1,358,405 research outputs found
A Measurement of the ratio of the nucleon structure function in copper and deuterium
No full textAshman J, Badelek B, Baum G, et al. A measurement of the ratio of the nucleon structure function in copper and deuterium. Z.Phys. C. 1993;57(2):211-218
Miguel Domínguez
No full textI.O. En el anverso: "Miguel Domínguez", "ADRIÁN/ 89". Pertenece a la serie: Zapatistas. Adrián Bodek: V.F. 868562
La foto de Chen
No full textI.O. En el anverso: "La foto de Chen", "ADRIAN /02". Pertenece a la serie: Las Cuatro Estaciones. Adrián Bodek Stavengahen, V.F. 868562
Comparison of forward hadrons produced in muon interactions on nuclear targets and deuterium
No full textAshman J, Badelek B, Baum G, et al. Comparison of forward hadrons produced in muon interactions on nuclear targets and deuterium. Z.Phys. C. 1991;52(1):1-11
La Calaca
No full textEn la guarda se lee: "CONSEJO MEXICANO DE FOTOGRAFIA Adrian Bodek. La Calaca. 1980 93/99 México, D.F." I.O. En la parte inferior: "La Calaca 1980 Adrian Bodek". I.O. Al reverso: "ADRIAN BODEK LA CALACA MEXICO D.F. 1980 29.2 X 19.3 cm". Nació en la ciudad de México en 1953. Su iniciación artistíca la hizo en el núcleo familiar, pues su abuelo Kurt Stavenhagen fue un apasionado coleccionista de arte, sobretodo prehispánico. En 1973 hizo estudios de fotografía comercial en la Germain School of Photography, de fotografía en el taller de Harold Feisten. Entre 1974 y 1985, en México, completo su formación en el Centro Universitario de Estudios Cinematográficos de la UNAM y en el Consejo Méxicano de la Fotografía, en el cual estuvo a su cargo el taller con cámaras de formato grande. Ha tenido cinco exposiciones individuales en México entre 1891 y 1989. 37 son las muestras colectivas en las que ha participado desde 1978 a 1992, en México, Italia, Cuba, Brasil, Francia, Suecia, Alemania, etc. Ha recibido mención en la Bienal de Fotografía del INBA (1984), se le otorgó el Excellent Work Prize en la International Exhibition of Photography Art de Taiwán (1992). Su trabajo se caracteriza por secuencias, entre las que han destacado la de los comerciantes en pequeño, los ancianos hospitalizados, los artesanos en la superpoblada ciudad de México, los obreros de la industria que se expande en el marco del subdesarrollo , los enfermos de la vista que asisten al Hospital Oftalmológico Nuestra Señora de la Luz. Véase: 13 x 10 La Escritura Fotógrafos Mexicanos, pp.30. Depuró: Ariadna Herrera R., 6 de octubre de 2009
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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