Enzyme Fingerprints by Fluorogenic and Chromogenic Substrate Arrays We would like to thank Prof. R. Furstoss and Dr. A. Archelas at the Faculté des Sciences de Luminy, Marseille, France, for providing a sample of Aspergillus niger EH, and Dr. C. Weijers at the Department of Food Technology and Nutrition Sciences, Wageningen University, the Netherlands, for providing a sample of Rhodotorula glutinis EH. This work was supported by the University of Bern, the European COST program (Action D12), the Swiss Office Fédéral de l'Education et de la Science, Protéus SA (Nîmes, France), the Ministero della Università e della Ricerca Scientifica e Tecnologica (MURST), and Consiglio Nazionale delle Ricerche (CNR) (Roma). P.C. gratefully acknowledges Merck for generous financial support from a 2000 ADP Chemistry Award.

Author(s):  
Denis Wahler ◽  
Fabrizio Badalassi ◽  
Paolo Crotti ◽  
Jean-Louis Reymond
1971 ◽  
Vol 2 (1) ◽  
pp. 6-11 ◽  
Author(s):  
C. M. Daniels ◽  
Hugh Blake ◽  
Antony Hutt ◽  
David Whitehouse ◽  
Olwen Brogan

The 1971 Expedition was in the field for almost a month over Easter, thanks to the continued kindness and good will of the Libyan Department of Antiquities, and further generous financial support from the British Academy, the Seven Pillars of Wisdom Trust, the Society for Libyan Studies and the University of Newcastle.The site of Saniat Gebril lies 300 yards east of the abandoned mud-brick town of Germa. Trial trenching (1965) and surface sherding had shown that at least 5 acres of compact settlement existed there, with the strong likelihood that more sparsely-placed buildings stretched as far as Germa. From the previous work it was thought that the main settlement consisted of a series of smallish mud-brick buildings, occupied from the late-first century A.D. until the early-third century, when the site was abandoned and not subsequently re-occupied.


Iraq ◽  
1936 ◽  
Vol 3 (1) ◽  
pp. 1-59 ◽  
Author(s):  
M. E. L. Mallowan

The Archaeological Expedition to the Ḫabur region of N. Syria was under the auspices of the British Museum and of the British School of Archaeology in Iraq. For financial assistance we were greatly indebted to a number of scientific bodies and to individual subscribers. The British Museum made it possible for Mr. R. D. Barnett of the Department of Egyptian and Assyrian Antiquities to give us his valuable help, and generous financial support was forthcoming from the Ashmolean Museum, Oxford, from the University Museum of Archaeology and Ethnology, Cambridge, and from the Auckland Museum, New Zealand. Our warmest thanks are also due to the munificence of individual subscribers among whom were Mr. Louis G. Clarke, Lord Latymer, Sir Charles Marston, and Mr. A. L. Reckitt.


2019 ◽  
Vol 11 (10) ◽  
pp. 1181 ◽  
Author(s):  
Norman Kerle ◽  
Markus Gerke ◽  
Sébastien Lefèvre

The 6th biennial conference on object-based image analysis—GEOBIA 2016—took place in September 2016 at the University of Twente in Enschede, The Netherlands (see www [...]


2005 ◽  
Vol 21 (4) ◽  
pp. 331-339
Author(s):  
Millie Taylor

In pantomime the Dame and comics, and to a lesser extent the immortals, are positioned between the world of the audience and the world of the story, interacting with both, forming a link between the two, and constantly altering the distance thus created between audience and performance. This position allows these characters to exist both within and without the story, to comment on the story, and reflexively to draw attention to the theatricality of the pantomime event. In this article, Millie Taylor concludes that reflexivity and framing allow the pantomime to represent itself as unique, original, anarchic, and fun, and that these devices are significant in the identification of British pantomime as distinct from other types of performance. Millie Taylor worked for many years as a freelance musical director in repertory and commercial theatre and in pantomime. She is now Senior Lecturer in Performing Arts and Music Theatre at the University of Winchester. An earlier version of this article was presented at the Conference on Arts and Humanities in Hawaii (2005), and an extended version will appear in her forthcoming book on British pantomime. Her research has received financial support from the British Academy.


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