Gustav Jacob Born - Published Works

Published Works

  • Ueber das Extremitätenskelett der Amphibien und Reptilien;
  • Ueber die Nasenhöhle und den Thränennasengang bei Allen Wirbelthïeren von den Amphibien Aufwärts (this series of articles is published in Carl Gegenbauer's Morphologisches Jahrbuch, vols. i.-vii.);
  • Beiträge zur Entwicklungsgeschichte des Säugethierherzens, in Archiv für Mikroscopische Anatomie, vol. xxxii.;
  • Ueber die Derivate der Embryologischen Schlundbögen und Schlundspalten bei Säugethieren, ib. 1883;
  • Beiträge zur Bastardirung Zwischen den Einheimischen Ameisenarten, in Pflüger's "Archiv für die Gesammte Physiologie," 1883;
  • "Biologische Untersuchungen," part 1: "Ueber den Einfluss der Schwere auf das Froschei," in "Archiv für Mikroscopische Anatomie," 1885;
  • "Biologische Untersuchungen," part 2; "Weitere Beiträge zur Bastardirung Zwischen den Einheimischen Ameisen," ib. 1886;
  • "Ueber Druckversuche an Froscheiern," in "Anatomischer Anzeiger", 1893, viii,. Nos. 18, 19.
  • "Ueber Verwachsungs-Versuche mit Amphibienlarven," Leipzig, 1897

Read more about this topic:  Gustav Jacob Born

Famous quotes containing the words published works, published and/or works:

    Literature that is not the breath of contemporary society, that dares not transmit the pains and fears of that society, that does not warn in time against threatening moral and social dangers—such literature does not deserve the name of literature; it is only a façade. Such literature loses the confidence of its own people, and its published works are used as wastepaper instead of being read.
    Alexander Solzhenitsyn (b. 1918)

    Until the Women’s Movement, it was commonplace to be told by an editor that he’d like to publish more of my poems, but he’d already published one by a woman that month ... this attitude was the rule rather than the exception, until the mid-sixties. Highest compliment was to be told, “You write like a man.”
    Maxine Kumin (b. 1925)

    Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.
    Thomas Mann (1875–1955)