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Grammar [898]
No full textGrammar.
This manuscript is now IO Islamic B11 in the India Office collections.
[metadata: Otto Loth, A Catalogue of the Arabic Manuscripts in the Library of the India Office, (volume 1), no. 898 here with further notations and hyperlinks].
898.
B 11. Size 93/4 in. by 51/2 in.; foll. 352. Twenty-one lines in a page.
Another Commentary (ممزوج) on the Lubâb. The author is not mentioned.
It begins, without a preface: قال الاستاذ المحقّق و الامام المدقّق تاج الملة والدين .. الاسفرائنى احمد الحمد هو الوصف بالجميل على جهة التعظيم قال الامام فخرالدين الرازی قد يمدح الؤلؤ لحسن شكله الخ.
Well written. Frequent notes in the earlier portion. Imperfect at the end. The last few leaves are much worm-eaten. The beginning is also injured.
On the title-page is a fine square ornament, containing the inscription, according to which the MS. was captured at Muḥammadâbâd-Bîdar, and became part of the library of Ibrâhîm ‘Âdil Shâh (II.), A.H. 1027. The seal of the latter, bearing the inscription عناية الازليّة كفاية الابديّة , is impressed on the first page.
Cat. 235, xviii
L'affidamento dei minori nella L. 1° dicembre 1970 n. 898
No full textL'elaborato commenta l'art. 6, l. 898/'70 e successive modifiche, nella parte che disciplina l'affidamento dei figli in sede di scioglimento del matrimonio e prende in esame i rapporti con i criteri dell'affidamento introdotti dalla l. n. 54/'06, sull'affidamento condiviso dei figli minori
The Canterville ghost [897/898]
No full textTHE CANTERVILLE GHOST [897/898]
The Canterville ghost [897/898] ( - )
Cover ( - )
Richtig lesen! ( - )
Title page ([1])
Imprint ([2])
Zur Methodik der Zwei-Sprachen-Bücher. ([3])
Oscar Wilde. (5)
The Canterville Ghost. Der Geist von Canterville ([7])
I. ([8])
II. (20)
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IV. (46)
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Advertising (95)
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Fullgrabe, R W, 4/898
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/428001Surname: Fullgrabe. Given Name(s) or Initials: R W. Military Service Number or Last Known Location: 4/898. Prisoner of War Enquiry Card Index Number: K.507. Division Enquiry: BCOF. SA. Rank: SSGT. Unit: RAAMC, Japan326758
Item: [2016.0049.60263] "Fullgrabe, R W, 4/898
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
« Tosŏn » (道詵; 827-898)
No full textTosŏn (道詵; 827–898) was a monk from the Unified Silla period (661–935) who belonged to the Sŏn (禪) school
Variations on the Author
Get PDF“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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