975 research outputs found

    The birth and early years of INA, the International Neurotoxicology Association

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    AbstractThe International Neurotoxicology Association (INA) is a scientific society whose members have interest and expertise in the discipline of neurotoxicology. The idea of forming INA was born in 1984, as a follow-up to a NATO-sponsored meeting on Toxicology of the Nervous System. INA held its first meeting in the Netherlands in 1987 and has had continuous meetings every other year since then. INA is registered as a scientific society in the Netherlands, and is an affiliated society of IUTOX. This paper presents a personal account of the events that led to the birth of INA, and of the first fifteen years of this association

    Koło się zamyka

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    Ina Söllner was one of Schulz’s young sitters. As an adult person, she discovered in her autograph book a portrait of her mother, Ina, made by Schulz. The drawing called The King of Frogs [Żabi król] and a dedication referring to her mother sitting provoke the author to analyze her family connections with Schulz. Even though she does not remember her meeting with the artist, she reconstructs Schulz’s place in her biography and the circumstances under which they might have met

    Pioneering Doktormutter Remembering Ina-Maria Greverus

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    The author reconsiders German scholar Ina-Maria Greverus as a committed feminist supporter of female doctoral students and early career academics. Greverus acted as an innovator especially in the realms of anthropology and aesthetics, and initiated a new international dialogue forum with the Anthropological Journal or European Cultures, which she founded in 1990 together with Christian Giordano.</p

    The Circle Closes

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    Ina Söllner was one of Schulz’s young sitters. As an adult person, she discovered in her autograph book a portrait of her mother, Ina, made by Schulz. The drawing called The King of Frogs [Żabi król] and a dedication referring to her mother sitting provoke the author to analyze her family connections with Schulz. Even though she does not remember her meeting with the artist, she reconstructs Schulz’s place in her biography and the circumstances under which they might have met
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