Relevant bibliographies by topics / Eoman

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

Academic literature on the topic 'Eoman'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Eoman"

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Jin, Wan-Wan, Jian-Ming Wu, Yi Tong, Ji-Cong Jiang, Hehe Quan, and Yu Gao. "Inhibitory effect of tetramethylpyrazine combined with propranolol on murine hemangioma endothelial cells." Tropical Journal of Pharmaceutical Research 18, no. 4 (May 18, 2021): 721–26. http://dx.doi.org/10.4314/tjpr.v18i4.6.

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Purpose: To study the inhibitory effect of different doses of tetramethylpyrazine (TMP) combined with the beta-blocker, propranolol (Pro) on hemangioma endothelial (EOMA) cells. Methods: EOMA cells were cultured in vitro with varying doses of TMP and Pro (5, 10, 20 and 40 uM). The effect of treatments on cell proliferation was assessed by MTT assay, while cell apoptosis was assayed by flow cytometry. The expressions of Bcl-2, Bax, p-mTOR), total-mammalian target of rapamycin (t-mTOR, p-p70S6) and total-p70 ribosomal protein S6 (t-p70S6) proteins were determined using Western blot. Results: MTT data showed that when used alone, TMP had no significant inhibitory effect on EOMA cells (p > 0.05). However, when TMP was combined with propranolol, there was significant inhibition of EOMA cells, and that the inhibition is dependent on TMP dose. Flow cytometry results showed that the combination of TMP and Pro induced EOMA cell apoptosis dose-dependently (p < 0.05). Moreover, TMP dose-dependently inhibited the phosphorylation of mTOR and p70S6 in EOMA cells, and enhanced Bax expression, but downregulated Bcl-2 (p < 0.05). Conclusion: These results suggest that TMP enhances the inhibitory influence of Pro p-mTOR and pp-70S6 in EOMA cells in a dose-dependent manner. Thus, TMP may enhance Pro-induced inhibition of the growth of endothelial cells, and promote apoptosis through suppression of activation of PI3K/AKT signal route. These findings provide a theoretical basis for the clinical application of TMP/Pro combination for the treatment of hemangioma.
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Pistorius, Juliana M. "Eoan: Our Story." Muziki 14, no. 1 (January 2, 2017): 140–43. http://dx.doi.org/10.1080/18125980.2017.1328094.

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Tang, Junjun, and Peijuan Li. "Airborne Integrated Navigation System Based on SINS/GPS/TAN/EOAN." Mathematical Problems in Engineering 2020 (November 11, 2020): 1–9. http://dx.doi.org/10.1155/2020/3218942.

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Considering the drawbacks that GPS signal is susceptible to obstacles and TAN becomes useless in some area when without any terrain data or with a featureless terrain field, to realize long-distance and high-precision navigation, a navigation system based on SINS/GPS/TAN/EOAN is presented. When GPS signal is available, GPS is used to correct errors of SINS; when GPS is unavailable, a terrain selection method based on the entropy weighted gray relational decision-making method is use to distinguish terrain into matchable areas and unmatchable areas; then, for the matchable areas, TAN is used to correct errors of SINS, for the unmatchable areas, EOAN is used to correct errors of SINS. The principles of SINS, GPS, TAN, and EOAN are analyzed, the mathematic models of SINS/GPS, SINS/TAN, and SINS/EOAN are constructed, and finally the federated Kalman filter is used to fuse navigation information. Simulation results show that the trajectory of SINS/GPS/TAN/EOAN is close to the ideal one in both matchable area or unmatchable area and whose navigation errors are obviously reduced, which is important for the realization of long-time and high-precision positioning.
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Gordillo, Gayle M., Duygu Onat, Michael Stockinger, Sashwati Roy, Mustafa Atalay, F. Michael Beck, and Chandan K. Sen. "A key angiogenic role of monocyte chemoattractant protein-1 in hemangioendothelioma proliferation." American Journal of Physiology-Cell Physiology 287, no. 4 (October 2004): C866—C873. http://dx.doi.org/10.1152/ajpcell.00238.2003.

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Angiomatous lesions are common in infants and children. Hemangioendotheliomas (HE) represent one type of these lesions. Endothelial cell proliferation and the development of vascular/blood cell-filled spaces are inherent in the growth of HE. Therefore, understanding mechanisms that regulate the proliferation of these lesions should provide key insight into mechanisms regulating angiogenesis. A murine model was used to test the significance of monocyte chemoattractant protein (MCP)-1 in HE proliferation. EOMA cells, a cell line derived from a spontaneously arising murine HE, generate these lesions with 100% efficiency when injected subcutaneously into syngeneic mice. MCP-1 produced by EOMA cells recruit macrophages, which were shown to induce angiogenic behavior in EOMA cells by stimulating transwell migration and inducing sprout formation on type I collagen gels. When EOMA cells were injected into MCP-1−/− mice, only 50% of the mice developed tumors, presumably because the low levels of MCP-1 expressed by the injected EOMA cells were enough to overcome any host deficits of this chemokine. When EOMA cells were coinjected with a neutralizing antibody to MCP-1, tumors failed to develop in any of the treated mice, including syngeneic 129P3, C57Bl/6 (wild type), and MCP-1−/−. These results present the first evidence that MCP-1 is required for HE proliferation and may promote the growth of these lesions by stimulating angiogenic behavior of endothelial cells. This study has produced the first in vivo evidence of a complete response for any neoplasm, specifically a vascular proliferative lesion, to anti-MCP-1 therapy in animals with intact immune systems.
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Ohneda, Osamu, Kinuko Ohneda, Fumio Arai, James Lee, Takeshi Miyamoto, Yoshimi Fukushima, Donald Dowbenko, Laurence A. Lasky, and Toshio Suda. "ALCAM (CD166): its role in hematopoietic and endothelial development." Blood 98, no. 7 (October 1, 2001): 2134–42. http://dx.doi.org/10.1182/blood.v98.7.2134.

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A critical role for the endothelium of yolk sac and dorsal aorta has been shown in embryonic hematopoiesis. A stromal cell line derived from yolk sac, YSCL-72, has been chosen to search for a novel molecule associated with embryonic hematopoiesis. Analysis between YSCL-72 and an adult aorta-derived endothelial cell line, EOMA, demonstrated that activated leukocyte cell adhesion molecule (ALCAM, or CD166) was specifically expressed in YSCL-72 but not in EOMA. Immunohistochemical study showed that ALCAM was expressed in the endothelium of yolk sac and dorsal aorta but not in adult aorta. ALCAM-transfected EOMA cells supported development of hematopoietic progenitor cells compared with vector-transfected EOMA cells, suggesting that ALCAM appeared to be crucial for hematopoiesis. In addition, ALCAM was found to be involved in capillary tube formation and hemangioblast differentiation. Taken together with these findings, ALCAM is highly associated not only with embryonic hematopoiesis but also vasculoangiogenesis.
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Cramer, Johannes, Manfred Schuller, and Barbara Perlich. "Adolar, Eoban und die Domgeschichte." Forschung 31, no. 2 (July 2006): 14–16. http://dx.doi.org/10.1002/fors.200690012.

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Cramer, Johannes, Manfred Schuller, and Barbara Perlich. "Adolar, Eoban and the History of a Cathedral." German Research 29, no. 2 (October 2007): 29–31. http://dx.doi.org/10.1002/germ.200790027.

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Eogan, George. "Knowth before Knowth." Antiquity 72, no. 275 (March 1998): 162–72. http://dx.doi.org/10.1017/s0003598x0008635x.

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Recent research at the great Irish passage tomb of Knowth has revealed new decorated stones, which were apparently recycled from an earlier tomb. Here, George Eogan describes the finds and discusses the implication of an early phase of tomb building pre-dating the major passage tombs of the Boyne Valley.
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ImChilseong. "Quantitative Study of the 7th Grade “Joseon Eomun” Vocabulary." korean language education research 53, no. 2 (June 2018): 205–25. http://dx.doi.org/10.20880/kler.2018.53.2.205.

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Pistorius, Juliana M. "Inhabiting Whiteness: The Eoan Group La traviata, 1956." Cambridge Opera Journal 31, no. 1 (March 2019): 63–84. http://dx.doi.org/10.1017/s0954586719000016.

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AbstractActive at the height of the apartheid regime, the Eoan Group treated South Africans to operas ‘in the true tradition of Italy’. The group relied on elaborate, naturalistic stage settings and the most stereotypical of operatic conventions to construct a hereditary link between itself and Italy, thus creating an alignment with the cultural ideal of Europe and its colonial representative – whiteness. This article offers a materialist reading of the Eoan Group's first operatic endeavour, La traviata in 1956, to argue that their invocation and emulation of the ‘Italian tradition’ served to situate them within a class-based discourse of racially inscribed civility. Drawing on archival records relating to props, costumes, advertisements and funding, it shows how the group constructed an imagined Italian heritage both to emphasise the quality of their productions, and to create an affinity with their white audiences. In this reading, the construction of an Italian operatic tradition functions not as a neutral aesthetic category, but as a historically situated politics of race and class.
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Dissertations / Theses on the topic "Eoman"

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Pistorius, Juliana. "The Eoan Group and the politics of coloured opera in apartheid South Africa." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:4e697096-1328-416e-964c-28438d992102.

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The Eoan Group, founded in 1933 in Cape Town, was South Africa's first and only all-coloured opera, dance and theatre company. Its 1956 production of La Traviata was the first opera produced by non-white people in South Africa, and initiated an operatic career that spanned twelve opera seasons and ten operas. The group was under the administration of white directors and received funding from the apartheid government. In return, they agreed to honour the regime's racial laws by performing for segregated audiences. Their acquiescence to segregation and their complicity in the promotion of apartheid ideology caused political problems: they were ostracised by their own community and boycotted by members of the white and coloured racial groupings. After the group's operatic activities came to a permanent halt in 1980, their history sank into obscurity, despite their importance in the establishment of an operatic culture in the country. The memorialisation of South Africa's cultural-political past continues to maintain a binary of complicity and resistance, with those who are remembered grouped neatly into either of these categories. These labels, however, do not map tidily onto the Eoan Group, with its bewildering narrative of self-empowerment-through-collusion. Consequently, their story presents a problem for the writing of South African music history. Drawing extensively on material from the Eoan Group Archive, this dissertation considers the socio-political ambiguities of the Eoan narrative from musicological and post-colonial theoretical angles, to show how the group's operatic activities disrupted the cultural and material determinism of apartheid's racialised ideology. It calls for a disavowal of the Manichean ethics by which subaltern agency is measured, and proposes instead a turn to Njabulo S. Ndebele's 'politics of the ordinary'. From the sonic and material residue of the Eoan Group's productions, this project forges a newly conceived decolonial writing of apartheid operatic history.
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Roos, Hilde. "Opera production in the Western Cape : strategies in search of indigenization." Thesis, Stellenbosch: Stellenbosch University, 2010. http://hdl.handle.net/10019.1/5207.

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Thesis (PhD (Music)) -- Stellenbosch University, 2010.
ENGLISH ABSTRACT: During the past few decades fascinating opera productions have been staged by South African opera companies, using strong local casts and strikingly indigenous interpretations of standard works from the canon. It appears that opera in South Africa has survived the tumultuous recent history of this country and is invigorated by the creative possibilities unleashed by its contexts. This dissertation explores whether and how opera production in the Western Cape has reacted to societal influences specific to South Africa. It launches an exploration of if and how the genre has ‘indigenized’ to become what it is today. The following themes present themselves during the course of this dissertation: the process through which opera has rooted itself in the country historically, the forms in and through which opera manifested itself in the Western Cape, how the art form has developed, to what extent local culture has influenced the art form and if, how and why opera production in the Western Cape has diverged from original Western operatic ideals. This dissertation is comprised of two sections representing, broadly, the past and the present. Chapters 1 and 2 are historical studies, whilst Chapters 3 and 4 discuss contemporary perspectives. Chapter 1 is an attempt to construct a history of opera in South Africa and serves as a background or frame for the ensuing chapters. This chapter will show that indigenization in its most subtle form can be traced in local opera productions long before the issue of the reflection of indigenous cultures in opera became relevant. Chapter 2 is a first attempt to account for the history of the Eoan Group, a so-called Coloured opera company who performed during South Africa’s Apartheid years. It investigates the far-reaching implications of the drive to ‘Europeanize’ indigenous culture, as exemplified in the opera productions of this group. Chapter 3 discusses a new opera composition, Hans Huyssen’s Masque (composed in 2005), focusing on the use of voice as it engages with the indigenization of the aesthetic model of voice production. Chapter 4 is an investigation into the functioning of Cape Town Opera. It investigates how a local opera company – an institution promoting opera as a Western form of art – negotiates its way through the tumultuous changes of post-Apartheid South Africa.
AFRIKAANSE OPSOMMING: Operageselskappe in Suid-Afrika het gedurende die afgelope dekades verskeie fassinerende produksies op die planke gebring, produksies wat aansienlik deur inheemse interpretasies beïnvloed is en dikwels van inheemse sangers gebruik maak. Dit wil voorkom of opera in Suid-Afrika nie slegs die politieke omwentelinge van die onlangse verlede te bowe gekom het nie, maar ook produktief put uit impulse wat uit plaaslike omstandighede voortvloei. Die gedagte wat in hierdie proefskrif ondersoek word, is of en hoe opera produksie in die Weskaap op spesifiek Suid-Afrikaanse omstandighede gereageer het. Die bestudering van opera in die Weskaap deur die lens van verinheemsing fokus op die manier waarop opera in die land wortel geskiet het, die wyses waarop dit in die verlede en in die hede tot uiting gekom het, hoe produksie van die genre ontwikkel het, tot watter mate inheemse kulture operaproduksie en komposisie beïnvloed het en hoe en waarom operaproduksie in die Weskaap afgewyk het van oorspronklike Westerse ideale. Hierdie proefskrif bestaan uit twee dele wat die verlede en die hede verteenwoordig. Hoofstukke 1 en 2 behandel historiese gevallestudies en Hoofstukke 3 en 4 kontemporêre operapraktyke. Hoofstuk 1 onderneem om ’n geskiedenis van opera in Suid-Afrika te skets en dien as ’n vertrekpunt of konteks vir die daaropvolgende hoofstukke. Die hoofstuk dui aan dat verinheemsing reeds in subtiele vorm plaasgevind het in operaproduksie lank voor die vraagstuk oor die weerspieëling van inheemse kulture in opera relevant geword het. Hoofstuk 2 is ’n eerste poging om die geskiedenis van die Eoan Groep, ’n sogenaamde Kleurling operageselskap wat gedurende die Apartheidsjare in Suid-Afrika opera geproduseer het, neer te pen. Die hoofstuk ondersoek die verreikende implikasies van die veldtog om inheemse kulture in Suid-Afrika te verwesters. Hoofstuk 3 bespreek ’n nuwe operakomposisie, Hans Huyssen se Masque (gekomponeer in 2005) en fokus op die gebruik van stem en die kwessie van die verinheemsing van die estetiese model van stemproduksie. Hoofstuk 4 het as onderwerp die plaaslike operageselskap, Kaapstad Opera, en ondersoek hoe hierdie organisasie wat opera as ’n Westerste kunsvorm beoefen en bevorder, sy weg vind deur die ingrypende veranderinge wat post-Apartheid Suid- Afrika kenmerk.
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Johnstone, Kristina. "Interrogating community dance practice and performance in African contexts : case studies of a New York University and Makerere University collaboration in Kampala, Uganda (2010) and a collaboration between the Eoan Group and the University of Cape T." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/3549.

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House, Melanie J. "Their Place on the South African Stage:The Peninsula Dramatic Society and the Trafalgar Players." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291211511.

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Books on the topic "Eoman"

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Eoban und Ovid: Helius Eobanus Hessus' Brief an die Nachwelt und Ovids Tristien ; Spurensuche in einer Dichterwerkstatt. Heidelberg: Winter, 2008.

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Tillal, Eldabi, Gupta Ashish, and SpringerLink (Online service), eds. Enterprise and Organizational Modeling and Simulation: 7th International Workshop, EOMAS 2011, held at CAiSE 2011, London, UK, June 20-21, 2011. Selected Papers. Berlin, Heidelberg: Springer-Verlag GmbH Berlin Heidelberg, 2011.

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G, Dietz Jan L., Albani Antonia, Barjis Joseph, International Workshop on Enterprise and Organizational Modeling and Simulation (4th : 2008 : Montpellier, France), and CAiSE 2008 (2008 : Montpellier, France), eds. Advances in enterprise engineering I: 4th International Workshop CIAO! and 4th International Workshop EOMAS, held as CAiSE 2008, Montpellier, France, June 16-17, 2008 proceedings. Berlin: Springer, 2008.

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Aalst, Will. Advances in Enterprise Engineering III: 5th International Workshop, CIAO! 2009, and 5th International Workshop, EOMAS 2009, held at CAiSE 2009, Amsterdam, The Netherlands, June 8-9, 2009. Proceedings. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009.

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Helen, Roche, and Eogan George, eds. From megaliths to metal: Essays in honour of George Eogan. Oxford: Oxbow Books, 2004.

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Roos, Hilde. La Traviata Affair. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520299887.001.0001.

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Opera, race, and politics during apartheid South Africa form the foundation of this historiographic work on the Eoan Group, a so-called colored cultural organization that performed opera in the Cape. The La Traviata Affair: Opera in the Time of Apartheid charts Eoan’s opera activities from its inception in 1933 until the cessation of its work by 1980. By accepting funding from the apartheid government and adhering to apartheid conditions, the group, in time, became politically compromised, resulting in the rejection of the group by their own community and the cessation of opera production. However, their unquestioned acceptance of and commitment to the art of opera lead to the most extraordinary of performance trajectories. During apartheid, the Eoan Group provided a space for colored people to perform Western classical art forms in an environment that potentially transgressed racial boundaries and challenged perceptions of racial exclusivity in the genre of opera. This highly significant endeavor and the way it was thwarted at the hands of the apartheid regime is the story that unfolds in this book.
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Barjis, Joseph, Ashish Gupta, and Amir Meshkat. Enterprise and Organizational Modeling and Simulation: 9th International Workshop, EOMAS 2013, Held at CAiSE 2013, Valencia, Spain, June 17, 2013, Selected Papers. Springer, 2013.

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Enterprise And Organizational Modeling And Simulation 6th International Workshop Eomas 2010 Held At Caise 2010 Hammamet Tunisia June 78 2010 Selected Papers. Springer, 2010.

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Barjis, Joseph, Tillal Eldabi, and Ashish Gupta. Enterprise and Organizational Modeling and Simulation: 7th International Workshop, EOMAS 2011, held at CAiSE 2011, London, UK, June 20-21, 2011, Selected Papers. Springer, 2011.

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Babkin, Eduard, Robert Pergl, Martin Molhanec, and Samuel Fosso Wamba. Enterprise and Organizational Modeling and Simulation: 12th International Workshop, EOMAS 2016, Held at CAiSE 2016, Ljubljana, Slovenia, June 13, ... Notes in Business Information Processing). Springer, 2016.

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Book chapters on the topic "Eoman"

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Roos, Hilde. "Scala Is Scala and Eoan Is Eoan: The Struggle to Breathe." In La Traviata Affair, 98–139. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520299887.003.0005.

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Chapter 4 covers the latter half of the 1960s, a time during which the group consolidated its reputation as an opera company, not only in Cape Town, but also elsewhere in South Africa. The chapter illustrates how operatic activities were pursued with immense energy and dedication as members sacrificed time, family relations, and job opportunities to be able to participate in opera production. During this time, they remained hopeful that acknowledgment as professional artists on a par with their white counterparts would be forthcoming. This period, however, also saw the tightening grip of apartheid starting to take its toll as the system relentlessly continued to foil the group’s aspirations.
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"4. Scala Is Scala and Eoan Is Eoan: The Struggle to Breathe." In The La Traviata Affair, 98–139. University of California Press, 2019. http://dx.doi.org/10.1525/9780520971516-008.

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"Appendix 2: The Eoan Group Constitution." In The La Traviata Affair, 211–18. University of California Press, 2019. http://dx.doi.org/10.1525/9780520971516-012.

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Roos, Hilde. "Postscript." In La Traviata Affair, 182–86. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520299887.003.0007.

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Roos, Hilde. "Eoan’s Best Opera Success: An Amorous Fantasy." In La Traviata Affair, 58–97. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520299887.003.0004.

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Chapter 3 deals with the group’s opera productions between 1957 and 1963, which, in hindsight, proved to be artistically their best years. At the time, the idea of a colored opera group that produced Verdi operas continued to mesmerize Cape Town’s white audiences and situated the group in the center of Cape Town’s Western art and music activities. Eoan was, indeed, the first non-European group in South Africa to formally and consistently produce opera on a semiprofessional level. A sense of excitement and wonder is palpable throughout this period, not only in documentation on the reception of the group, but also in the many artifacts in the Eoan Group Archive that document the internal operations of the group.
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Cooney, Gabriel. "Icons of Antiquity: Remaking Megalithic Monuments in Ireland." In The Lives of Prehistoric Monuments in Iron Age, Roman, and Medieval Europe. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780198724605.003.0011.

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Megalithic tombs dating to the Neolithic and Early Bronze Age (4000–2000 cal. BC) are a very distinctive aspect of the Irish landscape (Jones 2007; Scarre 2007). They are an important monumental aspect of this period and since the 1990s our understanding of this period has been complemented by an extensive record of settlement and related activity that has been revealed through development-led archaeology (e.g. Smyth 2011). A focus of antiquarian and archaeological interest since at least the nineteenth century, the basis of modern approaches to megalithic tombs includes the systematic Megalithic Survey of Ireland that was initiated by Ruaidhrí de Valera in the 1950s, under the auspices of the Ordnance Survey of Ireland (Ó Nualláin 1989; Cody 2002 are the latest volumes published) and the excavation of key sites, for example the passage tombs of Newgrange (O’Kelly 1982; O’Kelly et al. 1983) and Knowth (Eogan 1984; 1986; Eogan and Roche 1997; Eogan and Cleary forthcoming) in the Boyne Valley and Carrowmore in Co. Sligo (Burenhult 1980; 1984; 2001). Current work includes the excavation of individual sites, work on the sources used in tomb construction, reviews of particular megalithic tomb types, landscape and regional studies, archaeoastronomy and overviews for a wide readership. The known number of megalithic tombs on the island now approaches 1,600 and the majority of these can be categorized as falling into one of four tomb types whose names encapsulate key architectural features of each tradition, hence the terms portal tombs, court tombs, passage tombs and wedge tombs (Evans 1966, 7–15; Valera and Ó Nualláin 1972, xiii). Unsurprisingly, much of the focus of archaeological research has been on the role of these monuments for the people and societies who constructed them. Issues such as the date of construction of different tomb types (Cooney et al. 2011) and the relationship between them have been central to key debates about the Neolithic, informing such major topics as the date and character of the Mesolithic to Neolithic transition, the changing character of society over the course of the Neolithic, mortuary rites and traditions, and the links between Ireland, Britain, and north-west Europe at this time (Cooney 2000; Bradley 2007; Waddell 2010).
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Roos, Hilde. "We Live to Serve: A Demimonde before Art." In La Traviata Affair, 18–44. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520299887.003.0002.

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Chapter 1 deals with the twenty-five years that preceded Eoan’s first performance of Verdi’s La Traviata, in 1956, a period during which the group consolidated its existence as a cultural and welfare organization in District Six and other colored residential areas in the Cape Peninsula. This period saw the drafting of the group’s constitution, which set the tone for how management, operational policy, and the group’s stance on politics were to influence opera production and human resources within the group in later years. Special attention is given to the trajectory along which the Eoan Group choir developed into an amateur opera company.
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Roos, Hilde. "Introduction." In La Traviata Affair, 1–17. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520299887.003.0001.

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The introduction opens with the watershed moment in Eoan’s history, when Verdi’s La Traviata is performed for the first time by an all-colored cast, in 1956. Despite being described as “an unqualified artistic success,” this event laid bare the controversy that surrounded their engagement with Western art music and one that led to the demise of their opera productions twenty years later. The event presents the full spectrum of perspectives on Eoan, which included the many conflicted meanings that opera held for participants and audiences. The notion of “colored identity” as a uniquely South African experience that is different from how American readers understand the concept is discussed.
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Gordillo, Gayle M., Mustafa Atalay, Sashwati Roy, and Chandan K. Sen. "[36] Hemangioma model for in vivo angiogenesis: Inducible oxidative stress and MCP-1 expression in EOMA Cells." In Methods in Enzymology, 422–32. Elsevier, 2002. http://dx.doi.org/10.1016/s0076-6879(02)52038-3.

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Chan, Yi-Tsu, Hong-Ping Lin, Chung-Yuan Mou, and Shiuh-Tzung Liu. "Synthesis of mesoporous silicas with different pore-size by using EOmMAn diblock copolymers of tunable block length as the templates." In Nanotechnology in Mesostructured Materials, Proceedings of the 3rd International Materials Symposium, 113–16. Elsevier, 2003. http://dx.doi.org/10.1016/s0167-2991(03)80340-3.

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