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§§ 2265-2302
No full text§§ 2265-2302. - In: J. von Staudingers Kommentar zum Bürgerlichen Gesetzbuch mit Einführungsgesetz und Nebengesetzen. - 13. Bearb. - Berlin : Sellier [u.a.]. - Buch 5. Erbrecht, §§ 2265-2338a. - 1998. - S. 1-32
2265. Gervasius Cantuariensis, sive Dorobernensis
No full text2265. Gervasius Cantuariensis, sive Dorobernensis. In: Molinier Auguste. Les Sources de l'histoire de France - Des origines aux guerres d'Italie (1494). III. Les Capétiens, 1180-1328. Paris : A. Picard et fils, 1903. pp. 14-15
[IO Islamic 2265] مخزن الاسرار
No full textMakhzan-alasrâr.
This manuscript is now IO Islamic 992 in the India Office collections.
[metadata: Hermann Ethé, Catalogue of Persian Manuscripts in the Library of the India Office, 2 vols. (Oxford: India Office, 1903): volume 1, number 2265 here with notations and hyperlinks].
992
The same.
This copy, which is dated A.H. 1017 (A.D. 1608, 1609), by Ghulâm Muḥammad Fâḍil ibn Fâḍil Badakhshî, abounds in marginal and interlinear glosses and explanations to such an extent that the text in many places becomes almost unreadable on account of the bewildering amount of notes. It contains the usual twenty maḳâlas, and begins (with a transposition of the hemistichs in the initial bait):
هست كليد در گنج حكيم – بسم الله الخ
College of Fort William, 1825.
No. 2265, ff. 77, coll., each ll. 15; Nasta’lîḳ; size, 87/8 in. by 51/4 in
Block Card 2265 Kneer Drive
No full textThis image was produced by the Auditor's Office in Lucas County, Ohio for tax assessment purposes. Associated dates are approximate. Descriptive terms related to this photograph include: 2265 Kneer Drive (Toledo, Ohio) | Heatherwoods (Toledo, Ohio) | South Toledo Area (Toledo, Ohio) | Split-Level Style | Dwellin
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
Block Card 2265 Forrer Street
No full textThis image was produced by the Auditor's Office in Lucas County, Ohio for tax assessment purposes. Associated dates are approximate. Descriptive terms related to this photograph include: Folk House Style | 2265 Forrer Street (Toledo, Ohio) | Dwelling | Morfoot's Addition (Toledo, Ohio) | Scott Park Area (Toledo, Ohio) | Gable front house
Characteristics of the spectra concerning MS 2265 and AG 3982.
No full text<p>Characteristics of the spectra concerning MS 2265 and AG 3982.</p
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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