AIGIAssistant Inspector General for Investigations (US government)
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AIGIAssociation Internationale de Géologie de l'Ingénieur (French: International Association of Engineering Geology; est. 1964)
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References in periodicals archive ?
To cite but one, the snowflakes that in Aigi "exist without a source (or origin)," in English "have no background," as if the poet tried to determine their social status rather than wondered at a natural mystery.
For policing methods in the western borderlands, see Amir Weiner and Aigi Rahi-Tamm, "Getting to Know You: The Soviet Surveillance System, 1939-57," Kritika 13, 1 (2012): 5-45.
The personal attack on Gennadii Aigi, Russian aboriginal writer and a well-known representative of "traditional" avant-garde aesthetics, is similarly inappropriate.
The concert, titled Sofia Gubaidulina at Sixty-Five: "I am the Place Where East Meets West," featured Meditation on Bach's chorale "Before Thy Throne I Come, O Lord," for amplified harpsichord and five strings (1993); Seven Words, a seven-movement chamber concerto for cello, bayan, and string orchestra (1982); and Teper' vsegda snega (Now Always Snow), a five-movement work for chamber choir and ensemble written to poems by Gennady Aigi (1993).
(22) On the Cheka, see George Leggett, The Cheka: Lenin's Political Police (Oxford: Clarendon, 1981); Peter Holquist, "'Information Is the Alpha and Omega of Our Work': Bolshevik Surveillance in Its Pan-European Context," Journal of Modern History 69, 3 (1997): 415-50; Paul Gregory, Terror by Quota: State Security from Lenin to Stalin (New Haven: Yale University Press, 2009); Nikita Petrov, Pervyi predsedatel'KGB Ivan Serov (Moscow: Materik, 2005); and Amir Weiner and Aigi Rahi-Tamm, "Getting to Know You: The Soviet Surveillance System, 1939-57," Kritika 13, 1 (2012): 5-45.
aigi (NSg), aigiz/t (NPl); okiz 'full of holes (GSg)' vs.
Vaatlust Teise maailmasoja aegsetele ja sellele jirgnenud rinnetele alustab Aigi Rahi-Tamm.
Camera (color), Oleg Lukichev; editor, Ivan Lebedev; music, Alexei Aigi; production designer, Uliana Ryabova; costumes, Marina Ananieva; sound (Dolby Digital), Alexander Kopeikin.
On the investigatory process, see Juliette Denis, "Identifier les 'elements ennemis' en Lettonie: Une priorite dans le processus de resovietisation (1942-1945)," Cahiers du monde russe 49, 2 (2008): 297-318; Olaf Mertelsmann and Aigi Rahi-Tamm, "Cleansing and Compromise: The Estonian SSR in 1944-1945," Cahiers du monde russe 49, 2 (2008): 319-40; and Amir Weiner, Making Sense ofWar: The Second World War and the Fate of the Bolshevik Revolution (Princeton, NJ: Princeton University Press, 2002), 82-190.
From the Estonian perspective, Tiiu Jaago, Ene Koresaar and Aigi Rahi-Tamm have written, that "oral history in Estonian folkloristics is primarily characterised by the question of how folklore texts describe the mutual relations of the continuity and the changing of Estonian society and culture" (Jaago et al., 2006:6).