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John Georg or George Oveson Vanebo was born 5 January 1882 on the farm Vanebo in Norway. His parents were Ove Gunnerius Isaksen Vanebo and Iverine Gunhilde Oldsdtr (1862-1918). He emigrated in 1901 and settled in Arizona. He married Anna Elina Sten (1896-1968) 8 July 1918. They had three children. John George died in 1967. Descendants and relatives lived mainly in Arizona, California and Oregon.
Polar law describes the normative frameworks that govern the relationships between humans, States, Peoples, institutions, land and resources in the Arctic and the Antarctic. These two regions are superficially similar in terms of natural environmental conditions but the overarching frameworks that apply are fundamentally different. The Routledge Handbook of Polar Law explores the legal orders in the Arctic and Antarctic in a comparative perspective, identifying similarities as well as differences. It points to a distinct discipline of "Polar law" as the body of rules governing actors, spaces and institutions at the Poles. Four main features define the collection: the Arctic-Antarctic interfa...
Derived from the renowned multi-volume International Encyclopaedia of Laws, this book provides ready access to legislation and practice concerning the environment in Norway. A general introduction covers geographic considerations, political, social and cultural aspects of environmental study, the sources and principles of environmental law, environmental legislation, and the role of public authorities. The main body of the book deals first with laws aimed directly at protecting the environment from pollution in specific areas such as air, water, waste, soil, noise, and radiation. Then, a section on nature and conservation management covers protection of natural and cultural resources such as...
The first English language discussion of the life and music of this twentieth century Norwegian composer. The Norwegian composer Ludvig Irgens-Jensen (1894-1969) was one of the towering creative figures of his native land, although his dignified and powerful music does not receive the attention its quality deserves, either at home orabroad. The success of his dramatic symphony Heimferd (Homecoming) in 1930 brought him national fame, but the post-War triumph of modernism, coupled with his personal modesty, pushed Irgens-Jensen's tonal music into the shadows: its contrapuntally based textures and its modally tinged harmonies were seen as things of the past. But a growing number of recordings i...