Academic literature on the topic 'Marafa'

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Journal articles on the topic "Marafa"

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Freire, Manoel, and Maria Clediane De Oliveira. "Trabalho e malandragem em Marafa, de Marques Rebelo." Anuário de Literatura 21, no. 2 (December 6, 2016): 193. http://dx.doi.org/10.5007/2175-7917.2016v21n2p193.

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http://dx.doi.org/10.5007/2175-7917.2016v21n2p193Em Marafa, Marques Rebelo constrói a dinâmica da sociedade carioca trazendo à cena uma grande galeria de personagens que compõem dois universos distintos que não se comunicam e não interagem um com outro: o da ordem ou do trabalho, o qual pertencem os indivíduos que seguem os padrões sociais burgueses, procurando viver de forma digna e honesta; e o da desordem ou malandragem, em que estão inseridos aqueles que vivem trapaça, do ócio, da prostituição e de tudo que está relacionado a uma vida desregrada. Nesse contexto, prevalece a ética daqueles que se sobressaem através da malandragem e da ociosidade, pois em uma sociedade competitiva em que o ativismo é uma característica fundamental, geralmente vence quem não se importa com os meios para conseguir realizar seus objetivos, ao passo que aqueles que permanecem resignados acabam pagando o preço da não-realização.
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Souza, Rafael. "Inacabamento e Cotidiano: um ensaio sobre o contista Marques Rebelo." O Eixo e a Roda: Revista de Literatura Brasileira 25, no. 2 (December 29, 2016): 87–103. http://dx.doi.org/10.17851/2358-9787.25.2.87-103.

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Ao longo de sua trajetória como escritor, Marques Rebelo circulou pelos mais variados gêneros literários. A despeito disso, é notável sua inclinação para o conto, com o qual marcou sua estreia no mundo das letras com o volume intitulado Oscarina (1931), seguido por Três caminhos (1933) e Stela me abriu a porta (1942). Mas, mais do que isso: pelo ritmo ágil de suas narrativas e por seus desfechos abertos, é possível identificar o contista Marques Rebelo mesmo em seus romances, especialmente Marafa (1935) e A estrela sobe (1939). Nesse sentido, o presente artigo tem como objetivo analisar a obra rebeliana produzida nesse período levando em consideração, por um lado, certo inacabamento da forma e, por outro, a dimensão da vida cotidiana em suas tramas. Nossa hipótese é a de que, em Rebelo, esses elementos não apenas se correlacionam como concorrem para uma literatura que lhe possibilita: a) escapar ao cânone ensaístico e sociológico – sem necessariamente confrontá-lo; b) criar para si mesmo uma espécie de entrelugar na história da literatura; c) puir qualquer linha hierárquica entre grandes e pequenos dramas humanos no devir histórico.
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Lister, Ida M., Joan Mecsas, and Stuart B. Levy. "Effect of MarA-Like Proteins on Antibiotic Resistance and Virulence in Yersinia pestis." Infection and Immunity 78, no. 1 (October 19, 2009): 364–71. http://dx.doi.org/10.1128/iai.00904-09.

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ABSTRACT MarA, an AraC/XylS transcriptional regulator in Escherichia coli, affects drug susceptibility and virulence. Two MarA-like proteins have been found in Yersinia pestis: MarA47 and MarA48. Deletion or overexpression of these proteins in the attenuated KIM 1001 Δpgm strain led to a change in multidrug susceptibility (including susceptibility to clinically relevant drugs). Additionally, lung colonization by the marA47 or marA48 deletion mutant was decreased about 10-fold in a pneumonic plague mouse model. Complementation of the deletions by replacing the deleted genes on the chromosome restored wild-type characteristics. These findings show that two MarA homologs in Y. pestis affect antibiotic susceptibility and virulence.
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Chang, Victoria. "Marfa, Texas, and Marfa, Texas, and Marfa, Texas." New England Review 41, no. 3 (2020): 40–42. http://dx.doi.org/10.1353/ner.2020.0078.

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Ktob, Ahmed, and Zhoujun Li. "Marefa." International Journal on Semantic Web and Information Systems 14, no. 3 (July 2018): 167–83. http://dx.doi.org/10.4018/ijswis.2018070108.

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This article describes how recently, many new technologies have been introduced to the web; linked data is probably the most important. Individuals and organizations started emerging and publishing their data on the web adhering to a set of best practices. This data is published mostly in English; hence, only English agents can consume it. Meanwhile, although the number of Arabic users on the web is immense, few Arabic datasets are published. Publication catalogs are one of the primary sources of Arabic data that is not being exploited. Arabic catalogs provide a significant amount of meaningful data and metadata that are commonly stored in excel sheets. In this article, an effort has been made to help publishers easily and efficiently share their catalogs' data as linked data. Marefa is the first tool implemented that automatically extracts RDF triples from Arabic catalogs, aligns them to the BIBO ontology and links them with the Arabic chapter of DBpedia. An evaluation of the framework was conducted, and some statistical measures were generated during the different phases of the extraction process.
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Parsada, Janihari. "Ondeh Marawa." Joged 10, no. 2 (October 25, 2017): 591–602. http://dx.doi.org/10.24821/joged.v10i2.1891.

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“Ondeh Marawa” merupakan judul karya tari ini. Ondeh berarti aduh, sedangkan Marawa merupakan nama bendera kebesaran Minangkabau yang dipinjam sebagai judul karya. Jadi, “Ondeh Marawa” berarti aduh Marawa. Kata aduh di sini memiliki banyak pengertian di antaranya: ungkapan rasa kagum terhadap sosok Marawa, bentuk kekesalan terhadap diri sendiri atas keterlambatan menyadari keberadaan Marawa, dan penekanan terhadap kata Marawa yang masih menjadi inspirasi karya hingga saat ini. Karya “Ondeh Marawa” menyampaikan beberapa hal yaitu bentuk visual dan gejolak hati yang dialami terhadap sosok bendera Marawa. Visualisasi bendera Marawa dipresentasikan melalui gerak tubuh dan busana penari. “Ondeh Marawa” juga merupakan bentuk ungkapan rasa terima kasih terhadap ibu pertiwi dan kedua orang tua yang telah melahirkan penata di tanah Minangkabau.Gerak dasar dalam karya tari ini banyak terinspirasi oleh visual bendera saat tertiup angin. Kualitas gerak lembut sebagai penggambaran bendera saat tertiup hembusan angin yang lembut, dan kualitas gerak cepat atau enerjik saat tertiup angin kencang. Motif meliuk, vibrasi serta stakato yang dipadukan dengan beberapa gerak dasar Minangkabau menghasilkan beragam motif gerak baru yang memperkaya garapan ini. Selain itu, gejolak hati atau konflik batin yang dialami penata melengkapi dramatisasi yang dibangun dari awal hingga akhir tarian.Karya tari “Ondeh Marawa” disajikan dalam garap koreografi kelompok besar, 14 penari dan 2 aktor, dengan format live music. Warna busana penari dibuat dalam tiga kelompok yaitu merah, kuning dan hitam sesuai dengan warna asli bendera Marawa. Komposisi tari menjadi semakin menarik karena adanya kompoisisi warna busana para penari. “Ondeh Marawa” is the title of this dance. Ondeh means ‘aduh’ (Indonesian) which refers to a hyper expression to be said on something with both good and bad values, and Marawa is the name of Minangkabau’s official flag which is used to be the choreograph’s title. So, Ondeh Marawa refers to the expression like, “My, oh my, Marawa!”. The word ‘aduh’ (My, oh My!) can be meant to be admiration of Marawa, and it as well can be kind of self-regretful expression for being late to notice the existence of Marawa (when its important role starts to fade away in the era of modernization), and praise to the Marawa itself for inspiring many artworks until today. Ondeh Marawa dance work is the visual form and emotion of one’s inner-conflict upon Marawa. Marawa’s visualization is represented by the dancers’ bodies and dance costume. Ondeh Marawa is also appreciations to the motherland and choreographer’s parents who have given birth to and raised him up on the land of Minangkabau.The essential movements of this dance work are mostly inspired by the visualization of the flag when it is blown by the wind. The smooth quality movement is representing the flag when it is blown by soft wind, while the energetic and high-speed quality movement is blown by gale. The movement pattern of curving, vibrating and staccato which are combined with some essential movements of Minangkabau traditional dance, create brand-new movement motives enriching this choreograph. Put aside of that, the inner-conflict which is gone through by the choreographer gives such dramatical nuance from the beginning until the end of the dance.The Ondeh Marawa dance work is presented in big-group composition of choreography by 12 male dancers with live-music concept. The dance costumes are made into 3 groups of colour: red, yellow, and black based on the original colour of Marawa (flag). The dance composition becomes more attractive because of the different colours of the dance costume.
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Parsada, Janihari. "Ondeh Marawa." Joged 8, no. 2 (October 25, 2017): 591–602. http://dx.doi.org/10.24821/joged.v8i2.1891.

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“Ondeh Marawa” merupakan judul karya tari ini. Ondeh berarti aduh, sedangkan Marawa merupakan nama bendera kebesaran Minangkabau yang dipinjam sebagai judul karya. Jadi, “Ondeh Marawa” berarti aduh Marawa. Kata aduh di sini memiliki banyak pengertian di antaranya: ungkapan rasa kagum terhadap sosok Marawa, bentuk kekesalan terhadap diri sendiri atas keterlambatan menyadari keberadaan Marawa, dan penekanan terhadap kata Marawa yang masih menjadi inspirasi karya hingga saat ini. Karya “Ondeh Marawa” menyampaikan beberapa hal yaitu bentuk visual dan gejolak hati yang dialami terhadap sosok bendera Marawa. Visualisasi bendera Marawa dipresentasikan melalui gerak tubuh dan busana penari. “Ondeh Marawa” juga merupakan bentuk ungkapan rasa terima kasih terhadap ibu pertiwi dan kedua orang tua yang telah melahirkan penata di tanah Minangkabau.Gerak dasar dalam karya tari ini banyak terinspirasi oleh visual bendera saat tertiup angin. Kualitas gerak lembut sebagai penggambaran bendera saat tertiup hembusan angin yang lembut, dan kualitas gerak cepat atau enerjik saat tertiup angin kencang. Motif meliuk, vibrasi serta stakato yang dipadukan dengan beberapa gerak dasar Minangkabau menghasilkan beragam motif gerak baru yang memperkaya garapan ini. Selain itu, gejolak hati atau konflik batin yang dialami penata melengkapi dramatisasi yang dibangun dari awal hingga akhir tarian.Karya tari “Ondeh Marawa” disajikan dalam garap koreografi kelompok besar, 14 penari dan 2 aktor, dengan format live music. Warna busana penari dibuat dalam tiga kelompok yaitu merah, kuning dan hitam sesuai dengan warna asli bendera Marawa. Komposisi tari menjadi semakin menarik karena adanya kompoisisi warna busana para penari. “Ondeh Marawa” is the title of this dance. Ondeh means ‘aduh’ (Indonesian) which refers to a hyper expression to be said on something with both good and bad values, and Marawa is the name of Minangkabau’s official flag which is used to be the choreograph’s title. So, Ondeh Marawa refers to the expression like, “My, oh my, Marawa!”. The word ‘aduh’ (My, oh My!) can be meant to be admiration of Marawa, and it as well can be kind of self-regretful expression for being late to notice the existence of Marawa (when its important role starts to fade away in the era of modernization), and praise to the Marawa itself for inspiring many artworks until today. Ondeh Marawa dance work is the visual form and emotion of one’s inner-conflict upon Marawa. Marawa’s visualization is represented by the dancers’ bodies and dance costume. Ondeh Marawa is also appreciations to the motherland and choreographer’s parents who have given birth to and raised him up on the land of Minangkabau.The essential movements of this dance work are mostly inspired by the visualization of the flag when it is blown by the wind. The smooth quality movement is representing the flag when it is blown by soft wind, while the energetic and high-speed quality movement is blown by gale. The movement pattern of curving, vibrating and staccato which are combined with some essential movements of Minangkabau traditional dance, create brand-new movement motives enriching this choreograph. Put aside of that, the inner-conflict which is gone through by the choreographer gives such dramatical nuance from the beginning until the end of the dance.The Ondeh Marawa dance work is presented in big-group composition of choreography by 12 male dancers with live-music concept. The dance costumes are made into 3 groups of colour: red, yellow, and black based on the original colour of Marawa (flag). The dance composition becomes more attractive because of the different colours of the dance costume.
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Jim, Alice Ming Wai. "The Maraya Project." Third Text 28, no. 1 (January 2, 2014): 15–31. http://dx.doi.org/10.1080/09528822.2014.869984.

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Colchúin, Dónall Ó. "Marach an marach." Comhar 51, no. 2 (1992): 29. http://dx.doi.org/10.2307/25571710.

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Kazez, Jean. "Welcome to Marfa." Philosophers' Magazine, no. 61 (2013): 111–12. http://dx.doi.org/10.5840/tpm20136166.

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Dissertations / Theses on the topic "Marafa"

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Scaramella, Renata Ribeiro. "Marques Rebelo: um modernista carioca e esquecido." Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=460.

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O presente estudo propõe a investigação da inscrição de Marques Rebelo na tradição da narrativa urbana carioca e a verificação de sua inserção nas linhas gerais do movimento modernista da década de 30. A fim de situar o referido movimento, procedeu-se à contextualização histórica da década de 30 no mundo, no Brasil e no Rio de Janeiro. O tão declarado resgate da tradição literária no romance de 30 foi estudado a partir do diálogo que o autor estabelece com Manuel Antônio de Almeida, João do Rio e Lima Barreto. Marques Rebelo teve seus romances estudados, ainda, em cotejo com o romance Salgueiro, de seu contemporâneo Lúcio Cardoso. Priorizando os romances Marafa e A estrela sobe, de Marques Rebelo, a pesquisa teve, entre outros objetivos, o de verificar a presença, na obra do autor, tanto das tendências mais significativas do romance de 30, quanto dos traços que deram forma à tradição da narrativa urbana carioca
This study proposes the investigation on how Marques Rebelo is inscribed in the carioca urban narrative, and the survey on how he is related to the general lines of the Modernist movement of the 1930s. The historical frame of reference of the 1930s in the world, in Brazil and in Rio de Janeiro was carried out In order to situate the said movement. The often mentioned rescue of the literary tradition in the novel of the 30s was studied in the dialogue that the author develops with Manuel Antônio de Almeida, João do Rio and Lima Barreto. Marques Rebelos novels were also studied through their comparison with the novel Salgueiro, written by the contemporary author Lúcio Cardoso. By prioritizing the novels Marafa and A estrela sobe, by Marques Rebelo, this research work was directed to several objectives, among which was the examination of the presence of the most meaningful trends of the novel of the 30s in the authors production, and the search of the traits that shaped the tradition of the carioca urban narrative.
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Hart, G. L., J. M. Nelson, and Glen Barney. "Marana Pima Test." College of Agriculture, University of Arizona (Tucson, AZ), 1999. http://hdl.handle.net/10150/197042.

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Seventeen pima cotton varieties were grown at the Marana Agricultural Center as part of the national cotton variety testing program. Lint yield, boll size, lint percent and fiber properites are presented in this report.
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Hart, G. L., J. M. Nelson, and Glen Barney. "Marana Upland Test." College of Agriculture, University of Arizona (Tucson, AZ), 1998. http://hdl.handle.net/10150/210343.

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Hart, G. L., J. M. Nelson, and Glen Barney. "Marana Pima Test, 1997." College of Agriculture, University of Arizona (Tucson, AZ), 1998. http://hdl.handle.net/10150/210351.

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Nine pima cotton varieties were grown at Marana Agricultural Center as part of the national cotton variety testing program. Lint yield, boll size, lint percent, and plant population are presented in this report.
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Thacker, G., R. Norton, and J. Silvertooth. "Pima Variety Test, Marana, 1995." College of Agriculture, University of Arizona (Tucson, AZ), 1996. http://hdl.handle.net/10150/210859.

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Mahlaka, M. M. "Marara : Patlisiso ya diteng le Poloto." Diss., University of Pretoria, 2005. http://hdl.handle.net/2263/26378.

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This dissertation analyses the novelette Marara, written by D.P. Semakaleng Monyaise. This work has been previously investigated by critics such as Mogajane, Malope and Mogapi, who focused on its content and style and compared it to other literary works. This dissertation differs from these earlier studies in that it aims to analyse the structure of the text of Marara in depth, focussing on the two levels of structure, namely content and plot. This investigation uses two methods of analysis, namely definition and interpretation, because these approaches will adequately explore the many concepts and ideas related to the analysis of text structure. These methods are applied within the framework of an adapted narratological model. This model suggests that when the content of a text is studied, the concept of the topic should be strongly emphasised; when the plot is investigated the theme should be focussed on; and lastly when the style is examined, then atmosphere is most important. In examining the text of Marara three important concepts related to the novelette are identified, which describe three sub-genres of narratives, namely picaresque, didactic and moral. Picaresque means concerned with a character called picaro, who often embarks on long journeys consisting of sequences of different events and meetings with various characters. This picaro is an ordinary person, not of high social status. His/her weaknesses belittle him/her but he/she is changed by them and so is forgiven. In Marara the protagonist, Rremogolo, is on a journey from his home in Matile, where there is righteousness, to Makgoeng, a place of wickedness. After encountering many problems on the way he realises that he was mistaken to leave his home. He returns to Matile, convinced that it is the best place for him to live. This mistaken journey of temptation can be described as the Makgoeng Motif. Didactic means related to a work designed for institutions of education. Such a work can use as an example the story of a character, either an ordinary person or a person of high social status, who falls because of his/her weaknesses, but then changes and is forgiven. Rremogolo also fits into the didactic frame. Though he is a poor man of low social station, he successfully illustrates the point of the Makgoeng Motif through his fall, which is his failure to achieve financial success in Makgoeng. The moral means concerned with the power of distinguishing right from wrong. The emphasis of moral texts is on good behaviour, on people working and living together co-operatively. This concept can also be related to the plot structure described above, of a person either of high or ordinary social status, who through his/her weaknesses falls, but then changes and is forgiven. When the morality of this story is examined, emphasis is put on the changing of the character, on how the character first does bad things but in the passing of time, and because of the problems he/she encounters, in the end learns his/her mistake, and changes to become a good person. Rremogolo illustrates this exactly, because he begins by abandoning his uncle’s cattle in order to pursue his dream of travelling to Makgoeng, then suffers the results of many problems, realises his mistake, and in the end returns to home and duty. Therefore, careful examination of the text of Marara reveals that in writing this novelette Monyaise mixes three sub-generic categories, namely the picaresque, the didactic and the moral narrative. This makes the novelette difficult to classify, because it is difficult for readers to keep track of generic characteristics in this mix of genres.
Dissertation (MA (African Languages))--University of Pretoria, 2007.
African Languages
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Briggs, R. E., D. L. Kittock, and C. A. Ledbetter. "Cotton Harvest Aid Chemical Test, Marana, 1984." College of Agriculture, University of Arizona (Tucson, AZ), 1985. http://hdl.handle.net/10150/204038.

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Thacker, Gary W. "Narrow Row Cotton Evaluation, Marana Agricultural Center." College of Agriculture, University of Arizona (Tucson, AZ), 1987. http://hdl.handle.net/10150/204459.

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In a preliminary, unreplicated test, cotton was planted in 40 inch and 27 inch rows on April 10 and again on May 1. Narrow rows outyielded 40 inch rows at both planting dates. The yield difference between the row spacing treatments was greatest in the May 1 planting. Both row spacings had higher yields when planted on the later date, as did both the DPL 90 and ST506 varieties used in the test.
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Deport, Coralie. "Etude structurale des substances humiques en zones humides : Marais Poitevin, Marais de Rochefort, Marais de Gironde." Poitiers, 2002. http://www.theses.fr/2002POIT2305.

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Thacker, Gary W., Thomas A. Doerge, and Norman P. Oebker. "Effect of Gypsum on Lettuce in Marana, 1988." College of Agriculture, University of Arizona (Tucson, AZ), 1989. http://hdl.handle.net/10150/214261.

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Gypsum was applied preplant on spring lettuce at rates of zero, 2 tons per acre, and 4 tons per acre. There were no significant differences in carton yields or in carton weights. Postharvest soil analyses showed that the application of four tons of gypsum per acre significantly increased the calcium and magnesium levels in the saturated paste solution. There were no significant effects of gypsum application on ESP and SAR values, nor in pH or sodium concentrations.
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Books on the topic "Marafa"

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Malik, Abdul. Marama marama lāge. 3rd ed. Guwāhāṭī, Asama: Shṭuḍeṇṭac Shṭa'rac, 1986.

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Marasa. New York: Rivarticollection, 2004.

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Marala. Bogotá, D.C., Colombia: Taller de Edición Rocca, 2011.

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Romero, Alfonso Suárez. Maraca. Monterrey, Nuevo León, México: Ediciones Castillo, 2000.

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Knox-Mawer, June. Marama. Bath: Firecrest, 1986.

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Laroche, Maximilien. Prinsip marasa. Sillery, Québec, Canada: GRELCA, 2004.

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Maraña: Cuentos. Rosario: Baltasara, 2014.

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Khānolakara, Cintāmaṇi Tryambaka. Āpulẽ maraṇa. Mumbaī: Mauja Prakāśana Gr̥ha, 1990.

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Parantāman̲, Aleks. Maraṇa valikaḷ. Alvāy: Jīvanati Veḷiyīṭu, 2014.

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Svilena marama. Tomislavgrad: Naša ognjišta, 2009.

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Book chapters on the topic "Marafa"

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Pinto, Rolando Morel. "Rebêlo, Marques: Marafa." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17469-1.

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Hudson, Stephen M., David S. Wales, and Tony Ward. "Kia Marama." In Sourcebook of Treatment Programs for Sexual Offenders, 17–28. Boston, MA: Springer US, 1998. http://dx.doi.org/10.1007/978-1-4899-1916-8_2.

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Smith, Nigel. "Bactris maraja." In Geobotany Studies, 199–202. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-05509-1_27.

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Anālayo, Bhikkhu. "Jarā-maraṇa." In Encyclopedia of Scientific Dating Methods, 585–87. Dordrecht: Springer Netherlands, 2017. http://dx.doi.org/10.1007/978-94-024-0852-2_85.

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Sellers-Young, Barbara, Rosina McCutcheon, and Janinka Greenwood. "Maranga Mai." In Narrative in Performance, 37–52. London: Macmillan Education UK, 2019. http://dx.doi.org/10.1057/978-1-352-00417-5_3.

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Wiedenstried, Holger E. "Marais, Eugène." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_12772-1.

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Maul, Michael. "Marin Marais." In Barockmusikführer, 283–86. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-99520-9_69.

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Lim, T. K. "Maranta arundinacea." In Edible Medicinal and Non-Medicinal Plants, 47–54. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-26062-4_4.

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Reddy, P. Parvatha. "Arrowroot, Maranta arundinacea." In Plant Protection in Tropical Root and Tuber Crops, 319–22. New Delhi: Springer India, 2015. http://dx.doi.org/10.1007/978-81-322-2389-4_13.

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Chuvin, Pierre. "Retour aux marais." In "Parcourir l'éternité". Hommages à Jean Yoyotte, 313–21. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.behe-eb.4.00427.

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Conference papers on the topic "Marafa"

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Grundy, John, John Hosking, Jun Huh, and Karen Na-Liu Li. "Marama." In the 13th international conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1368088.1368210.

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De los Reyes Guzmán, Ana, Elisa López-Dolado, Enrique Pérez-Rizo, Vicente Lozano-Berrio, Angel Gil-Agudo, and Antonio Del Ama Espinosa. "Análisis biomecánico para confirmar el diagnóstico en neurorrehabilitación." In 11 Simposio CEA de Bioingeniería. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/ceabioing.2019.10045.

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Introducción: En los últimos años, el aumento de la esperanza de vida ha traído como consecuencia un incremento en el número de traumatismos del sistema nervioso central (SNC) en la población de más edad. A su vez, las secuelas neurológicas aumentan el riesgo de caídas y, por lo tanto, el riesgo de sufrir nuevos eventos traumáticos. En los pacientes con lesión medular cervical (LMC) se ve comprometida en mayor o menor medida la fuerza de las extremidades superiores, lo que se traduce en dependencia para las AVDs y pérdida de autonomía personal. Si la lesión es incompleta, puede preservarse la capacidad de marcha. Cuando hay secuelas sensitivomotoras previas, éstas ocultan los síntomas y signos de localización de la lesión medular y resulta difícil realizar un diagnóstico clínico correcto. En este contexto, los equipos de análisis del movimiento constituyen una herramienta de gran valor para objetivar la marcha humana y la ejecución de movimientos correspondientes a actividades funcionales de los miembros superiores. El objetivo de este trabajo es presentar la metodología biomecánica de miembros superiores e inferiores aplicada a un caso de estudio. Métodos: Se trata de un paciente varón de 61 años que padeció una lesión medular cervical incompleta de etiología traumática. Previamente, presentaba hemiparesia derecha leve consecuencia de un TCE. Ambas pruebas biomecánicas se realizaron en el período subagudo aunque no simultáneamente. Se realizaron instrumentando al paciente con el equipo de fotogrametría Codamotion basado en marcadores activos. Para el estudio de la marcha se utilizaron 22 marcadores para analizar los recorridos articulares de la cadera, rodilla y tobillo durante los ciclos de la marcha. En los estudios del miembro superior se instrumenta el tronco y brazo cuyo movimiento se analiza con 21 marcadores para cuantificar el movimiento del hombro, codo y muñeca y computar una serie de índices cinemáticos descriptores del movimiento. Resultados: Tras el análisis se obtuvo un patrón de marcha muy simétrico en ambos miembros inferiores. Sin embargo, la funcionalidad global y los índices de destreza en ambos miembros superiores presentaron una marcada asimetría entre ellos. Conclusiones: Las herramientas biomecánicas evidencian aspectos del control motor no fácilmente visibles con los tests clínicos y que perfeccionan el diagnóstico de los casos complejos.
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E. PEKTAŞ, Güzide Öncü, Gülsüm KORALTÜRK, and Güler ALKAN. "Marina İşletmeciliğinde İlişkisel Pazarlama İle Marina Sakini Kavramı: Ataköy Marina Örneği." In II.Ulusal Liman Kongresi. Denizcilik Fakültesi: Dokuz Eylül Üniversitesi, 2015. http://dx.doi.org/10.18872/deu.b.ulk.2015.0031.

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De Temmerman, N., K. Roovers, L. Alegria Mira, A. Vergauwen, A. Koumar, S. Brancart, L. De Laet, and M. Mollaert. "Lightweight transformable structures: materialising the synergy between architectural and structural engineering." In MARAS 2014. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/mar140011.

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Quagli, C. P., Z. C. Ballard, and A. P. Thrall. "Parametric modelling of an air-liftable origami-inspired deployable shelter with a novel erection strategy." In MARAS 2014. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/mar140021.

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De Berardinis, P., and S. De Gregorio. "The genius loci in the globalization millennium: temporary dwelling." In MARAS 2014. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/mar140031.

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De Berardinis, P., and S. De Gregorio. "Temporary systems after the earthquake in L’Aquila." In MARAS 2014. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/mar140041.

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Phocas, M. C., O. Kontovourkis, and K. Alexandrou. "The structural design and construction of a cable bending-active structure." In MARAS 2014. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/mar140051.

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Koumar, A., T. Tysmans, and N. De Temmerman. "Component reuse for disaster sheltering: from deployable scissor structures to kit-of-parts structures." In MARAS 2014. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/mar140061.

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Obyn, S., G. van Moeseke, and V. Virgo. "The thermal performance of shelter modelling: improvement of temporary structures." In MARAS 2014. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/mar140071.

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Reports on the topic "Marafa"

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Luciano, Bernadette. An Interview with Marina Spada. Purdue University Press, February 2013. http://dx.doi.org/10.5703/1288284315032.

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Camacho Rodríguez, Luz Dary, Luz Yanenth Echeverría Velasco, and María Angélica Barrera Sánchez. Marketing de contenidos: realidad o retos. Universidad Nacional Abierta y a Distancia, October 2020. http://dx.doi.org/10.22490/ecacen.4265.

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Partiendo del hecho que uno de los objetivos que pretende el marketing es el acercamiento a los clientes, así como la visibilidad de la marca en el mercado, para que se destaque o sea diferenciable con relación a la competencia, se apoya de un sinnúmero de herramientas para lograrlo. Una de ellas es el marketing de contenidos, que está inmersa dentro de las estrategias de inbound o de atracción, que pretende establecer una comunicación con el cliente a través de contenidos que logren su confianza y fidelización, además de contribuir en la construcción de la imagen de marca de cualquier negocio. En este sentido, el presente escrito pretende exponer el contexto sobre esta herramienta, su razón de ser, sus características y aplicabilidad, como una apuesta para conceptualizar información que proporcione la realidad o retos que conlleva su puesta en marcha, como una alternativa para el mercadeo y para la competitividad comercial de cualquier idea de negocio o intercambio comercial. Partiendo de la realidad como la percepción, ese algo que subyace y reto como los desafíos que el contexto comercial promueve.
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Bonnie, David John, and Brett Jason Hollander. Leveraging MarFS for Archive. Office of Scientific and Technical Information (OSTI), February 2018. http://dx.doi.org/10.2172/1422958.

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Ferraz, João Carlos, Julia Torracca, Ana Urraca Ruiz, Jorge Britto, and Henrique Schmidt. Argentina vs. Brasil: La travesía por la digitalización. Inter-American Development Bank, June 2021. http://dx.doi.org/10.18235/0003061.

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El presente estudio determina las etapas de evolución y el proceso de transformación productiva en términos de adopción de tecnologías digitales de las firmas en Argentina y en Brasil. Además destaca los esfuerzos en marcha en la actualidad, para prepararse de cara al futuro. La heterogeneidad digital es una marca en las industrias de los dos países y puede acentuarse en el futuro. La tendencia se vincula a los procesos de transformación de modelos de negocios, factores de éxito competitivo e, incluso, estructuras de mercado. La digitalización facilita un escenario con empresas más integradas, interconectadas e inteligentes. Con referencia a las habilidades, las empresas líderes en el proceso de digitalización proyectan que las nuevas tecnologías están asociadas con la necesidad de trabajadores con habilidades blandas y habilidades de interacción persona-máquina.
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Ferraz, João Carlos, Julia Torracca, Ana Urraca Ruiz, Jorge Britto, and Henrique Schmidt. Argentina vs. Brasil: La travesía por la digitalización. Inter-American Development Bank, June 2021. http://dx.doi.org/10.18235/0003311.

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El presente estudio determina las etapas de evolución y el proceso de transformación productiva en términos de adopción de tecnologías digitales de las firmas en Argentina y en Brasil. Además destaca los esfuerzos en marcha en la actualidad, para prepararse de cara al futuro. La heterogeneidad digital es una marca en las industrias de los dos países y puede acentuarse en el futuro. La tendencia se vincula a los procesos de transformación de modelos de negocios, factores de éxito competitivo e, incluso, estructuras de mercado. La digitalización facilita un escenario con empresas más integradas, interconectadas e inteligentes. Con referencia a las habilidades, las empresas líderes en el proceso de digitalización proyectan que las nuevas tecnologías están asociadas con la necesidad de trabajadores con habilidades blandas y habilidades de interacción persona-máquina.
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Moore, Lilly. Rainer Maria Rilkes Musik der Kräfte (Rainer Maria Rilke's Music of the Forces). Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2267.

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Kettering, Brett Michael, and Gary Alan Grider. MarFS-Requirements-Design-Configuration-Admin. Office of Scientific and Technical Information (OSTI), July 2015. http://dx.doi.org/10.2172/1193629.

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Khalil, Emad. Marsa Bagoush Research Project, Egypt. Honor Frost Foundation, 2020. http://dx.doi.org/10.33583/utm2020.04.

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Baring-Gould, I., R. Hunsberger, C. Visser, and P. Voss. Commonwealth of Northern Mariana Islands Initial Technical Assessment. Office of Scientific and Technical Information (OSTI), July 2011. http://dx.doi.org/10.2172/1018874.

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White, D. W. LLAMA (Lincoln Laboratory Advanced MARTHA Applications) Software Manual. Fort Belvoir, VA: Defense Technical Information Center, December 2003. http://dx.doi.org/10.21236/ada418941.

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