1,723,254 research outputs found
Grand Omniscient (kun mkhyen chen po)
No full textDéfinition de l'expression Kun mkhyen chen po appliquée au patriarche Longchenpa (1308-1364
Grande Transparence (zang thal chen po)
No full textExplication de la notion de “Grande Transparence” (zang thal chen po) telle qu'elle est conçue dans le système de la Grande Perfection (rDzogs chen)
Grande Vacuité-Clarté (stong gsal chen po)
No full textDéfinition de la notion de “Grande Vacuité-Clarté” (stong gsal chen po) telle qu'on l'entend dans le système de la Grande Perfection (rDzogs chen)
°Uṣṇīṣasitātapatrā°-dhāraṇī (fragments) et Lha klu chen po rnams spyan drang pa (fragments)
No full textNumérisation effectuée à partir d'un document original : Pelliot Tibétain 28.Numérisation effectuée à partir d'un document de substitution : R 43806.°Uṣṇīṣasitātapatrā°-dhāraṇī et Lha klu chen po rnams spyan drang paFragments de l' °Uṣṇīṣasitātapatrā°-dhāraṇī et fin du Lha klu chen po rnams spyan drang p
Sur la tendance aux métaphores visuelle: aller voir lHa btsun chen po au Sikkim
No full textAlthough the biography and iconography of lHa btsun chen po nam mkha' 'jigs med (1597-1650 are usually well known in Sikkim, people are generally unaware that he is also the object of an important oral traditionfollowing the example of Guru Rinpoche's. Numerous accounts narrate by shamans, lamas and villagers enrich the historical actions and events surrounding lHa btsun's visit to Sikkim, of his encounters with the saints and heros of the past as well as his visions and prophecies. Using a number of accounts, the author attempts to analyse the anthropological role of lHa Btsun's..
Grand Transfert du Corps d’Arc-en-ciel (‘ja’ lus ‘pho ba chen po)
No full textDéfinition de la notion-clef de Grand Transfert du Corps d’Arc-en-ciel (‘ja’ lus ‘pho ba chen po), le signe indiquant la plus haute réalisation qu'il est possible d'obtenir en parcourant la Voie de la Grande Perfection
Tjan Tjoe Som [Tseng Tchou-chen] : Po hu t'ung. The comprehensive discussions in the White Tiger Hall, vol. 1.
No full textGernet Jacques. Tjan Tjoe Som [Tseng Tchou-chen] : Po hu t'ung. The comprehensive discussions in the White Tiger Hall, vol. 1.. In: Bulletin de l'Ecole française d'Extrême-Orient. Tome 45 N°2, 1952. pp. 594-595
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
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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