Topical and transdermal botanical formulations of the Chinese pharmacopoeia—a review by Gu, Jingyi, Lane, Majella E., Sil dos Santos, Bruno, Heinrich, Michael

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50 Years of quantum chromodynamics by Gross, Franz, Klempt, Eberhard, Brodsky, Stanley J., Buras, Andrzej J., Burkert, Volker D., Heinrich, Gudrun, Jakobs, Karl, Meyer, Curtis A., Orginos, Kostas, Strickland, Michael, Stachel, Johanna, Zanderighi, Giulia, Brambilla, Nora, Braun-Munzinger, Peter, Britzger, Daniel, Capstick, Simon, Cohen, Tom, Crede, Volker, Constantinou, Martha, Davies, Christine, Del Debbio, Luigi, Denig, Achim, DeTar, Carleton, Deur, Alexandre, Dokshitzer, Yuri, Dosch, Hans Günter, Dudek, Jozef, Dunford, Monica, Epelbaum, Evgeny, Escobedo, Miguel A., Fritzsch, Harald, Fukushima, Kenji, Gambino, Paolo, Gillberg, Dag, Gottlieb, Steven, Grafstrom, Per, Grazzini, Massimiliano, Grube, Boris, Guskov, Alexey, Iijima, Toru, Ji, Xiangdong, Karsch, Frithjof, Kluth, Stefan, Kogut, John B., Krauss, Frank, Kumano, Shunzo, Leinweber, Derek, Leutwyler, Heinrich, Li, Hai-Bo, Li, Yang, Malaescu, Bogdan, Mariotti, Chiara, Maris, Pieter, Marzani, Simone, Melnitchouk, Wally, Messchendorp, Johan, Meyer, Harvey, Mitchell, Ryan Edward, Mondal, Chandan, Nerling, Frank, Neubert, Sebastian, Pappagallo, Marco, Pastore, Saori, Peláez, José R., Puckett, Andrew, Qiu, Jianwei, Rabbertz, Klaus, Ramos, Alberto, Rossi, Patrizia, Rustamov, Anar, Schäfer, Andreas, Scherer, Stefan, Schindler, Matthias, Schramm, Steven, Shifman, Mikhail, Shuryak, Edward, Sjöstrand, Torbjörn, Sterman, George, Stewart, Iain W., Stroth, Joachim, Swanson, Eric, de Téramond, Guy F., Thoma, Ulrike, Vairo, Antonio, van Dyk, Danny, Vary, James, Virto, Javier, Vos, Marcel, Weiss, Christian, Wobisch, Markus, Wu, Sau Lan, Young, Christopher, Yuan, Feng, Zhao, Xingbo, Zhou, Xiaorong

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Thomas Kling: influences, contemporaries, successors. A study in poetic tradition / Thomas Kling: Einflüsse, Zeitgenossen, Nachfolger. Studie über poetische Tradition by Rakar, I

“…Friederike Mayröcker, Ernst Jandl and H.C. Artmann can be seen as points of orientation for Kling’s development of the montage technique, his work as a poet-performer and his drawing on older poetic traditions. …”