1,737,955 research outputs found
TOI-1136 is a Young, Coplanar, Aligned Planetary System in a Pristine Resonant Chain
Full text linkConvergent disk migration has long been suspected to be responsible for forming planetary systems with a chain of mean-motion resonances (MMRs). Dynamical evolution over time could disrupt the delicate resonant configuration. We present TOI-1136, a 700 ± 150 Myr old G star hosting at least six transiting planets between ?2 and 5 R ?. The orbital period ratios deviate from exact commensurability by only 10?4, smaller than the ?10?2 deviations seen in typical Kepler near-resonant systems. A transit-timing analysis measured the masses of the planets (3-8M ?) and demonstrated that the planets in TOI-1136 are in true resonances with librating resonant angles. Based on a Rossiter-McLaughlin measurement of planet d, the star’s rotation appears to be aligned with the planetary orbital planes. The well-aligned planetary system and the lack of a detected binary companion together suggest that TOI-1136's resonant chain formed in an isolated, quiescent disk with no stellar flyby, disk warp, or significant axial asymmetry. With period ratios near 3:2, 2:1, 3:2, 7:5, and 3:2, TOI-1136 is the first known resonant chain involving a second-order MMR (7:5) between two first-order MMRs. The formation of the delicate 7:5 resonance places strong constraints on the system’s migration history. Short-scale (starting from ?0.1 au) Type-I migration with an inner disk edge is most consistent with the formation of TOI-1136. A low disk surface density (?1 au ? 103g cm?2; lower than the minimum-mass solar nebula) and the resultant slower migration rate likely facilitated the formation of the 7:5 second-order MMR. © 2023. The Author(s). Published by the American Astronomical Society
Летописное сообщение 1136 г. и становление новгородской независимости
Full text linkThe author of the article gives a detailed analysis of the entry of 1136 of the Novgorod First Chronicle. The chronicle describes how the Novgorodians assembled for a veche and made a crucial political decision—they banished the prince Vsevolod, brother of the ruling Kievan prince, and invited the prince Svyatoslav, who belonged to the competing clan of the Chernigov Riurikids. The author concludes that the entry was composed by two chroniclers—one who had worked under the Vsevolod’s rule, and the other one who continued working on the chronicle under the patronage of the Novgorod bishop Nifont since 1136. Based on the textual critics, the author explains several historical facts anew. He joins the opinion that the substitution of the princes in 1136 was indeed a milestone in formation of the republican system in medieval Novgorod. However, he shows that the break of Novgorod from Kiev turned out to be a complicated and painful experience. Bishop Nifont played a crucial role in the events of 1136 in Novgorod.DOI: 10.31168/2305-6754.2021.11.2.2Автор статьи подробно анализирует сообщение Новгородской 1-й летописи 1136 г. В летописи описывается, как новгородцы, собравшись на вече, изгнали князя Всеволода, брата тогдашнего киевского князя, и пригласили князя Святослава из конкурирующего клана черниговских Рюриковичей. Автор приходит к выводу, что летописное сообщение писали два автора — один летописец, который работал еще при князе Всеволоде, и его преемник, который продолжил новгородскую летопись уже под покровительством новгородского епископа Нифонта. Текстологический анализ известия позволяет уточнить некоторые факты, важные с исторической точки зрения. Автор присоединяется к тем историкам, которые считают перемену князей, состоявшуюся в 1136 г., важным шагом на пути формирования республиканского строя в Новгороде. Он показывает вместе с тем, что разрыв с Киевом оказался сложной и болезненной процедурой для новгородцев. Важную роль в событиях 1136 г. сыграл епископ Нифонт.DOI: 10.31168/2305-6754.2021.11.2.
EC58-1136 Wall Accessories
Full text linkExtension Circular 58-1136: This is selecting wall accessories, placing for enjoyment, grouping, and hanging the wall accessories
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Duchesse d'Albe
No full text1 score (329 p.)Ms. held in the Historisches Archiv der Stadt Koln, ms. no. 1136/1506 Score is incomplete and includes numbers identified as 1, 5-7, 13, 18, 27-3
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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