* Grzega, Joachim: „ Deutschländisch und Österreichisches Deutsch: Mehr Unterschiede als nur in Wortschatz und Aussprache .“ In: Joachim Grzega: Sprachwissenschaft ohne Fachchinesisch.

* Grzega, Joachim: “ On the Description of National Varieties: Examples from ( German and Austrian ) German and ( English and American ) English .” In: Linguistik Online 7 ( 2000 ).

Linguists who have been active in this field are Jennifer Jenkins, Barbara Seidlhofer, Christiane Meierkord and Joachim Grzega.

* Basic Global English, developed by Joachim Grzega

* Grzega, Joachim ( 2005 ), " Reflection on Concepts of English for Europe: British English, American English, Euro-English, Global English ", Journal for EuroLinguistiX 2: 44-64

* Grzega, Joachim ( 2005 ), “ Towards Global English via Basic Global English ( BGE ): Socioeconomic and Pedagogic Ideas for a European and Global Language ( with Didactic Examples for Native Speakers of German ), Journal for EuroLinguistiX 2: 65-164.

* English and General Historical Lexicology ( by Joachim Grzega and Marion Schöner

* wiki project in comparative pragmatics: European Communicative Strategies ( ECSTRA ) ( directed by Joachim Grzega )

Models that try to integrate borrowing in an overall classification of vocabulary change, or onomasiological change, have recently been proposed by Peter Koch ( 2002 ) and Joachim Grzega ( 2003, 2004 ).

* Grzega, Joachim ( 2004 ), Bezeichnungswandel: Wie, Warum, Wozu?

* wiki project in comparative politeness: European Communicative Strategies ( ECSTRA ) ( directed by Joachim Grzega )

* Basic Global English, developed by Joachim Grzega

But onomasiology has recently seen new light with the works of Dirk Geeraerts, Andreas Blank, Peter Koch and the periodical Onomasiology Online, which is published at the Katholische Universität Eichstätt-Ingolstadt by Joachim Grzega, Alfred Bammesberger and Marion Schöner.

* Grzega, Joachim ( 2004 ), Bezeichnungswandel: Wie, Warum, Wozu?

* Onomasiology Online ( academic journal, internet dictionary links, bibliography of onomasiological works and onomasiological sources, edited by Joachim Grzega, Alfred Bammesberger and Marion Schöner )

* free teaching materials: English and General Historical Lexicology ( by Joachim Grzega and Marion Schöner )

The internet platform EuroLinguistiX ( ELiX ) ( edited by Joachim Grzega ) offers a bibliography of Eurolinguistic publications as well as a wiki, a discussion forum, an academic internet journal in order to address also aspects of " linguistic and cultural history ", " sociology of languages ", " language politics " and " intercultural communication ".

In 2006, Joachim Grzega published a basic reader on common features of European languages.

* Joachim Grzega: EuroLinguistischer Parcours: Kernwissen zur europäischen Sprachkultur, Frankfurt: IKO 2006, ISBN 3-88939-796-4 ( most of the information presented here is a summary of this book — the book was positively reviewed by Norbert Reiter here and by Uwe Hinrichs here )

* Joachim Grzega: Europas Sprachen und Kulturen im Wandel der Zeit, Tübingen: Narr 2012.

* EuroLex-Wiki-project on European internationalisms, directed by Joachim Grzega

( Sources and further information for this section: Stephens 1976, Price 1998, Ahrens 2003, Grzega 2006 )

( Sources and further information for this section: Siguan 2002, Ahrens 2003, Grzega 2006 )

Grzega 2004 ):

The following alleged motives found in many works have been claimed ( with corresponding argumentation ) to be invalid by Grzega ( 2004 ): decrease in salience, reading errors, laziness, excessive phonetic shortness, difficult sound combinations, unclear stress patterns, cacophony.

* Grzega, Joachim / Schoener, Marion.

Art historian and the artist's great-grandson Joachim Pissarro notes that they “ professed a passionate disdain for the Salons and refused to exhibit at them .” Together they shared an “ almost militant resolution ” against the Salon, and through their later correspondences it is clear that their mutual admiration “ was based on a kinship of ethical as well as aesthetic concerns ”.

As Joachim Pissarro points out, “ Once such a die-hard Impressionist as Pissarro had turned his back on Impressionism, it was apparent that Impressionism had no chance of surviving.

Joachim Pissarro notes that virtually every reviewer who commented on Pissarro ’ s work noted “ his extraordinary capacity to change his art, revise his position and take on new challenges .” One critic writes:

His “ headstrong courage and a tenacity to undertake and sustain the career of an artist ”, writes Joachim Pissarro, was due to his “ lack of fear of the immediate repercussions ” of his stylistic decisions.

* Grab, Walter “ German Historians And The Trivialization Of Nazi Criminality: Critical Remarks On The Apologetics Of Joachim Fest, Ernst Nolte And Andreas Hillgruber ” pages 273 – 278 from Australian Journal of Politics and History, Volume 33, Issue # 3, 1987.

Only Joachim and the organist were credited in the script, which had the announcer give the credit “ with original music by Dick Ballou ”.

In his biography of Hitler, Kershaw presented him as the ultimate “ unperson ”; a boring, pedestrian man devoid of even the “ negative greatness ” attributed to him by Joachim Fest.

Kershaw finds the picture of Hitler as a “ mountebank ” ( opportunistic adventurer ) in Alan Bullock's biography unsatisfactory, and Joachim Fest's quest to determine how " great " Hitler was senseless.

In October 1986, Hans Mommsen wrote that Stürmer's assertion that he who controls the past also controls the future, his work as a co-editor with the Frankfurter Allgemeine Zeitung newspaper which had been publishing articles by Ernst Nolte and Joachim Fest denying the “ singularity ” of the Holocaust, and his work as an advisor to Chancellor Kohl should cause " concern " among historians.

In the same essay, Mommsen argued that Stürmer's assertion that he who controls the past also controls the future, his work as a co-editor with the Frankfurter Allgemeine Zeitung newspaper which had been publishing articles by Ernst Nolte and Joachim Fest denying the “ singularity ” of the Holcaust, and his work as an advisor to Chancellor Kohl should cause " concern " with historians.

The ones that are signed read: ( Opus ) Joachim D. Patinier, the “ D ” in his signature signifying Dionantensis (“ of Dinant ”), which may attest to his provenance from this town.

A further Egyptian tale beside the Famine Stela about a long-lasting drought appears in the so-called “ Book of the Temple ”, translated by German Demotist Joachim Friedrich Quack.

The Auld Boat Hoose, or “ bottom shop ” in River Road, opposite the spot where a boat would ferry people across the Clyde from the Cambuslang side, the Banks Bar, on the site of the first St. Joachim ’ s Church, and the Auld Hoose, or “ tap shop ”, round the corner, a few hundred yards up Carmyle Avenue.

Bruch was unhappy with Joachim ’ s performance, describing him as having “ ruined ’ the work.

als: Joachim Heer

* Joachim Dietze: August Schleicher als Slawist.

als: Joachim von Watt

als: Joachim

Joachim Heinrich Campes Verdeutschungsprogramm als Voraussetzung für Gesellschaftsveränderungen.