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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Akira Matsuda;

    Since archaeology was established as a discrete field of study, a certain proportion of archaeological excavations have always been carried out by “foreigners,” or experts from outside the country where the material remains to be investigated lie. With the progress of globalization, an increasing number of archaeologists have crossed borders for their work, and today it is no longer unusual for them to go abroad to initiate and undertake an excavation project.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.1007/978-1-...
    Part of book or chapter of book . 2011 . Peer-reviewed
    License: Springer Nature TDM
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      https://doi.org/10.1007/978-1-...
      Part of book or chapter of book . 2011 . Peer-reviewed
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Amanda C. Seaman;

    Yoshiko Uchida (1921–1992) was a prolific writer of children’s as well as adult books, a number of them dealing with her experience of internment during World War II. Between 1981 and 1985, she published the Rinko series for middle school readers, chronicling the life of a teenaged Japanese American girl growing up in Depression-era California. This trilogy addresses her heroine’s struggle with racism, her experiences with the local Japanese American community, and her efforts to understand her own identity as both Japanese and American. Uchida’s Rinko series thus provides a valuable corrective to the frequent conflation of “Japanese-American” literature with “internship literature,” offering a sensitive portrait of the complex cultural, economic, and political relationships between the Japanese community and its neighbors, relationships that conditioned the experience of internment and its aftermath.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.1007/978-3-...
    Part of book or chapter of book . 2020 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      https://doi.org/10.1007/978-3-...
      Part of book or chapter of book . 2020 . Peer-reviewed
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  • Authors: David Thomas;

    After his break with the theatre in the early 1860s, Ibsen rarely went to see any of his plays in production. He did, however, take a lively interest in the casting and staging of his plays in Christiania and was particularly keen that his work should be performed regularly by Scandinavia’s most prestigious theatre, The Theatre Royal in Copenhagen. His letters to the Christiania Theatre contain a number of revealing insights into the way he envisaged a particular role being played and into the overall tone, pace and mood he wanted the actors to achieve in production. A few representative examples must suffice here.1

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    https://doi.org/10.1007/978-1-...
    Part of book or chapter of book . 1983 . Peer-reviewed
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      https://doi.org/10.1007/978-1-...
      Part of book or chapter of book . 1983 . Peer-reviewed
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Maggie Inchley;

    Having explored the sounds of Scottish voices in the wake of devolution, the negotiation of norms by black voices as they were included in mainstream space, and the pressures on young voices to participate under New Labour’s empathetic regime, this final chapter turns to the theme of betrayal, a climate that began to pervade public discourse in the latter years of Tony Blair’s period as Prime Minster. It does so by attending to the representation in theatre of women who have killed children — or been accused of this — and thus violated what society perceives as a fundamental human relationship based on intimacy and trust. I argue that in the construction of the voice of the female child killer in the voicescapes of theatre in this period we can hear ‘cultural evidence’ for the shift from an empathic inclusive context for otherwise stigmatised individuals to a climate of betrayal in response to the perceived lack of transparency in the political representative process. This betrayal was articulated in the deceitful voice of the murdering mother, whose seductive or transparent language traditionally disguises evil intent.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.1057/978113...
    Part of book or chapter of book . 2015 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      https://doi.org/10.1057/978113...
      Part of book or chapter of book . 2015 . Peer-reviewed
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  • Authors: Robert McBride;

    La Mothe Le Vayer is one of those writers who were well-known and widely read in learned circles of their time, but who are now numbered among the great background names in the history of thought of their century. The reasons for his relative obscurity are not difficult to find. Many of his writings are pedagogical in nature, prepared for the instruction of the young Louis XIV and his brother, the Duc d’Anjou. Others are pieces of political propaganda written to justify the political alliances of Richelieu. In particular, Le Vayer had a penchant for the archaic genre of the ‘opuscule’, or ‘discours’ or ‘homilie academique’, that is, formal disquisitions on themes as disparate as eloquence, travel, dress, friendship, wealth and poverty, life and death, philosophy, etc. An informal variation of the genre is seen in his one hundred and fifty Petits Traites dealing with subjects as diverse as agriculture, superstitions, dreams, the court, food, funerals, the law, literature etc., all of which are treated in his quizzical and digressive manner. His essays and dialogues are pedantic in style and ponderous in their wit, lacking the refined irony of Erasmus and the charming self-depreciation of Montaigne. Of the innumerable subjects treated, the principal one is that of his beloved scepticism or epochē as he prefers to term it, to which he remained attached from the first page of his voluminous work to the last.

    https://doi.org/10.1...arrow_drop_down
    https://doi.org/10.1007/978-1-...
    Part of book or chapter of book . 1979 . Peer-reviewed
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      https://doi.org/10.1007/978-1-...
      Part of book or chapter of book . 1979 . Peer-reviewed
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: V. P. Butt; A. B. Murphy; N. A. Myshov; G. R. Swain;

    This chapter seeks to give a kaleidoscopic picture of the many and varied aspects of life at the height of the Civil War during the summer and autumn of 1919, as the Bolsheviks gradually moved from the defensive to the offensive and ultimate victory. It is sub-divided into five parts, dealing with different aspects of the fighting.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.1007/978-1-...
    Part of book or chapter of book . 1996 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      https://doi.org/10.1007/978-1-...
      Part of book or chapter of book . 1996 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Sandle, Mark;

    On the surface, the contrast appears stark. Perestroika: an era of vibrant change, startling revelations and stalled revolutions, popular protest and dethroned rulers. The Brezhnev era: grey suits, stasis, decay and crushing, stifling conformity. But what lies beneath? During the 1970s and early 1980s the intellectual life of the Brezhnev years tended to be viewed as an era dominated by the orthodox platitudes of the official ideology, of paeans of praise to the achievements of the Soviet state, of the heroism of its milkmaids and miners. The only ripples on this stagnant pond appeared to come from the dissident movement, lone voices critical of the regime, its values and practices. Perestroika (and after) has begun to change these perceptions. Scholars searching for the roots of the ideas and thinking that inspired perestroika are increasingly turning their attention to the Brezhnev years, an approach exemplified by John Gooding’s contribution to this volume. The publication of memoirs and interviews with the leading protagonists has thrown new light on intellectual life under Brezhnev. It is true that the Brezhnev years were lost years for many of our people. But people in the West are mistaken in thinking that life in Soviet Union was so suppressed during the two decades before Gorbachev that nobody with good brains, a strong spirit and a good conscience could exist. It’s just not true. In very reserved and disguised ways, you could express almost everything, if you were skilful enough. There may have been peace and quiet in the press, but some intellectuals and even ordinary people found useful ways to say what had to be said. Even a few leaders raised the real questions that faced the country in their speeches and memoranda.1

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ De Montfort Universi...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.1057/978023...
    Part of book or chapter of book . 2002 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ De Montfort Universi...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      https://doi.org/10.1057/978023...
      Part of book or chapter of book . 2002 . Peer-reviewed
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Verena Andermatt Conley;

    After having lost the street in the nineteenth century, people are now also losing their voice. Paul Virilio Speed is not simply a matter of time. Speed is also space-time. It is an environment that is defined in equal measure by space and by time. Armitage (ed.), Virilio Live In his recent homage to Marc Auge, Paul Virilio asserts that the author of Non-Places has turned anthropology into a science responsible less for reconstituting traditional cultures than for scaffolding an art of premonition . The ethnologist of today can no longer study societies “without history” but, rather, the fragile state of a world in which chronological time has telescoped to the state of instantaneity. Space, like the wild ass's skin in Balzac's La Peau de chagrin , has shrunk beyond belief. Virilio, whose brilliantly delphic writings hover between the messianic and the titanic, finds in Auge a friend who senses the effects that the acceleration of information have on subjectivity. The supermodernity ( surmodernite ) of which Auge writes “is surely the combined effect of the acceleration of history and of a shrinkage of geographical space giving occasion […] to both ‘an individualization of destinies’ and to diverse destinations of action” (Virilio 2008: 100). The effect, he notes, is that individuals now owe their existential being to a condition of solitude. They find themselves in a state of accelerated delocalization, which is exactly what the anthropologist discovered in his own premonitions.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.5...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.5949/upo978...
    Part of book or chapter of book . 2012 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.5...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      https://doi.org/10.5949/upo978...
      Part of book or chapter of book . 2012 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Simpson, R.M.; McCluskey, T.L.; Liu, D.; Kitchin, Diane E.;

    Recent successful applications of AI planning technology have highlighted the knowledge engineering of planning domain models as an important research area. We describe an implemented translation algorithm between two languages used in planning representation: PDDL, a language used for communication of example domains between research groups, and OCL h , a language developed specifically for planning domain modelling. The algorithm is being used as part of OCL h ’s tool support to import models expressed in PDDL to OCL h ’s environment. Here we outline the translation algorithm, and discuss the issues that it uncovers. Although the tool performs reasonably well when its output is measured against hand-crafted OCL h , it results in only partially specified models. Analyis of the translation results shows that this is because many natural assumptions about domains are not captured in the PDDL encodings.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ CORE (RIOXX-UK Aggre...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    https://doi.org/10.1007/3-540-...
    Part of book or chapter of book . 2000 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ CORE (RIOXX-UK Aggre...arrow_drop_down
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      http://eprints.hud.ac.uk/id/ep...
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      https://doi.org/10.1007/3-540-...
      Part of book or chapter of book . 2000 . Peer-reviewed
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Charles F. Meyer;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.1017/cbo978...
    Part of book or chapter of book . 2002 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      https://doi.org/10.1017/cbo978...
      Part of book or chapter of book . 2002 . Peer-reviewed
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The following results are related to Digital Humanities and Cultural Heritage. Are you interested to view more results? Visit OpenAIRE - Explore.
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Akira Matsuda;

    Since archaeology was established as a discrete field of study, a certain proportion of archaeological excavations have always been carried out by “foreigners,” or experts from outside the country where the material remains to be investigated lie. With the progress of globalization, an increasing number of archaeologists have crossed borders for their work, and today it is no longer unusual for them to go abroad to initiate and undertake an excavation project.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.1007/978-1-...
    Part of book or chapter of book . 2011 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      https://doi.org/10.1007/978-1-...
      Part of book or chapter of book . 2011 . Peer-reviewed
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Amanda C. Seaman;

    Yoshiko Uchida (1921–1992) was a prolific writer of children’s as well as adult books, a number of them dealing with her experience of internment during World War II. Between 1981 and 1985, she published the Rinko series for middle school readers, chronicling the life of a teenaged Japanese American girl growing up in Depression-era California. This trilogy addresses her heroine’s struggle with racism, her experiences with the local Japanese American community, and her efforts to understand her own identity as both Japanese and American. Uchida’s Rinko series thus provides a valuable corrective to the frequent conflation of “Japanese-American” literature with “internship literature,” offering a sensitive portrait of the complex cultural, economic, and political relationships between the Japanese community and its neighbors, relationships that conditioned the experience of internment and its aftermath.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.1007/978-3-...
    Part of book or chapter of book . 2020 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      https://doi.org/10.1007/978-3-...
      Part of book or chapter of book . 2020 . Peer-reviewed
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  • Authors: David Thomas;

    After his break with the theatre in the early 1860s, Ibsen rarely went to see any of his plays in production. He did, however, take a lively interest in the casting and staging of his plays in Christiania and was particularly keen that his work should be performed regularly by Scandinavia’s most prestigious theatre, The Theatre Royal in Copenhagen. His letters to the Christiania Theatre contain a number of revealing insights into the way he envisaged a particular role being played and into the overall tone, pace and mood he wanted the actors to achieve in production. A few representative examples must suffice here.1

    https://doi.org/10.1...arrow_drop_down
    https://doi.org/10.1007/978-1-...
    Part of book or chapter of book . 1983 . Peer-reviewed
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      https://doi.org/10.1...arrow_drop_down
      https://doi.org/10.1007/978-1-...
      Part of book or chapter of book . 1983 . Peer-reviewed
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Maggie Inchley;

    Having explored the sounds of Scottish voices in the wake of devolution, the negotiation of norms by black voices as they were included in mainstream space, and the pressures on young voices to participate under New Labour’s empathetic regime, this final chapter turns to the theme of betrayal, a climate that began to pervade public discourse in the latter years of Tony Blair’s period as Prime Minster. It does so by attending to the representation in theatre of women who have killed children — or been accused of this — and thus violated what society perceives as a fundamental human relationship based on intimacy and trust. I argue that in the construction of the voice of the female child killer in the voicescapes of theatre in this period we can hear ‘cultural evidence’ for the shift from an empathic inclusive context for otherwise stigmatised individuals to a climate of betrayal in response to the perceived lack of transparency in the political representative process. This betrayal was articulated in the deceitful voice of the murdering mother, whose seductive or transparent language traditionally disguises evil intent.

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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.1057/978113...
    Part of book or chapter of book . 2015 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      https://doi.org/10.1057/978113...
      Part of book or chapter of book . 2015 . Peer-reviewed
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  • Authors: Robert McBride;

    La Mothe Le Vayer is one of those writers who were well-known and widely read in learned circles of their time, but who are now numbered among the great background names in the history of thought of their century. The reasons for his relative obscurity are not difficult to find. Many of his writings are pedagogical in nature, prepared for the instruction of the young Louis XIV and his brother, the Duc d’Anjou. Others are pieces of political propaganda written to justify the political alliances of Richelieu. In particular, Le Vayer had a penchant for the archaic genre of the ‘opuscule’, or ‘discours’ or ‘homilie academique’, that is, formal disquisitions on themes as disparate as eloquence, travel, dress, friendship, wealth and poverty, life and death, philosophy, etc. An informal variation of the genre is seen in his one hundred and fifty Petits Traites dealing with subjects as diverse as agriculture, superstitions, dreams, the court, food, funerals, the law, literature etc., all of which are treated in his quizzical and digressive manner. His essays and dialogues are pedantic in style and ponderous in their wit, lacking the refined irony of Erasmus and the charming self-depreciation of Montaigne. Of the innumerable subjects treated, the principal one is that of his beloved scepticism or epochē as he prefers to term it, to which he remained attached from the first page of his voluminous work to the last.

    https://doi.org/10.1...arrow_drop_down
    https://doi.org/10.1007/978-1-...
    Part of book or chapter of book . 1979 . Peer-reviewed
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      https://doi.org/10.1007/978-1-...
      Part of book or chapter of book . 1979 . Peer-reviewed
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: V. P. Butt; A. B. Murphy; N. A. Myshov; G. R. Swain;

    This chapter seeks to give a kaleidoscopic picture of the many and varied aspects of life at the height of the Civil War during the summer and autumn of 1919, as the Bolsheviks gradually moved from the defensive to the offensive and ultimate victory. It is sub-divided into five parts, dealing with different aspects of the fighting.

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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.1007/978-1-...
    Part of book or chapter of book . 1996 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      https://doi.org/10.1007/978-1-...
      Part of book or chapter of book . 1996 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Sandle, Mark;

    On the surface, the contrast appears stark. Perestroika: an era of vibrant change, startling revelations and stalled revolutions, popular protest and dethroned rulers. The Brezhnev era: grey suits, stasis, decay and crushing, stifling conformity. But what lies beneath? During the 1970s and early 1980s the intellectual life of the Brezhnev years tended to be viewed as an era dominated by the orthodox platitudes of the official ideology, of paeans of praise to the achievements of the Soviet state, of the heroism of its milkmaids and miners. The only ripples on this stagnant pond appeared to come from the dissident movement, lone voices critical of the regime, its values and practices. Perestroika (and after) has begun to change these perceptions. Scholars searching for the roots of the ideas and thinking that inspired perestroika are increasingly turning their attention to the Brezhnev years, an approach exemplified by John Gooding’s contribution to this volume. The publication of memoirs and interviews with the leading protagonists has thrown new light on intellectual life under Brezhnev. It is true that the Brezhnev years were lost years for many of our people. But people in the West are mistaken in thinking that life in Soviet Union was so suppressed during the two decades before Gorbachev that nobody with good brains, a strong spirit and a good conscience could exist. It’s just not true. In very reserved and disguised ways, you could express almost everything, if you were skilful enough. There may have been peace and quiet in the press, but some intellectuals and even ordinary people found useful ways to say what had to be said. Even a few leaders raised the real questions that faced the country in their speeches and memoranda.1

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    https://doi.org/10.1057/978023...
    Part of book or chapter of book . 2002 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ De Montfort Universi...arrow_drop_down
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      https://doi.org/10.1057/978023...
      Part of book or chapter of book . 2002 . Peer-reviewed
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Verena Andermatt Conley;

    After having lost the street in the nineteenth century, people are now also losing their voice. Paul Virilio Speed is not simply a matter of time. Speed is also space-time. It is an environment that is defined in equal measure by space and by time. Armitage (ed.), Virilio Live In his recent homage to Marc Auge, Paul Virilio asserts that the author of Non-Places has turned anthropology into a science responsible less for reconstituting traditional cultures than for scaffolding an art of premonition . The ethnologist of today can no longer study societies “without history” but, rather, the fragile state of a world in which chronological time has telescoped to the state of instantaneity. Space, like the wild ass's skin in Balzac's La Peau de chagrin , has shrunk beyond belief. Virilio, whose brilliantly delphic writings hover between the messianic and the titanic, finds in Auge a friend who senses the effects that the acceleration of information have on subjectivity. The supermodernity ( surmodernite ) of which Auge writes “is surely the combined effect of the acceleration of history and of a shrinkage of geographical space giving occasion […] to both ‘an individualization of destinies’ and to diverse destinations of action” (Virilio 2008: 100). The effect, he notes, is that individuals now owe their existential being to a condition of solitude. They find themselves in a state of accelerated delocalization, which is exactly what the anthropologist discovered in his own premonitions.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.5...arrow_drop_down
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    https://doi.org/10.5949/upo978...
    Part of book or chapter of book . 2012 . Peer-reviewed
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      https://doi.org/10.5949/upo978...
      Part of book or chapter of book . 2012 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Simpson, R.M.; McCluskey, T.L.; Liu, D.; Kitchin, Diane E.;

    Recent successful applications of AI planning technology have highlighted the knowledge engineering of planning domain models as an important research area. We describe an implemented translation algorithm between two languages used in planning representation: PDDL, a language used for communication of example domains between research groups, and OCL h , a language developed specifically for planning domain modelling. The algorithm is being used as part of OCL h ’s tool support to import models expressed in PDDL to OCL h ’s environment. Here we outline the translation algorithm, and discuss the issues that it uncovers. Although the tool performs reasonably well when its output is measured against hand-crafted OCL h , it results in only partially specified models. Analyis of the translation results shows that this is because many natural assumptions about domains are not captured in the PDDL encodings.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ CORE (RIOXX-UK Aggre...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    http://eprints.hud.ac.uk/id/ep...
    Part of book or chapter of book
    Data sources: UnpayWall
    https://doi.org/10.1007/3-540-...
    Part of book or chapter of book . 2000 . Peer-reviewed
    Data sources: Crossref
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ CORE (RIOXX-UK Aggre...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      http://eprints.hud.ac.uk/id/ep...
      Part of book or chapter of book
      Data sources: UnpayWall
      https://doi.org/10.1007/3-540-...
      Part of book or chapter of book . 2000 . Peer-reviewed
      Data sources: Crossref
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Charles F. Meyer;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    https://doi.org/10.1017/cbo978...
    Part of book or chapter of book . 2002 . Peer-reviewed
    License: Cambridge Core User Agreement
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao https://doi.org/10.1...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      https://doi.org/10.1017/cbo978...
      Part of book or chapter of book . 2002 . Peer-reviewed
      License: Cambridge Core User Agreement
      Data sources: Crossref
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