Journal articles: 'Wesker'

1

Stevens, Mary. "Wesker's the Wesker Trilogy." Explicator 43, no. 3 (April 1985): 45–48. http://dx.doi.org/10.1080/00144940.1985.9938625.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Ansari, Sara T., and Dawla S. Alamri. "Arnold Wesker’s The Merchant: Wesker Is My Name." International Journal of Literature Studies 2, no. 1 (April 20, 2022): 08–14. http://dx.doi.org/10.32996/ijts.2022.2.1.2.

Full text

Abstract:

This study seeks to examine how Arnold Wesker’s The Merchant (1976) appropriates the canonical Shakespeare’s The Merchant of Venice (1595). The study investigates Wesker’s reasons behind his adaptation of Shakespeare’s Shylock as a British working-class Jewish playwright. Employing multicultural perspectives, this study discusses how Wesker rewrote his Shylock, subverting and redeeming Shakespeare’s Shylock, and how Wesker’s version represents class, race, religion, and other cultural phenomena to resemble or differ from the original text’s representations. The paper is interested in exploring how Wesker reshapes the popular imagination, the ideological assumptions of the public, and how the cultural tradition of Shakespearean Shylock is viewed. Wesker’s personal struggle as a Jewish working-class playwright is one of the vital variables examined in this study. The study reveals how Wesker voices his own literary thought, ideological philosophies, and anger, redeeming himself of the discrimination and the feeling of being an outsider in the British Theatre establishment.

APA, Harvard, Vancouver, ISO, and other styles

3

Zimmermann, Heinz. "Wesker and Utopia in the Sixties." Modern Drama 29, no. 2 (June 1986): 185–206. http://dx.doi.org/10.3138/md.29.2.185.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Steedman, Carolyn. "Waiting: Arnold Wesker and The Nottingham Captain." Social History 45, no. 1 (January 2, 2020): 81–114. http://dx.doi.org/10.1080/03071022.2020.1694774.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Luk, Thomas. "Arnold Wesker’s Rewriting of Shylock in The Merchant (1976) with a Purpose." European Judaism 51, no. 2 (September 1, 2018): 186–95. http://dx.doi.org/10.3167/ej.2018.510225.

Full text

Abstract:

Abstract Rewriting Shakespeare has become a global genre. Arnold Wesker was one of the trailblazers of the genre with his The Merchant (1976). This article argues that Arnold Wesker’s The Merchant, with both its subversion and extension of Shakespeare’s play, in theme, plot and characterization, engages with Shakespeare’s The Merchant of Venice by means of a counter-discourse. Wesker rewrote Shylock by focusing on two episodes in Shakespeare’s play: Jessica’s conversion to Christianity and Shylock’s self-defence. Wesker’s rewriting disrupts the binary as well as Christian conceptions to bestow upon the Jew the ‘protean quality’ of representing just about any sort of ‘Other’ but themselves. Wesker’s Shylock has a rounded humanity and is a cultured, humorous and book-loving Renaissance man. Wesker puts Shakespeare’s work under scrutiny as a culturally constructed world where life can be repositioned, and margins moved to the centre to be in a new light.

APA, Harvard, Vancouver, ISO, and other styles

6

Luk, Thomas. "Arnold Wesker’s Rewriting of Shylock in The Merchant (1976) with a Purpose." European Judaism 51, no. 2 (September 1, 2018): 186–95. http://dx.doi.org/10.3167/ej.2017.510225.

Full text

Abstract:

Rewriting Shakespeare has become a global genre. Arnold Wesker was one of the trailblazers of the genre with his The Merchant (1976). This article argues that Arnold Wesker’s The Merchant, with both its subversion and extension of Shakespeare’s play, in theme, plot and characterization, engages with Shakespeare’s The Merchant of Venice by means of a counter-discourse. Wesker rewrote Shylock by focusing on two episodes in Shakespeare’s play: Jessica’s conversion to Christianity and Shylock’s self-defence. Wesker’s rewriting disrupts the binary as well as Christian conceptions to bestow upon the Jew the ‘protean quality’ of representing just about any sort of ‘Other’ but themselves. Wesker’s Shylock has a rounded humanity and is a cultured, humorous and book-loving Renaissance man. Wesker puts Shakespeare’s work under scrutiny as a culturally constructed world where life can be repositioned, and margins moved to the centre to be in a new light.

APA, Harvard, Vancouver, ISO, and other styles

7

Trussler, Simon. "Remembering Arnold Wesker: Loose Connections from Left Field." New Theatre Quarterly 32, no. 4 (October 14, 2016): 391–94. http://dx.doi.org/10.1017/s0266464x16000452.

Full text

Abstract:

Arnold Wesker, who died in April 2016, denied having been an ‘angry young man’ and, though the cliché clung, he declared, ‘But I am an angry old man.’ In this memoir, Simon Trussler, while reflecting on causes for the anger, does not attempt an analysis of the life and works, but recollects the times when their shared interests and intentions brought them into contact, and explores some of the reasons why the youthful climb to a peak of success was followed by a slow decline not in output or activity but in the critical response to a writer perceived as having gone out of fashion. NTQ's former co-editor, the late Clive Barker, was closely involved with Wesker in the early Centre Forty-Two project and its aim to open wider access to the arts, while Trussler helped to initiate Wesker's later involvement in the International Theatre Institute. Other ‘loose connections’ with Wesker's life and career here flesh out the facts and received opinions of the formal obituaries. Simon Trussler was one of the founding editors of the old Theatre Quarterly , as later of New Theatre Quarterly. He conducted two major interviews with Wesker in the original TQ, both later reprinted in book form, and with Glenda Leeming co-authored the first full-length study of Wesker's plays (Gollancz, 1981). Among many other publications, he is author of the award-winning Cambridge Illustrated History of British Theatre (1994).

APA, Harvard, Vancouver, ISO, and other styles

8

Brauner, David. "Representations of Shylock in Arnold Wesker’s The Merchant, Howard Jacobson’s Shylock Is My Name and Clive Sinclair’s Shylock Must Die." Humanities 10, no. 2 (March 25, 2021): 59. http://dx.doi.org/10.3390/h10020059.

Full text

Abstract:

Given the centrality of Shakespeare to the Western canon and, more specifically, to the idea of a national English literary tradition, and given that Shylock is one of his most (in)famous creations, it is hardly surprising that he has proved irresistible to a number of Anglo-Jewish authors. Attempts to rehabilitate Shylock and/or to reimagine his fate are not a recent phenomenon. In the post-war era, however, the task of revisiting Shakespeare’s play took on a new urgency, particularly for Jewish writers. In this essay I look at the ways in which three contemporary British Jewish authors—Arnold Wesker, Howard Jacobson and Clive Sinclair—have revisited The Merchant of Venice, focusing on the figure of Shylock as an exemplar of what Bryan Cheyette has described as “the protean instability of ‘the Jew’ as a signifier”. Wesker, Jacobson and Sinclair approach Shakespeare’s play and its most memorable character in very different ways but they share a sense that Shylock symbolically transgresses boundaries of time and space—history and geography—and is a mercurial, paradoxical figure: villain and (anti-)hero; victim and perpetrator; scapegoat and scourge. Wesker’s play is more didactic than the fiction of Jacobson and Sinclair but ultimately his Shylock eludes the historicist parameters that he attempts to impose on him, while the Shylocks of Shylock is My Name and Shylock Must Die transcend their literary-historical origins, becoming slippery, self-reflexive, protean figures who talk back to Shakespeare, while at the same time speaking to the concerns of contemporary culture.

APA, Harvard, Vancouver, ISO, and other styles

9

Wesker, Arnold. "The Nature of Theatre Dialogue." New Theatre Quarterly 2, no. 8 (November 1986): 364–68. http://dx.doi.org/10.1017/s0266464x00002372.

Full text

Abstract:

‘What makes one sentence into a line of poetry and another sentence dull and lifeless?’ This was one of the questions Arnold Wesker set out to answer from the point-of-view of the practising playwright rather than the critical theorist, when he delivered the following pape; to the biennial conference of the International Association of Theatre Critics in Rome in 1985. He examines the constituent elements of stage dialogue in supposdly ‘raistic’ drama and th rigorous if not always conscious process of artistic selection and shaping diotated, in his own practice, by the natur of the originating experence. He illustrates his argument with extracts from his own works. including his most recently staged play in London, Annie Wobbler – the first in a now-completed cycle of four plays for on woman of which Four Portraits, Yardsal, and Whatever Happened to Betty Lemon? are the other parts. A frequent contributor to the original series of Theatre Quarterly, Arnold Wesker's earliest works, the plays of the ‘Wesker Trilogy’ and The kitchen, were milestones in the creatior of the ‘now British drama’ of the late fifties, and he has continuec to write for the theatre in a wide range of styles – which have been known to disturb the ‘expectations of realism’ of some of the critics he was here addressing…

APA, Harvard, Vancouver, ISO, and other styles

10

Witte, Felicitas. "Anatomie vom Feinsten." physiopraxis 2, no. 09 (September 2004): 52–53. http://dx.doi.org/10.1055/s-0032-1307839.

Full text

Abstract:

Haben Sie sich eigentlich schon mal gefragt, wie Bücher entstehen? Seit August gibt es Prometheus: den Anatomie-Atlas von Thieme mit einem neuen Lernkonzept. physiopraxis wollte wissen, was daran anders ist. Grafiker Karl Wesker, Anatom Prof. Michael Schünke und Projektleiter Dr. Jürgen Lüthje erzählen, wie aus einer Bildersammlung ein Atlas entstand.

APA, Harvard, Vancouver, ISO, and other styles

11

Kehr, Pierre. "Anne M. Gilroy, Brian R. MacPherson, Lawrence M. Ross, Markus Voll, Karl Wesker: Atlas of anatomy." European Journal of Orthopaedic Surgery & Traumatology 20, no. 3 (August 30, 2009): 269. http://dx.doi.org/10.1007/s00590-009-0536-5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Barker, Clive. "A Brief History of Clive Barker." New Theatre Quarterly 23, no. 4 (November 2007): 295–303. http://dx.doi.org/10.1017/s0266464x07000218.

Full text

Abstract:

I was born in Middlesbrough in 1931, and it's been uphill all the way since then. To a certain extent my life has been a process of being sold a dream which has never been realized, along with many other people in my generation, from Henry Livings and Harold Pinter through Wesker and Arden to John McGrath. We were the wartime generation, the last generation to remember what life was like before the war and during it.

APA, Harvard, Vancouver, ISO, and other styles

13

Priydarshi, Ashok Kumar. "History and Development of the Problem Play in English Literature." Journal of Advanced Research in English and Education 06, no. 03 (December 8, 2021): 1–2. http://dx.doi.org/10.24321/2456.4370.202104.

Full text

Abstract:

The genre, ‘problem play’ originated in France in the late 19th century. Notable example are Ibsen’s ‘A Dolls’ House’ (1879), questioning the subordination of women in marriage, Shaw’s ‘Mrs Warren’s Profession’ (1902), examining attitudes towards prostitution; and Galsworthy’s ‘Justice’ (1910), exposing the cruelties of solitary confinement and the legal system. Some plays by later writers such as A. Wesker, J. McGrath, Caryl Churchill, H. Brenton and D. Hare also raise contemporary issues, often using a wider canvas than their predecessors.

APA, Harvard, Vancouver, ISO, and other styles

14

Priydarshi, Ashok Kumar. "History and Development of the Problem Play in English Literature." Journal of Advanced Research in English and Education 06, no. 03 (December 8, 2021): 1–2. http://dx.doi.org/10.24321/2456.4370.202104.

Full text

Abstract:

The genre, ‘problem play’ originated in France in the late 19th century. Notable example are Ibsen’s ‘A Dolls’ House’ (1879), questioning the subordination of women in marriage, Shaw’s ‘Mrs Warren’s Profession’ (1902), examining attitudes towards prostitution; and Galsworthy’s ‘Justice’ (1910), exposing the cruelties of solitary confinement and the legal system. Some plays by later writers such as A. Wesker, J. McGrath, Caryl Churchill, H. Brenton and D. Hare also raise contemporary issues, often using a wider canvas than their predecessors.

APA, Harvard, Vancouver, ISO, and other styles

15

Bogart, Bruce. "Atlas of Anatomyby Anne M. Gilroy, Brian R. MacPherson, and Lawrence M. Ross, illustrated by Markus Voll and Karl Wesker." Clinical Anatomy 21, no. 7 (October 2008): 738. http://dx.doi.org/10.1002/ca.20701.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

,, Ankita. "Beatie Bryant’s Quest for her Roots through Self Discovery and Expression: A study of Sir Arnold Wesker’s “Roots”." SMART MOVES JOURNAL IJELLH 8, no. 1 (January 10, 2020): 8. http://dx.doi.org/10.24113/ijellh.v8i1.10323.

Full text

Abstract:

The Wesker Trilogy is critically acclaimed as one of the most ambitious project by a young playwright under the age of thirty years. The trilogy in its broader aspect reflects the situation of the working class community after the Second World War was over. Roots is the central play of the famous trilogy which deals with the personal aspect of the humanitarian society. The story revolves around the protagonist of the play and gives an account of a fortnight in Beatie’s life. All her dreams shattering within a fortnight and her journey towards the path of self discovery become the central theme of the play. Beatie Bryant turns out to be the spoke person of the working class people and the play mainly focuses on the problems of working class in the 20th century. Beatie finally succeeds in librating herself from the fixed ideologies of society and finds a voice and thought of her own. She establishes her identity and her power of expression by asking questions and not by involving in some revolutionary acts.

APA, Harvard, Vancouver, ISO, and other styles

17

Rossi, Guglielmo, and Luigi Mansi. "THIEME Atlas of Anatomy – Internal Organs , 2nd Edition. Michael Schuenke, Erik Schulte, Udo Schumacher (Editors), Wayne A. Cass (Consulting Editor), Markus Voll, Karl Wesker (Illustrations)." European Journal of Nuclear Medicine and Molecular Imaging 44, no. 4 (January 13, 2017): 734. http://dx.doi.org/10.1007/s00259-017-3617-4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Bookstein, Fred L. "Atlas of Anatomy, Third Edition, Latin Nomenclature Edited by A.Gilroy and B.MacPherson. Illustrations by Markus Voll and Karl Wesker. New York, Stuttgart, Delhi, and Rio de Janeiro: Thieme Medical Publishers 2017." Journal of Anatomy 231, no. 6 (September 26, 2017): 1019–20. http://dx.doi.org/10.1111/joa.12684.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Shellard, Dominic. "Strategies of Political Theatre: Post-War British Playwrights. By Michael Patterson. Cambridge Studies in Modern Theatre. Cambridge: Cambridge University Press, 2003; pp. 232. $70 cloth." Theatre Survey 45, no. 2 (November 2004): 301–3. http://dx.doi.org/10.1017/s0040557404320260.

Full text

Abstract:

In this clear, concise, and accessible volume, Michael Patterson sets himself the task of examining “the work of nine talented and innovative British playwrights who shared a laudable but strange conviction: that by writing plays and having them performed they might help to change the way society is structured” (1). As if conscious of the inevitable charge that by focusing on Wesker, Arden, Griffiths, Barker, Brenton, McGrath, Hare, Bond, and Churchill he is perpetuating the damaging myth that political theatre in postwar Britain centers on these usual suspects, Patterson takes pains to define his terms. Political theatre for the purposes of his volume “implies the possibility of radical change on socialist lines: the removal of injustice and autocracy and their replacement by the fairer distribution of wealth and more democratic systems” (4). But as the Lord Chamberlain found in his increasingly desperate attempts in the 1960s to hold on to his power to censor British drama, the more you attempt to define, the more problematic the issues that arise. Theatre historians are now becoming increasingly aware of the power of “hidden theatre” in the evolution of postwar British theatre—that is, the large number of community-based and politically active groups that have been marginalized by a disproportionate focus on “representative” political playwrights and a few well-scrutinized collective organizations, such as 7:84, Monstrous Regiment, and Belt and Braces, who are all alluded to in this volume. In light of this fact, Patterson's interest in the phenomenon that saw a generation of playwrights flourish between the mid-fifties and the early eighties, who shared a desire to change society, now seems rather quaint. It is all the more to his credit, therefore, that he has produced a highly thought-provoking work.

APA, Harvard, Vancouver, ISO, and other styles

20

Keretli, Gülten Silindir. "The Transition from Domestic Sphere to International Sphere in Pinter’s Political Play: Ashes to Ashes." European Journal of Language and Literature 8, no. 1 (May 26, 2022): 33. http://dx.doi.org/10.26417/266nfo14.

Full text

Abstract:

Motivated by the absurd tradition in the 1950s, in the following years, Pinter transitioned comedy of menace to the memory plays. With the political drama booming in the 1960s although the playwrights of the period such as John Arden, Arnold Wesker, Edward Bond have written down overtly political plays, Pinter continued to write implicit plays unlike the writers of that time. By the time the political drama was on the decline, with the effect of globalization, Pinter wrote very overtly political plays after the 1980s. As a matter of fact, Pinter revived the New British Theatre with his third period plays such as One for the Road and Mountain Language. Pinter who gained prominence with the latest period plays, has also exceeded the borders of his country; therefore, he referred to the social and political cases he observed in other countries. He addressed several international issues, including the Gulf War, American dominance over other countries, and disempowerment of minority rights. He repudiated the borders pertained at his interviews, even sharply criticised the British politics with courage. Pinter, who was awarded the Nobel Prize, did not hesitate to criticize the policies of England and America with great heart, even in his Nobel speech. Pinter, who handled only British issues in his own country in the early period plays, became the voice of many countries in the latest period plays. Pinter, who never admitted to being a political playwright, was almost always annoyed being tagged, and tried to be the voice of whole world while cutting across all boundaries. This paper discusses Pinter’s domestic sphere in his early phase turns into a universally oppressive space filled with violence, rape, death and surveillance in his late plays. It is seen that the dramatised space in Pinter’s late plays has been widened both literally and figuratively. The image of “room” is superseded by the global cities and foreign countries as the locus of oppression and the centre of political power. His late stage goes beyond the world of the theatre as the paper will reveal that Pinter's political play entitled as Ashes to Ashes cuts across all boundaries.Keywords: Pinter, international issues, playwright who has no boundaries, political drama, Ashes to Ashes

APA, Harvard, Vancouver, ISO, and other styles

21

Antonsen, Elmer H. "The Weser Runes." NOWELE Volume 21/22 (April 1993) 21-22 (April 1, 1993): 1–20. http://dx.doi.org/10.1075/nowele.21-22.02ant.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

De Vos, Jozef. "Dromen in Weskers keuken." Documenta 13, no. 3 (April 19, 2019): 173–80. http://dx.doi.org/10.21825/doc.v13i3.10798.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Neumann, Sabine. "Fortbilden an der Weser." physiopraxis 2, no. 03 (March 2004): 38–39. http://dx.doi.org/10.1055/s-0032-1307791.

Full text

Abstract:

Lymphdrainage, Manuelle Therapie oder MTT – das Fortbildungsangebot für Physiotherapeuten ist vielseitig. Ebenso vielseitig sind die Fortbildungszentren. physiopraxis-Autorin Sabine Neumann zeigt die unterschiedlichen Seiten des „Blipht“ in Bremen.

APA, Harvard, Vancouver, ISO, and other styles

24

Jones, Tony. "Ferry cross the Weser." Physics World 9, no. 3 (March 1996): 88. http://dx.doi.org/10.1088/2058-7058/9/3/37.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Doelfs, Guntram. "Millionenloch an der Weser." kma - Klinik Management aktuell 19, no. 07 (July 2014): 44–47. http://dx.doi.org/10.1055/s-0036-1577403.

Full text

Abstract:

Spötter sprechen bereits von Bremens Antwort auf die Hamburger Elbphilharmonie. Bauverzögerungen und steigende Baukosten sorgen immer wieder für Schlagzeilen in der Hansestadt. Jetzt hat Bauherr Gesundheit Nord (Geno) den Trockenbauer wegen angeblicher Verzögerungen gefeuert. Die Firma will nun vom Klinikverbund Schadenersatz in Millionenhöhe.

APA, Harvard, Vancouver, ISO, and other styles

26

Resende, Diana I. S. P., Amalia M. Estévez, Andre M. Alker, Rainer E. Martin, and Hans Peter Wessel. "A carbohydrate-derived trifunctional scaffold for medicinal chemistry library synthesis." Mediterranean Journal of Chemistry 7, no. 2 (September 5, 2018): 135–44. http://dx.doi.org/10.13171/mjc72/01809051415-wessel.

Full text

Abstract:

For the generation of compound libraries for drug discovery a central scaffold containing three exit vectors with defined chirality was devised starting from commercially available tri-O-acetyl-glucal. Surprisingly, the reaction of a 4-O-mesylate with sodium azide did not lead to the expected 4-azido-4-deoxy derivative but to a 3-azido-3-deoxy regioisomer via intermediate epoxide formation. The absolute stereochemical configuration of the final tetrahydropyran building block was proven by X-ray crystallography. This scaffold endowed with a carboxylic acid, a secondary alcohol, and an azide functionality may be connected to a DNA tag at any of the three distinct exit vectors, thus providing ready access to several different compound libraries.Â

APA, Harvard, Vancouver, ISO, and other styles

27

Sternfeld, Nora. "Wessen Kultur und wessen Bildung?" Zeitschrift für Kulturwissenschaften 13, no. 2 (December 1, 2019): 21–26. http://dx.doi.org/10.14361/zfk-2019-130204.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Cottret, Bernard. "Pourquoi Wesley ? Wesley pour quoi ?" Études théologiques et religieuses 90, no. 2 (2015): 233. http://dx.doi.org/10.3917/etr.0902.0233.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Juhler, Marianne. "Knut Wester (ed.): Arachnoid cysts." Acta Neurochirurgica 160, no. 8 (June 21, 2018): 1505. http://dx.doi.org/10.1007/s00701-018-3603-z.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Di Rocco, Concezio. "Wester Knut (editor): Arachnoid Cysts." Child's Nervous System 34, no. 4 (February 2, 2018): 791–92. http://dx.doi.org/10.1007/s00381-017-3709-2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Ede, Amatoritsero. ""Teardrops on the Weser" (Excerpts)." Ecozon@: European Journal of Literature, Culture and Environment 13, no. 2 (October 29, 2022): 203–10. http://dx.doi.org/10.37536/ecozona.2022.13.2.4893.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Hammond, D. Corydon. "William C. Wester II: In Memoriam." American Journal of Clinical Hypnosis 64, no. 3 (January 10, 2022): 191–92. http://dx.doi.org/10.1080/00029157.2021.1990723.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Moncrieff, M. W. "COMMENTS ON NOR-WESTER THUNDERSTORM STRUCTURE." Weather 41, no. 1 (January 1986): 5–9. http://dx.doi.org/10.1002/j.1477-8696.1986.tb03749.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Needham, Stuart, Mike Parker Pearson, Alan Tyler, Mike Richards, and Mandy Jay. "A first ‘Wessex 1’ date from Wessex." Antiquity 84, no. 324 (June 1, 2010): 363–73. http://dx.doi.org/10.1017/s0003598x00066631.

Full text

Abstract:

The furnished barrow burials of Wessex represent a maturation of the Beaker rite during the Early Bronze Age in Britain. Many of these burials were unearthed centuries ago, when archaeology was at its most eager and insouciant, but – happily for us – there were often a few careful recorders on hand. Thanks to their records, the modern scientists engaged in the Beaker People Project can still follow the trail back to a museum specimen and obtain high precision dates – as in the case of the ‘Wessex 1’ grave from West Overton in Wessex reported here.

APA, Harvard, Vancouver, ISO, and other styles

35

Rohde, Peter. "Elf pleistozäne Sand-Kies-Terrassen der Weser: Erläuterung eines Gliederungsschemas für das obere Weser-Tal." E&G Quaternary Science Journal 39, no. 1 (January 1, 1989): 42–56. http://dx.doi.org/10.3285/eg.39.1.06.

Full text

Abstract:

Abstract. Arbeiten für die Geologische Landesaufnahme und ergänzende Untersuchungen ermöglichten es, die Reste der pleistozänen Sand-Kies-Terrassen der Weser im Abschnitt Gieselwerder-Hehlen zu gliedern. Aufgrund der Höhenlage ihrer Basisflächen inbezug zur heutigen Talaue ließen sich 11 Terrassen-Niveaus unterscheiden, das älteste bei fast +160 m, das jüngste (löß-freie Niederterrasse) bei etwa —10 m relativer Höhe. Örtlich kommen — durch Subrosion bzw. tektonische Vorgänge bedingt — Terrassen-Sedimente in abgesenkter Lage vor. Die Kies-Analyse belegt, daß der Weser seit dem Tertiär ständig Thüringerwald-Vulkanite durch die Werra zugeführt worden sind. Kiese, Sande und Schluffe zeigen Unterschiede bei der Aufnahme im Gelände wie in den Analysen (Korngrößen, Tonfraktions- und Schwerminerale, Geröllarten) vor allem infolge altersbedingt unterschiedlicher Verwitterungseinwirkungen. Eine paläomagnetische Meßreihe (s. K. FROMM in diesem Band) ergab für Sedimente in etwa 130 m Höhe über der heutigen Talaue eine Polaritätsumkehr von invers (unten) zu normal, für die als jüngstmögliches Alter der Matuyama/Brunhes-Epochenwechsel vor 730 000 Jahren in Betracht kommt. Die Eintiefung des Weser-Tales seit der Bildung der ältesten bekannten Terrasse im Pleistozän liegt in der Größenordnung von 20 cm im Jahrtausend.

APA, Harvard, Vancouver, ISO, and other styles

36

Amjad, Fazel Asadi, Mohsen Masoomi, and Monireh Arvin. "Socialism and the Possibility of Utopia in Wesker Trilogy." Mediterranean Journal of Social Sciences, May 5, 2016. http://dx.doi.org/10.5901/mjss.2016.v7n3s1p296.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

"Wie PROMETHEUS zur Klitoris kam – Bulboklitoralorgan." physiopraxis 20, no. 11/12 (November 2022): 60–63. http://dx.doi.org/10.1055/a-1961-3230.

Full text

Abstract:

In der im September erschienenen Neuauflage des PROMETHEUS ist erstmals das weibliche Bulboklitoralorgan ausführlich beschrieben. Warum das bemerkenswert ist und wie die Zeichnungen entstanden sind, darüber hat Thieme mit Professor Schünke, Professor Haag-Wackernagel und Karl Wesker gesprochen.

APA, Harvard, Vancouver, ISO, and other styles

38

"Ture Wester." International Journal of Space Structures 24, no. 1 (March 2009): iii—iv. http://dx.doi.org/10.1260/026635109788251421.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Barber, Neil. "The River Weser." Permanente Journal 8, no. 2 (2004). http://dx.doi.org/10.7812/tpp/04.942.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

"LG Weser-Ems." VPT Magazin 06, no. 08 (October 2020): 45. http://dx.doi.org/10.1055/s-0040-1718634.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

"LG Weser-Ems." VPT Magazin 06, no. 09 (November 2020): 44. http://dx.doi.org/10.1055/s-0040-1721651.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

"LG WESER-EMS." VPT Magazin 01, no. 03 (October 1, 2015): 45. http://dx.doi.org/10.1055/s-0035-1564914.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

"LG WESER-EMS." VPT Magazin 06, no. 06 (July 2020): 44. http://dx.doi.org/10.1055/s-0040-1715261.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

"LG Weser-Ems." VPT Magazin 06, no. 07 (August 31, 2020): 44. http://dx.doi.org/10.1055/s-0040-1716660.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

"LG WESER-EMS." VPT Magazin 03, no. 07 (August 30, 2017): 48. http://dx.doi.org/10.1055/s-0037-1606472.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

"LG WESER-EMS." VPT Magazin 03, no. 08 (October 2017): 45. http://dx.doi.org/10.1055/s-0037-1607262.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

"LG WESER–EMS." VPT Magazin 05, no. 05 (June 2019): 46–47. http://dx.doi.org/10.1055/s-0039-1692362.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

"LG WESER-EMS." VPT Magazin 05, no. 06 (July 2019): 46–47. http://dx.doi.org/10.1055/s-0039-1693946.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

"LG WESER-EMS." VPT Magazin 04, no. 08 (October 2018): 47. http://dx.doi.org/10.1055/s-0038-1673525.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

"LG WESER-EMS." VPT Magazin 05, no. 01 (January 2019): 47. http://dx.doi.org/10.1055/s-0038-1677450.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Wesker'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles