Showing 141 - 147 results of 147 for search '"cosmopolitanism"', query time: 0.03s Refine Results
  1. 141

    Power-sharing and Identity-Politics Transformation in Zanzibar, Tanzania by Moh'd Haji

    Published 2023-02-01
    “…The core source of such politics is the cosmopolitan nature of the isles whereby races and identities reside on the island for a long time. …”
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  2. 142

    Chemical Composition and Antimicrobial Activity of Subcritical CO2 Extract of Lepidium latifolium L. (Brassicaceae) by Balzhan B. Azimkhanova, Gulbaram O. Ustenova, Kamalidin O. Sharipov, Kayrolla D. Rakhimov, Galiya M. Sayakova, Ardak B. Jumagaziyeva, Elena V. Flisyuk, Nadezhda G. Gemejiyeva

    Published 2021-01-01
    “…The genus Lepidium L. from Brassicaceae Burnett. family covers over 150 species with an almost cosmopolitan spread. In Kazakhstan, 21 species are described, of which four species are characterized by medicinal properties (L. crassifolium Waldst. et Kit., L. perfoliatum L., L. ruderale L., and L. latifolium L.), used in folk medicine as means of antibacterial, irritant, laxative, antitumor, analgesic, and anthelmintic action. …”
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  3. 143

    Characterization of the fungal genus Sphaerellopsis associated with rust fungi: species diversity, host-specificity, biogeography, and in-vitro mycoparasitic events of S. macroconi... by Paula Andrea Gómez-Zapata, Jorge Ronny Díaz-Valderrama, Samira Fatemi, Cristhian Orlando Ruiz-Castro, M. Catherine Aime

    Published 2024-07-01
    “…Our data indicate that Sphaerellopsis species are not host specific and furthermore that most species are cosmopolitan in distribution. However, S. paraphysata is more abundant in the tropics, and S. hakeae may be restricted to Australia. …”
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    Authority and Moral Conflicts in the Films of Adébáyọ Fálétí: Àfọ̀njá, Gáà, Ṣawo Ṣẹ̀gbẹ̀rì and the Yorùbá Cosmopolis by Olayinka Agbetuyi

    Published 2021-12-01
    “…The movies therefore take a reverse order to the chronology of writing and stage performance while Ṣawo Ṣẹ̀gbẹ̀rì, which was the first to be staged among the three, was not written for stage and television performance until it was script-written for film production.5 Àfọ̀njá, Gáà and Ṣawo Ṣẹgbẹ ̀ rì ̀ are each set in a cosmopolis where the Yorùbá citizens have to deal with other nationals in the context of Yorùbá mores within a broader cosmopolitan ethos. In Àfọ̀njá and Gáà that context is provided by the empire phase of Yorùbá civilization in which Yorùbá civilization was the dominant point of reference; in Ṣawo Ṣẹgbẹ ̀ rì ̀ the drama is situated in the context of postcolonial Nigerian city, in a nation that boasts large ethnic nationalities of which the Yorùbá are only one and in which Yorùbá culture is mediated by the postcolonial state with its symbol of the English language as the means of communication and its cultural spin offs. …”
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  7. 147