, Ciocârlan 2009, Dihoru & Negrean 2009, Kurtto 2009, Sârbu et al. 2013). This species is supposed to be of hybrid origin between some taxa of S. subgen. Aria Persoon (1806: 38) and S. aucuparia Linnaeus (1753: 477) of S. subgen. Sorbus; such hybrids and stabilized hybridogenous species are currently classified in S. subgen. Soraria Májovský & Bernátová (2001: 21).
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Кулдашев, Шерали. "«ТАРИХ-И ШАВКИ» — ВАЖНОЕ ПРОИЗВЕДЕНИЕ О КОКАНСКОМ ХАНСТВЕ." Вестник Ошского государственного педагогического университета имени А.Мырсабекова 2, no. 2 (December 21, 2022): 73–80. http://dx.doi.org/10.56122/..v2i2.29.

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В статье написано об открытии и содержании труда «Тарих-и Шавки» по истории последних периодов Кокандского ханства. Автор произведения Шамсиддин Шавки (1805-1887), служил мунши (секретарем - начальником канцелярии писарей) во дворце Кокандского ханства. Хотя Заки Валиди Туган дал предварительную информацию о рукописи, он написал, что рукопись находится «в руках населения». Такие историки, как Чарльзом Стори, Т. Бейсембиев, Ш. Вахидов, которые ссылались на данное произведение, отмечали, что рукопись находится «в руках народа» или «пока не найдена». Указано, что рукопись сохранилась в частной коллекции Исмаила Ходжи Лутфитдинова (1968 г.р.), жителя села Калвак Туракурганского района Наманганской области. Произведение представляет собой историческое, поэтическое произведение о последних днях Кокандского ханства и завоевании Ферганы Российской империей.
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Dissertations / Theses on the topic "1887-1968"

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Dussau, Alban. "Arnold Zweig (1887-1968) romancier." Metz, 1986. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1986/Dussau.Alban.LMZ8602.pdf.

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Etalée sur près de 60 ans, la production d'A. Zweig comprend des romans, des nouvelles, des pièces de théâtre, des essais, sans compter sa correspondance et de nombreux articles portant sur la littérature, l'art et la politique. Dans ce travail spécialement consacré au romancier, l'étude a porté moins sur le technicien du roman que sur l'homme poussé à écrire pour témoigner de ce qu'il avait vu et vécu. Après des essais infructueux au théâtre, c'est finalement dans le roman que Zweig donnera sa pleine mesure. Son premier succès "Der streit um den sergeanten grischa" a été tiré d'un drame sur le même sujet. Sur la même "fable" A. Zweig a greffé une multitude d'épisodes, des moments retardateurs et des réflexions psychologiques, historiques et politiques, donnant ainsi un roman d'une grande richesse. A cela s'ajoute un découpage quasi cinématographique, un sens certain du "suspense" et un indiscutable talent pour animer des personnages très attachants. Pris de préférence parmi les intellectuels bourgeois, les personnages de Zweig seront "éduqués" d'abord par la vie puis, plus durement, par la guerre. Comme Zweig lui-même, ils oscillent entre judéité et germanité, freudisme et marxisme, repli sur eux-mêmes ou engagement politique. Sioniste déçu au cours de son exil en Palestine, Zweig se tournera vers le marxisme et rentrera en Allemagne de l'Est. S'il participa loyalement à la construction de la RDA, il critiqua cependant à plusieurs reprises la ligne du parti en matière de littérature et d'éducation. Il refusa de condamner Israël et resta fidèle aux théories de Freud. Ses derniers romans se ressentent de ces ambiguïtés. Ecrivain réservé et mesuré, humaniste épris d'harmonie et de paix, A. Zweig est l'héritier des grands romanciers du 19ème siècle, en particulier de Tolstoï et de Balzac dont il a tenté, à sa manière, de faire la synthèse pour doter l'Allemagne du cycle de romans qui lui faisait encore défaut
Spread over sixty years, A. Zweig's work includes novels, short stories, plays and essays, in addition to his correspondence and many articles concerning literature, art and politics. In this study devoted to the novelist, we examine not so much the technician as the man compelled to write to bear witness of his experience. After unsuccessful attempts in the theatre, it is finally in the novel that zweig showed his full talent. His first success, der streit um den sergeanten grischa, was adapted from an earlier play. A. Zweig grafted onto the original theme a multitude of happenings, changes of tempo and psychological, historical and political reflections. The result is a very rich novel, in which the sequencing of events has a cinematographic quality, suspense is cleverly maintained and zweig shows his indisputable talent for giving life to some very engaging characters. Usually bourgeois intellectuals, these are educated first by life and then more harshly by war. Like Zweig himself they waver beetwen jewishness and germanness, freudianism and marxism, individualism and political engagement. Disappointed as a zionist during his exile in palestine, zweig adopted marxism and returned to east germany. Although he participated loyally in the construction of the german democratic republic, he frequently criticised the party line on literature and education. He refused to condemn israel and remained faithful to freud's theories. His last novels show the effects of these ambiguities. Reserved ans measured as a writer, a humanist attached to harmony and peace, A. Zweig is the heir to the great novelists of the nineteenth century. Following tolstoy and balzac, he wished to give to germany the great cycle of novels still lacking in her literature
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Dussau, Alban. "Arnold Zweig, 1887-1968, romancier." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb375973597.

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Dussau, Alban Grappin Pierre. "ARNOLD ZWEIG (1887-1968) : ROMANCIER /." [S.l.] : [s.n.], 1986. ftp://ftp.scd.univ-metz.fr/pub/Theses/1986/Dussau.Alban.LMZ8602.pdf.

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Margariti, Fotini. "L'architecte D. Pikionis (1887-1968) : l'archaïque et le moderne." Paris 8, 2011. http://www.theses.fr/2011PA084146.

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Subotincic, Natalija. "The anamorphosis of architecture : a co-incidence of desire and embodiment (an excursion into the world of visual indifference)." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55638.

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Coudraud, Philippe. "Les Ménines en vitesse : la mise à nu de la peinture comme critique du "temps social" dans l'oeuvre de Marcel Duchamp." Paris 10, 2005. http://www.theses.fr/2005PA100100.

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En quoi le discours duchampien est-il maniériste ? L'étude iconographique des peintures et dessins exécutés entre 1910 et 1912 (principalement Jeune homme et jeune fille dans le printemps, Dulcinée, Nu descendant un escalier, Portrait de joueurs d'échecs, Le Roi et la reine entourés de nus vites, Le Passage de la vierge à la mariée, Mariée) convoque une multitude d'œuvres artistiques (Bosch, Léonard, Bellange, Arcimboldo, Vélasquez, Goya, Hogarth, Bartholdi, Gutfreund) ou littéraires (Laforgue, Jarry, Villiers de l'Isle-Adam, Goethe, Ossian, Mallarmé) qui surgissent comme autant de fragments savamment recomposés. Duchamp, comme les maniéristes du XVIe siècle à l'égard des grands maîtres de la Renaissance, soumet ces sources à une narration complexe qui trouve son aboutissement dans le Grand Verre. La "mise à nu" de la peinture a pour corollaire la thématique du port du vêtement, contrainte (et source d'aliénation) exercée sur le corps par les rituels profanes d'une société ayant pour fondement mythologique l'épisode biblique de la Remise du vêtement. De la critique du "temps social" naît une autre tension, la confrontation du classicisme et du baroque : un maniérisme désenchanté, arcimboldesque, qui élève les œuvres au rang d'allégorie de la peinture
In what the Duchamp's word is mannerist? The iconographic study of paintings and drawings made in between 1910 and 1912 (principally Young Man and Girl in Spring, Yvonne and Magdeleine Torn in Tatters, Dulcinea, Sonata, Nude Descending a Staircase, Portrait of Chess Players, The King and Queen Surrounded by Swift Nudes, The Passage from Virgin to Bride, Bride) convenes a multitude of artistic and literary works (Bosch, Leonardo, Bellange, Arcimboldo, Vélasquez, Goya, Hogarth, Bartholdi, Gutfreund and also Laforgue, Jarry, Villiers de l'Isle-Adam, Goethe, Ossian, Mallarmé) which emerge as many fragments wisely recomposed. Duchamp, like the mannerists of the 16th century towards the great masters of the Renaissance, submits his sources into a complex narration which finds its result in The Large Glass. The "stripping bare" of the painting has as a corollary the subject of the garment, compulsion and source of alienation exercised on the body by the profane rituals of a society having as a mythological base the biblical episode of the Giving of the garment. Critic of "social time" gives birth to another tension, the confrontation of the Classicism and the Baroque : a disillusioned mannerism which brings his works in level of allegory of painting
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Stévance, Sophie. "Impacts et échos de la sonosphère de Marcel Duchamp." Rouen, 2005. http://accesdistant.bu.univ-paris8.fr:2048/login?url=https://www.dawsonera.com/abstract/9782296230903.

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Personnage tutélaire de la modernité, Marcel Duchamp nous laisse une œuvre à partir de laquelle les exégètes rivalisent d'inventions pour tenter de la nommer (" avant-gardiste ", " nouvelle ", " hors du temps ", " innovatrice "). Paradoxalement, elle n'est connue que sous le nom de Ready-made. L'intérêt que l'iconoclaste a très vite manifesté à l'égard de la musique reste encore ignoré d'une large majorité du public et de la sphère universitaire. Duchamp offre plusieurs compositions musicales, écrites pour la plupart en 1913 : Erratum Musical pour trois voix, La Mariée mise à nu par ses célibataires même/Erratum Musical, pour clavier et une Sculpture Musicale " qui dure ". Elles sont suivies par des ready-mades " sonores " (À bruit secret, 1916). Pour comprendre la sonosphère de Marcel Duchamp et ses répercussions sur toute une production d'artistes (dépassant de loin les seuls arts plastiques), quatre approches sont présentées : permissive, performative, perceptive et perditive. Sous ces catégories se dessinent en même temps les propres influences du nouveau compositeur, son " horizon d'attente ". Des premières expériences européennes et américaines à la musique électronique, de la poésie sonore au multimédia, de l'indétermination à l'improvisation, de l'installation sonore à la musique d'ambiance, du minimalisme au maximalisme musical de masse, cette thèse permet d'explorer les frontières, désormais neutralisées, entre la tradition musicale " savante " et la transmission " orale ". Elle met également en lumière les contextes historique, philosophique, sociologique et artistique qui ont vu naître les conceptions acoustiques de Marcel Duchamp, membre à part entière d'un siècle de turbulences musicales et sonores
On the forefront of modernity, Marcel Duchamp leaves us a work for which analysts are quite creative to name it (“avant-gardist”, “new”, “out of time”, “innovator”). Paradoxically, it is only known as Readymade. Yet, Duchamp's early interest for music and related matters has been widely ignored by a vast majority of the public and the University microcosm so far. His exploration of the sound sphere offers several musical compositions. Most of them were written in 1913 : Musical Erratum, for three voices, The Bride Stripped Bare By Her Bachelors Even/Erratum Musical, for keyboard, and the Musical Sculpture “that lasts”. They are followed by some “sonorous” Readymades (With Hidden Noise, 1916). In order to understand Marcel Duchamp's sonosphere and its implications on the work of other artists (exceeding Plastic-Arts by far), four methods are proposed : “permissive”, “performative”, “perceptual” and “perditive”. The new composer's own influences, his “horizon of waiting”, can be distinguished within these categories. From the first European and American experiments to Electronical Music, from Sound Poetry to Multimedia, from the Indeterminacy to Improvisation, from Audio Installation to Ambient Music, from Minimalism to Mass Musical Maximalism, this essay explores boundaries, now neutralized, between the “Musique Savante” and the “Oral” tradition. It also clarifies the historical, philosophical, political, sociological and artistic contexts through which concerns the acoustic or acousmatic conceptions of Marcel Duchamp, one century full member of musical instabilities
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Jang, Young-Girl. "L'objet duchampien : approche esthétique." Paris 1, 2000. http://www.theses.fr/2000PA010580.

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Le but de cette thèse est de réinterpréter l'objet duchampien. Par une nouvelle lecture de l'art et de la pensée de Marcel Duchamp, nous approfondissons l'étude de l'objet duchampien suivant deux voies : celle de l'esthétique et celle de la méthode. L'objet chez Duchamp n'est pas synonyme de chose ni de matière, mais est un concept artistique. L'objet duchampien fait disparaitre la signification habituelle d'une chose quotidienne sous un nouveau titre. Sur la base de cette définition de l'objet duchampien, nous développons trois hypothèses : l'objet ou le mensonge pictural, ce qui n'est pas l'objet ou la chose elle-même, et l'idée de l'objet duchampien ou la chose indirecte. À travers l'esthétique et la méthode de Duchamp, nous en venons à conclure que l'objet duchampien est mensonge pictural et chose indirecte. Car Duchamp profite du mensonge, au sens de Platon, qui ne se réalise que dans l'art, et il présente méthodologiquement la chose quotidienne comme chose indirecte.
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Duboy, Philippe. "L'Architecture civile de Jean-Jacques Lequeu (1757- ?) "ready-made rectifié" par Marcel Duchamp, 1887-1968 /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37604690s.

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Carvajal, Muñoz Osvaldo. "Nacimiento y formación de un cronista: Joaquín Edwards Bello y sus primeros viajes a Europa." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/131523.

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Books on the topic "1887-1968"

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Ferlenga, Alberto. Pikionis, 1887-1968. Milano: Electa, 1999.

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Radecki, Sławomir. Józef Piasecki (1887-1968). Knyszyn: Urząd Miasta w Knyszynie, 2004.

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Agnē, Pikiōnē, ed. Dēmētrēs Pikiōnēs: 1887-1968. Athēna: Basta-Plessa, 1994.

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Caroline, Cros, and Centre Georges Pompidou, eds. Marcel Duchamp (1887-1968). Paris: Centre Pompidou, 2014.

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Agnē, Pikiōnē, Rokou-Pikiōnē D̲ora, Arvanitakēs Dēmētrēs, and Mouseio Benakē, eds. Dēmētrēs Pikiōnēs, 1887-1968. [Athēna]: Mouseio Benakē, 2010.

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Dussau, Alban. Arnold Zweig, 1887-1968: Romancier. Lille: A.N.R.T, Université de Lille III, 1986.

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Herzog, Marianne, ed. Wilhelm Wagner 1887 - 1968: Maler und Graphiker. Berlin, Germany: Kunstverwaltung Wilhelm Wagner, 1999.

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Helenē, Kalaphatē, and Hetaireia Spoudōn Neoellēnikou Politismou kai Genikēs Paideias (Athens, Greece), eds. D. Pikiōnēs, 1887-1968: Diadromes kai synantēseis. Athēna: Hetaireia Spoudōn Neoellēnikou Politismou kai Genikēs Paideias, 1987.

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Naumann, Francis M. Marcel Duchamp: L'art a l'ere de la reproduction. Paris: Hazan, 1999.

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de, Duve Thierry, ed. The definitively unfinished Marcel Duchamp. Halifax, N.S: Nova Scotia College of Art and Design, 1993.

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Book chapters on the topic "1887-1968"

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"Dimitris Pikionis (1887–1968)." In Primitivismo e architettura, 98–101. Quodlibet, 2021. http://dx.doi.org/10.2307/j.ctv2gz3z58.15.

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"Marcel Duchamp (1887–1968)." In American Artists , Authors , and Collectors, 150–57. SUNY Press, 2012. http://dx.doi.org/10.1515/9780791489086-012.

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Snir, Reuven. "Conclusion." In Modern Arabic Literature. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474420518.003.0006.

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The Conclusion discusses the recent changes in Arabic literature following the wide migration, globalization, the deconstruction and fragmentization of the concept of identity, and the speedy development of Internet technologies (such as Facebook), that have done much to change the way culture is perceived and have changed dramatically the way literature in general – Arabic literature included – is created and consumed. The conclusion includes as well a discussion of the relevance of the notion of republic of letters to Arabic literature and the role of the modernist Arab intellectuals, such as Aḥmad Ḥasan al-Zayyāt (1885-1968), Salāma Mūsā (1887-1958), and Ṭāhā Ḥusayn (1889-1973), in the Arab Nahḍa (Renaissance).
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Griffith, J. A. G. "Judges and the Constitution." In Law, Society and Economy, 289–310. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198262282.003.0013.

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Abstract In a lecture given to the Administrative Law Bar Association in October 1994, Mr Michael Beloff QC said, that when he came to the Bar in 1968, ‘no one was yet called a public lawyer’ and that the phrase, as late as 1985, was not altogether approved by the judiciary. In the more enlightened circles of academia, we had been accustomed to the words for some time and even had professors so designated. When F.W. Maitland gave his first lecture on The Constitutional History of England at Cambridge in the Michaelmas term of 1887 he entitled it ‘English Public Law at the Death of Edward the First’.
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5

Horn, Michiel. "2. Running for Office: Canadian Professors, Electoral Politics, and Institutional Reactions, 1887–1968." In Historical Identities, edited by E. Lisa Panayotidis and Paul Stortz. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442628038-004.

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6

"Women’s Rites of Dionysos in Greek Cities." In Women’s Religions in the Greco-Roman World, edited by Ross Shepard Kraemer, 27. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195170658.003.0013.

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Abstract author: Originally from Agyrium, in Sicily, Diodorus remains an enigmatic figure. The exact dates of his life are not known, but his works are thought to date from 60 to 30 b.c.e. His forty-volume history of the world drew extensively on the works of various earlier historians and annalists. Although his work has been considered undistinguished by modern scholars, it contains some intriguing references to the religious activities of women, including the one excerpted here. Regrettably, because he depended so heavily on other authors, it is particularly difficult to assess the reliability of his information. translation: LCL (C. H. Oldfather, C. L. Sherman, R. M. Geer, and F. R. Walton, 1933–67, 12 vols.). text: Teubner (F. Vogel, C. T. Fisher, and L. Dindorf [1887] 1970–85, 6 vols.). additional translation: F. M. Salter and H. L. R. Edwards, eds., The “Bibliotheca Historica” of Diodorus Siculus, trans. John Skelton, 2 vols. (New York: Oxford University Press, 1968–71). bibliography: See entry 1.
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7

"No. 16743. Convention on road signs and signals. Concluded at Vienna on 8 November 1968." In Treaty Series 1887, 477. UN, 2000. http://dx.doi.org/10.18356/f782c810-en-fr.

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8

"No. 17935. European Agreement supplementing the Convention on road signs and signals opened for signature at Vienna on 8 November 1968. Concluded at Geneva on 1 May 1971." In Treaty Series 1887, 478. UN, 2000. http://dx.doi.org/10.18356/1d5ae2fd-en-fr.

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