1,781,942 research outputs found
سليماني (MS 418); پندنامه (MS 419)
No full textBirbirinden farklı 2 adet yazmanın bir araya getirilmesiyle oluşturulmuş ve ciltlenmiş bir eserdir (Yazma numaraları : MS 418, MS 419). Yapılan inceleme sonucu ilk yazma MS 418'in tek ve özgün nüsha olduğu tespit edilmiştir. MS 418 : 1a’da Çorum Muzaffer Paşa medresesi müderrislerinden Müftüzade İbrahim Nuri (Benekli Hoca)’ye ait temlik kaydı ve mühür. Kenarlarda: 1b: Azbi’nin Niyazi-i Mısri’nin gazelini tahmisi, 2a-b: Halvetî’den bir şiir; 2b-4b: “nakl min-Gülistan” başlıklı Türkçe mesnevi nazım biçiminde manzume; 5a: Halvetî’den şiirler; 5b-9a: Sûzî’den şiirler. Eserin sonunda 39b-41b’de Sûzî Efendi’nin Pend-nâmesi vardır (bkz. 256/II). Şemsî’nin kaleminden çıkan metin aslında 27a’da son bulmuş eser yarım kalmıştır. Fakat elindeki yarım nüshayı başka bir nüshadan tamamlayamayan Ahmed Sûzî Efendi 1230 yılında eksiği kendi yazarak tamamlama yoluna gitmiş, bu durumu sebepleriyle beraber 27b-28a arasında ayrıntılarıyla aktarmıştır. Dolayısıyla eserin 27a-39a varakları arasındaki kısmı Sûzî Efendi’ye aittir ve bu açıdan özgün bir nüshadır. MS 419 : Eser mesnevi nazım biçimiy
Trykk 419
No full text419 med tittel: Forskrifter for fordeling av godsvogner, beholdere og presenninge
Compression at 2.4 kbar and alkaline pH promote solubilization of N122-419-IB.
No full textSuspensions of N122-419-IB were subjected to 2.4 kbar for 90 min or to 1 bar for 4 h. A, SDS-PAGE of N122-419-IB; B, Light scattering (LS) vs pH. Values are expressed as LS mean ± SD. The LS value, obtained for the suspension at a pH 7.0 at 1 bar was considered to be 100%. Each condition was analyzed in duplicate; C, SDS-PAGE of fractions of N122-419-IB that were solubilized at different pH; D, SDS-PAGE of N122-419-IB (IB) and refolded N122-419 (R). All samples were reduced. The results are representative of 2 independent assays.</p
Bulletin No. 419 - Field Key to the Sedges of Wyoming
No full textBulletin No. 419 - Field Key to the Sedges of Wyomin
Ritual text for the royal substitution - CTH 419
No full textNotes on the ritual text for the royal substitution based on the tablet concordances listed in the CTH 419. Emmanuel Laroche translated this text as "Rituel de substitution royale,” and classified the concordance in the category of Anatolian magic in ritual texts (Catalogue des textes Hittites, No. 419).Paper (1 sheet
Ritual text for the royal substitution - CTH 419
No full textNotes on the ritual text for the royal substitution based on the tablet concordances listed in the CTH 419. Emmanuel Laroche translated this text as "Rituel de substitution royale,” and classified the concordance in the category of Anatolian magic in ritual texts (Catalogue des textes Hittites, No. 419).Paper (1 sheet
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe 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
Variations on the Author
No full text“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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