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Books on the topic '1924-2002'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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1

Szaraniec, Lech. Muzeum Śląskie w Katowicach, 1924-2002 =: Das Schlesische Museum in Katowice, 1924-2002. 4th ed. Katowice: Muzeum Śląskie, 2002.

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2

Tuszyński, Bogdan. Polscy olimpijczycy XX wieku: 1924-2002. Wrocław: Wydawn. "Europa", 2004.

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3

Alfonso de los Reyes Villarreal. Palacio Penal de Andonegui: Historias desde el purgatorio : Tampico (1924-2002). [Tampico]: Publicaciones Históricas de las Huastecas, 2003.

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4

Francis Newton Souza (1924-2002): Bridging western and Indian modern art. Ahmedabad: Mapin Pub., 2006.

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5

Tuszyński, Bogdan. Polscy olimpijczycy XX wieku (1924-2002): Tom 1: A-M; Tom 2: N-Z. Wroclaw: Wydawnictwo "Europa", 2003.

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6

Snoep, Huub. Oranje op olympisch ijs: Nederlandse schaatssuccessen van Chamonix 1924 t/m Salt Lake City 2002. 2nd ed. Haarlem: De Vrieseborch, 2002.

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7

Musée National de la Coopération Franco-Américaine (Blérancourt) : Historial de la Grande Guerre (Péronne) (Blérancourt, Péronne). Des Américaines en Picardie: Au service de la France dévastée, 1917-1924 : exposition, Péronne, Historial de la Grande Guerre, 26 avril au 31 août 2002. Paris : Blérancourt : Péronne: Réunion des Musées nationaux : Musée National de la Coopération Franco-Américaine : Historial de la Grande Guerre, 2002.

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8

oblasti, Gosudarstvennyĭ arkhiv Permskoĭ. Lichnyĭ fond: Astafʹev Viktor Petrovich (1924-2001) : pisatelʹ, laureat Gosudarstvennykh premiĭ RSFSR i SSSR : fond no r-1659 opisʹ no 1 : dokumentov postoi︠a︡nnogo khranenii︠a︡ za 1928-2002 gg. Permʹ: Gos. arkhiv Permskoĭ oblasti, 2005.

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9

Colavero, Enrica, ed. Fiorentini abusivi. Florence: Firenze University Press, 2008. http://dx.doi.org/10.36253/978-88-8453-720-1.

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Through a precious labour of retrieval, transcription and the attentive and painstaking annotation of an unpublished correspondence made up of 311 pieces, Enrica Colavero gives voice to two important and retiring Italian poets of the later twentieth century: Francesco Tentori (1924-1995) and Ercole Ugo D'Andrea (1937-2002), the last impassioned witnesses and disciples of hermeticism. Tentori was a major translator of Spanish and Spanish-American poets and novelists; it was he who introduced Borges into Italy. Before settling permanently in Rome, he established close ties with Florence, in particular with the groups of intellectuals (writers and critics, but also painters) who frequented the Gabinetto Viessuex and the Caffè Paszkowski. D'Andrea too was a Florentine by adoption, in view of his passion for hermeticism, but he instead chose the isolation of Galatone, in the extreme south of Puglia, where he devoted himself intensively to his studies. From the readings presented in this book the centrality of culture emerges, but also the hopes and delusions of two unorthodox, unquiet intellectuals, seeking the time and the meaning of a life devoted entirely to addressing and serving art.
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10

Luke, William. Prevost Buses: 1924-2002 Photo Archive. Iconografix, 2002.

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11

Gallery, Vadehra Art, ed. A tribute to Francis Newton Souza, 1924-2002. New Delhi: Vadehra Art Gallery, 2003.

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12

Uttar Pradesh (India) Information and Public Relations Dept., ed. Sūcanā nidarśinī 2002: Samvat 2058-2059 Vikramīya evaṃ 1923-1924 śaka. Lakhanaū: Sūcanā evaṃ Janasamparka Vibhāga, Uttara Pradeśa, 2002.

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13

Marín, Emili J., ed. Julián Álvarez Subirats: Un bon home per a Càritas (1924-2002). Saó, 2015.

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14

Courage and Innovation The Story of LORD Corporation, 1924 to 2002. Jura Corporation, 2005.

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15

Eduardo Chillida : Boundaries Slip Away: Early Prints. Kerber Verlag, 2014.

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16

Eduardo Chillida: Architekt der Leere / Architect of the Void. Verlag der Buchhandlung Walther Konig, 2019.

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17

Eduardo Chillida: Writings. Richter Verlag, 2011.

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18

Chillida, Eduardo. Eduardo Chillida: Writings. La Fábrica/Arts Santa Mònica, Barcelona, 2019.

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19

Chillida, Eduardo. Eduardo Chillida: Artist's Portfolio. La Fábrica/Arts Santa Mònica, Barcelona, 2012.

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20

Carabin, Hélène, Maria V. Johansen, Jennifer F. Friedman, Stephen T. McGarvey, Henry Madsen, Zhou Xiao-Nong, and Steven Riley. Zoonotic schistosomosis (schistosomiasis). Oxford University Press, 2011. http://dx.doi.org/10.1093/med/9780198570028.003.0062.

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Asiatic schistosomiosis is a very old disease with Schistosoma japonicum eggs found in human remains > 2000 years old from Hunan and Hubei provinces in China (Mao and Shao 1982). The original description of Asiatic schistosomiosis was made by Fujii in 1847 (Sasa 1972). The life cycle was fi rst described by Kawanashi (1904) who noted trematode-like eggs in cat faeces. The same year, Katsurada recovered adult worms from a cat from Katayama, Japan (Okabe 1964). Fujinami and Nakamura (1909) first reported skin infection with S. japonicum cercariae of different mammals, and Miyairi and Suzuki (1914) discovered that Oncomelania hupensis served as intermediate host where miracidia developed into sporocysts and further into cercariae (Jordan 2000). The snail hosts of S. japonicum were discovered in China by Faust and Meleney (1923), The Philippines by Tubangui (1932) and in Indonesia by Carvey et al. (1973). In addition to the skin as the principal route of infection, Suda (1924) described oral infection and several authors described the intrauterine route of infection. (Okabe 1964; Sasa 1972).Following the understanding of the lifecyle, control measures including wearing closely woven clothing, composting of faeces with urine for at least 14 days, replacing cattle with horses, killing of rodents especially rats, killing of snails by lime, copper sulphate or salt water, were proven to have some efficacy. In Japan, an effective integrated control programme started after Second World War with the last human case being reported in 1978 (Jordan 2000 ). The National Schistosomiosis Control Programme in China started in 1955 and at that time more than 10 million people were infected with S. japonicum (Wu 2002). Emetine and antimony potassium tartrate were among the first drugs with proven efficacy against schistosomiosis in humans. Later antimony and finally praziquantel and artemether have been introduced as highly effective drugs with only minor adverse effects (Wu 2002).
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21

Pino Posada, Juan Pablo. Aurelio Arturo y la poesía colombiana del siglo XX. Editorial EAFIT, 2020. http://dx.doi.org/10.17230/9789587207064lr0.

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Echando mano de un basamento teórico-conceptual que bebe de la filosofía, la teoría literaria, la sociología y la historia, Juan Pablo Pino Posada se adentra en los pliegues de la obra del poeta colombiano Aurelio Arturo (La Unión, 1906 - Bogotá, 1974) con el propósito de estudiar las maneras en que las nociones de “espacio” y “subjetividad” se trenzan y ponen de manifiesto las tensiones propias de la modernidad tardía. Lo verdaderamente singular de este libro estriba en que su aproximación, al ser de carácter histórico-narrativo, permite pensar los tres periodos creativos de la lírica arturiana –el de su juventud, su adultez y su vejez–, y las espacialidades (sean estas vividas, imaginarias o metafóricas) en torno a las cuales dichos periodos se forjan, como ejes constitutivos de un todo, de una unidad, de un “relato” (aristotélicamente hablando) que ofrece posibles respuestas a la pregunta tardomoderna por la interacción de la subjetividad consigo misma y con el lenguaje. Dejando de lado a José Eustasio Rivera (1888-1928), cuya producción lírica continúa siendo esquiva a rotulaciones generacionales, en el transcurso de esta travesía el autor logra entroncar a Arturo con Los Nuevos (1925), Piedra y Cielo (1939-c. 1944), la revista Mito (1955-1962), el Nadaísmo (1958-1974) y la Generación desencantada (1974-c. 1990), vistos de manera sinecdótica en poetas como Rafael Maya (1897-1980), Eduardo Carranza (1913-1985), Jorge Gaitán Durán (1924-1962), Jaime Jaramillo Escobar (1932) y José Manuel Arango (1937-2002), respectivamente. Lo anterior, pese a estar ceñido al siempre canonizante método generacional (hoy tan cuestionado al interior del campo de los Estudios Literarios), revela el interés de Pino Posada por desterrar el vicio que ha hecho que cierto sector de la crítica siga viendo a Arturo como una figura “insular”, ajena a los múltiples y diversos senderos poéticos del país. Estamos ante un trabajo riguroso, sensible y necesario para los estudios poetológicos en Colombia.
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