dtv-Atlas Deutsche Sprache

Journal of Conchology, 2024

We compiled taxonomic information about terrestrial gastropods in Brazil in an organized and user-friendly checklist that we hope will be useful for researchers and stakeholders alike. We also expect that it will serve as a springboard, garnering more interest and enabling a new wave of studies on this fauna, which has one the highest extinction rates of all animal groups while being essential ecosystem functioning and also includes species of importance to public health and agriculture. We list all species of terrestrial gastropods that occur in the country, with information regarding synonymized names and fossils. We also propose a few nomenclatural acts to address some pending issues of easy resolution. A total of 748 species of terrestrial gastropods are known in Brazil, including 33 exotic species that have been introduced to Brazil. A total of 48 families are present, the majority of which belong to Stylommatophora; only six families represent the Neritimorpha, Caenogastropoda and Systellommatophora. The most speciose families are Bulimulidae, Strophocheilidae, Cyclodontinidae, Streptaxidae, and Simpulopsidae. Changes in nomenclature proposed here are as follows: Drymaeus obliquus poecilogramma Ancey, 1901 is now reclassified as Sanniostracus poecilogramma (Ancey, 1901) comb. nov.; Helix uniplicata Férussac, 1827 as Clessinia uniplicata (Férussac, 1827) comb. nov.; Zonitoides parana Baker, 1914 as Miradiscops parana (Baker, 1914) comb. nov.; “Helix” circumplexa Deshayes, 1839 as Systrophiella circumplexa (Deshayes, 1839) comb. nov.; Bradybaena giovannalimae Lima & Cossignani, 2021 as Streptaxis giovannalimae (Lima & Cossignani, 2021) comb. nov.

Kallipos, Open Academic Editions, 2023

This academic textbook entitled Special Topics in 20th Century Art History, is addressed to students whose curriculum includes the course History of 20th Century Art. The textbook contains 12 chapters, which refer to artistic movements of the 20th century. Each art movement is described through a characteristic theme that engages with the artists and captures the movement’s heyday. The chapters of the text are as follows: 1. The "primitive" in German Expressionist painting 2. Modern sculpture and Primitivism 3. Back to reason: A new interpretation of the world. Cubism 4. The machine, symbol of the Italian Futurists 5. Ancient myths in the work of the de Chirico brothers (Giorgio de Chirico and Alberto Savinio) 6. Dreams and Nightmares in Surrealism 7. The irrational element in art. Paraphrases of a theme: The case of Ubu Roi 8. The "animation" of the object as a resonance of Pop Art 9. Appropriation Art: creation or stasis? 10. Photorealism: a misunderstood movement 11. Street Art: the art of the ephemeral 12. Forms οf the Shadow Theatre in 20th century Greek painting Each chapter is completed with passages from theoretical texts (manifestos of artistic groups, texts by artists, etc.), which contribute to a better understanding comprehension of important issues of 20th century art history. Information is also provided on the impact of the movements in the fields of literature and theatre. The texts are offered for further study and invite students to reflect on key issues in art history. Each chapter begins with a summary of the material and concludes with recapitulation exercises, followed by a comprehensive bibliography. This textbook provides the opportunity for students to use it as a resource or to select individual topics and delve deeper into them.

JOURNAL OF AFRICAN DIASPORA ARCHAEOLOGY & HERITAGE, 2018

Cultural landscapes impacted by slavery and its effects in eighteenth-century Kenya included coastal trading entrepôts, interior caravan trade routes, coastal plantation complexes, European mission stations, freed slave settlements, and runaway slave settlements. Landscapes represent the values, symbols, and meanings that societies have imbued upon them. A cultural landscape is not only a physical place, but also encompasses the memories associated with that space. Studies of such landscapes enable understanding of the histories of peoples, places, and events. This article works to understand how the people who lived in landscapes of slavery in Kenya perceived and interacted with those terrains. Former slaves and their descendants used tangible and intangible elements of landscapes to construct places of memory; these memories not only connect them to the landscapes they presently occupy but also to an imaginary, ancestral homeland that they have never seen

Hupko, Daniel - Orosová, Martina (eds.): Pálffyovci v Smoleniciach. Bratislava: Pamiatkový úrad Slovenskej republiky, 2023, 2023

Portraits of Ján VIII. Pálffy – the only owner of the Smolenice Estate from the younger branch of the family. Ingrid Halászová Until now, the literature has focused mainly on members of the elder branch of the Pálffy family. This paper brings attention to the personality of Count Ján Leopold Pálffy (1728 – 1791), who was the first member of the family to acquire and administer the Smolenice Estate and the adjacent town. At the same time, it should be noted that he was the grandfather of the last descendant of the younger branch of the Pálffy family – the famous art collector Ján XIV. František Pálffy (1829 – 1908). The physical appearance of Ján VIII. Leopold Pálffy as an adult has been virtually unknown and unpublished until now. The presented paper is therefore an ideal opportunity to bring the appearance of the first Pálffy owner of Smolenice out of anonymity. In addition to Ján Leopold himself, it also presents portraits of his parents and other family members, which are in the collections of the Slovak National Museum – Červený Kameň Museum. In addition to these few portraits from the original property of the family, confiscated by the state after 1945, the Červený Kameň Museum’s collections also hold a portrait of Ján Leopold as a boy, long considered to be a portrait of Karol Hieronymus Pálffy from the eldest line of the family, heir to the Malacky branch.

2005

U referatu autorica izlaže načelne zadatke istraživanja hrvatske filozofske baštine kako ih je formulirane zatekla kad je 1970. godine dobila mjesto asistenta u Institutu za filozofiju. Tim se načelima autorica rukovodila u svojim istraživanjima, no ujedno upućuje i na to da neki osnovni ciljevi i zadaci kako su bili iskazani u poče¬cima Instituta za filozofiju i Priloga za istraživanje hrvatske filozofske baštine (ali i prije) nisu ni danas u cijelosti realizirani, te bi trebali i dalje ostati žarište oko kojeg će se organizirati i koji će usmjeravati rad na istraživanju povijesti hrvatske filozofije.In the paper the authoress expounds the principal tasks of the research into the Croatian philosophical heritage as she had found them formulated in 1970, when she got a job as an assistant at the Institute for Philosophy. These principles have been the authoress\u27 guidance in her research, yet she also points at the fact that some of the basic goals and tasks, as formulated in the e...

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