966 resultados para Pryor, Roger Atkinson, 1828-1919.


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Mode of access: Internet.

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Mode of access: Internet.

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Each play has special t.p.

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Mode of access: Internet.

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Poems.

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"Dr. Emmet's rejoinder, reprinted from the Magazine of History, January, 1907": [4] p. at end.

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The house of Atreus (Aeschylus) tr. by E.D.A. Morshead.- Prometheus bound (Aeschylus) tr. by E.H. Plumptre.- Oedipus, the king (Sophocles).- Antigone (Sophocles) tr. by E.H. Plumptre.- Hippolytus (Euripides).- The Bacchae (Euripides) tr. by Gilbert Murray.- The frogs (Aristophanes) tr. by B.B. Rogers.

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Learning technologies are now a ubiquitous force in the higher education sector however we continue to pursue more inventive ways to use them for teaching and learning. Many teaching academics that seek to be innovative do not have access to a supportive technology innovation zone. The aim of this study was to investigate the articulated staff development needs of academics involved in a faculty based technology innovation project and create the conditions that would cultivate innovation. The study sought to find out how academics perceived they might best be assisted through their technology innovation process so that participants’ needs were incorporated into planning. A questionnaire was used to elicit background information about the academics’ experience, skills and self diagnosed skill deficits in this context. Participants were also requested to provide information about how they thought they would best acquire the skills given their time and other resource constraints. A modified Delphi Technique was utilised to achieve some consensus on what academics required to support technology innovation. Complemented by an enabling and empowering team based approach, the academics were provided with an innovation zone to achieve significant goals for the project.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

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Letters written during vacation tours in western North Carolina.

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t. 1. Dépêches adressées au prince Ianko Karadja février 1813-juillet 1818, et au prince Alexandre Soutzo mars 1819-décembre 1819.--t. 2. Dépêches adressées au prince Alexandre Soutzo janvier 1820-janvier 1821, et au prince Grégoire Ghika décembre 1822-juin 1825.--t. 3. Dépêches adressées au prince Grégoire Ghika juillet 1825-mai 1828.

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The exponential growth of studies on the biological response to ocean acidification over the last few decades has generated a large amount of data. To facilitate data comparison, a data compilation hosted at the data publisher PANGAEA was initiated in 2008 and is updated on a regular basis (doi:10.1594/PANGAEA.149999). By January 2015, a total of 581 data sets (over 4 000 000 data points) from 539 papers had been archived. Here we present the developments of this data compilation five years since its first description by Nisumaa et al. (2010). Most of study sites from which data archived are still in the Northern Hemisphere and the number of archived data from studies from the Southern Hemisphere and polar oceans are still relatively low. Data from 60 studies that investigated the response of a mix of organisms or natural communities were all added after 2010, indicating a welcomed shift from the study of individual organisms to communities and ecosystems. The initial imbalance of considerably more data archived on calcification and primary production than on other processes has improved. There is also a clear tendency towards more data archived from multifactorial studies after 2010. For easier and more effective access to ocean acidification data, the ocean acidification community is strongly encouraged to contribute to the data archiving effort, and help develop standard vocabularies describing the variables and define best practices for archiving ocean acidification data.

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Inspired by and featuring the poetry of Roger McGough (by permission of the author), Unlucky for Some is a spare, minimalistic work about homelessness, mental illness and class division performed entirely in slow motion. This multimedia work also utilised prerecorded and live feed video and music, and experimented with synchronous and asynchonous live and mediatised performance.