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El Abrazo, September - November1967
No full textEl Abrazo journal issue devoted to HemisFair '68. The cover relates to David Bowen's work in the planning for the 1968 World’s Fair and especially the Youth Pavilion. HemisFair ’68, was held from April to October 1968 in San Antonio
El Abrazo
No full textIssue of El Abrazo journal devoted to HemisFair '68. The issue cover depicts sailing ships on a blue ocean relating to David Bowen's work in the planning for the 1968 World’s Fair and especially the Youth Pavilion. HemisFair ’68, was held from April to October 1968 in San Antonio
Publication: The Children's '68/ Le '68 des enfants
No full textWe are pleased to announce the publication of our special bilingual issue of the journal Strenæ. Recherches sur les livres et objets culturels de l'enfance.entitled « Le ’68 des enfants / The Children’s ’68 », edited by Sophie Heywood and Cécile Boulaire. Le '68 des enfants / The Children's '68 Online editing by Diane Moussa Sophie Heywood Children’s 68: introduction [Texte intégral] Le ‘68 des enfants : introduction [Texte intégral | traduction] Olle Widhe Counter-indoctrinations: Rad..
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Understanding 1968: the case of Brest
No full textThis article examines the dominance of Paris in how May '68 has been portrayed over the years. It will be argued, through a case-study of the revolt in the Breton city of Brest, that the Paris-centred approach is one that belies the true nationwide aspect of May/June 1968. As one of a range of characteristics, the concentration on the Latin Quarter has helped mould what Kristin Ross has described as the 'official history' of 1968. An examination of how the events were played out within different regional contexts would go a long way towards helping overcome the shortcomings of the increasingly narrow portrayal that has come to dominate the stereotypical image of 1968
Gallium-68 cyclotron production
No full textA Ga-68 egy pozitronbomló radiofém izotóp, mely előnyös sugárfizikai tulajdonságai miatt egyre szélesebb teret nyer a pozitronemissziós tomográfiában. Ezt az onkológiában alkalmazott diagnosztikai-terápiás (teragnosztikai) módszerek iránti növekvő érdeklődés ösztönözte, ahol a diagnosztikai képalkotás alapja a gallium-68 tartalmú molekula, amelyet később terápiás radionukliddal, pl 90Y vagy 177Lu izotóppal jelöltek és használtak a sugárterápiás kezelések során. Bár a 68Ga elsődleges forrása jelenleg is a 68Ge/68Ga generátor, a 68Ge ellátás továbbra is nehézségekbe ütközik. A szakfordításom alapjául szolgáló kiadvány célja, hogy összefoglalja a 68Ga alternatív ciklotron alapú előállítását.hbkvegyészszakirányú továbbképzé
« Libre Examen 68 » de Luc de Heusch
No full textPrésentation du réalisateur précédant la projection du film « Libre Examen 68 » de Luc de Heusch, ULB, 2 mai 2018 dans le cadre du cycle « ULB engagée. Mai 68-mai 2018 ».info:eu-repo/semantics/nonPublishe
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
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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