1,721,776 research outputs found
De wereld in 18 lessen: Christopher Williams
No full textHij is een echte artist’s artist, de conceptuele fotograaf Christopher Williams. Sinds hij in Duitsland woont en werkt, vindt zijn afgewogen werk, dat de fotografie tegelijk eert en ondervraagt, steeds makkelijker onderdak in Europese kunstinstituten, zoals dit voorjaar bij Museum Dhondt-Dhaenens in het Belgische Deurle
The world in eighteen lessons: Christopher Williams
No full textConceptual photographer Christopher Williams is a real artist's artist. Ever since he moved to Germany, his measured work, which both reveres and examines the art of photography, has more and more easily found its way into European art institutes, such as this spring at Museum Dhondt-Dhaenens in Deurle, Belgium
In Loving Memory of The Late Brother John Christopher Williams, Jr.
No full textFuneral program for Brother John Christopher Williams Jr., born June 12, 1920. The funeral was held April 12, 1984 at the New Mount Pleasant Baptist Church, officiated by Reverend J. Carlton Allen. Funeral arrangements were made through the Lewis Funeral Home, and he was buried in Eastview Cemetery in San Antonio, Texas
Review of \u3cem\u3eAids in Post-communist Russia and its Successor States.\u3c/em\u3e Christopher Williams. Reviewed by Ronald J. Mancoske, Southern University at New Orleans.
Get PDFChristopher Williams, AIDS in Post-Communist Russia and its Successor States. Brookfield, VT: Ashgate Publishing Co., 1995, hardcover
In Memoriam. Mark Christopher Williams: 17 April 1950 - 10 September 2023
No full textArticle originally published in VetNews, November 2023 (p28), the monthly magazine of the South African Veterinary AssociationMark Christopher Williams is remembered by family and friends as a passionate butterfly fundi spending a great part of his life in the field, netting butterflies. This veterinary pathologist had a lust for life admired by many and during his last years, battling with myasthenia gravis, he kept on inspiring those around him.ab202
Why we need (good) leaders: a parental analogy - the case for caring leadership
No full textIn our journey through life, we literally do place our lives in the hands of our leaders in all parts of our lives, writes Christopher Williams, starting with our parents and other leaders in our family groups, then the circle widens moving to our teachers and other school leaders, then wider still to encompass our employers, mentors, politicians, religious and community leaders, and so on. In every case, the hallmark of the leader should be care, care for those individuals and groups they have responsibility for
"Cronica der Turckey" Sebastian Franck's Translation of the "Tractatus de Moribus, Condicionibus et Nequitia Turcorum" by Georgius de Hungaria
Get PDFThe Tractatus de moribus, condicionibus et nequitia Turcorum is one of the most important first-hand accounts of life in fifteenth-century Turkey known to modern scholarship. It is the work of a Christian former slave of the Turks, writing after his return to the West. Although the author does not name himself, he can be identified as a
Dominican priest, Georgius de Hungaria, who died in Rome in 1502. His Tractatus is conceived as a work of anti-Islamic polemic, yet it contains a surprisingly unbiased appraisal of Turkish customs.
First printed c.1480 when European apprehension in the face of Ottoman expansion was at its height, the Tractatus was reprinted in numerous editions, and was widely used as a
source by other authors. Luther edited the text in 1530, using the positive account of Turkish customs and religious observance as a weapon in his polemic against the Roman
Catholic Church: if heathens could perform such exemplary works, who could fail to doubt the efficacy of works as a means of salvation?
Sebastian Franck in his German translation of the Tractatus went further: replacing Georgius' commentary with his own, he used the text to attack institutional religion as a
whole and to promote his concept of a non-dogmatic, spiritual Church of individuals united with each other only through their union with God -a Church which was not closed to Moslems or members of any other creed. This translation or adaptation, the Cronica der Türckey, marks Franck's decisive break with the Lutheran cause and the beginning of his lonely path as a 'spiritual individualist'. Franck reworked his translation of the Tractatus for his major geographical work, the Weltbuch of 1534.
This thesis concerns itself primarily with Franck's Cronica, providing the first modern critical edition of this text, in a near-diplomatic transcription with an extensive glossary. The thesis also includes transcriptions of the Tractatus; of Türckei, an anonymous translation of the Tractatus, and of relevant additional material from Franck's Weltbuch. None of these texts has been published in full in a modern edition.
In the Introduction Franck's Cronica is compared in detail with the Tractatus, highlighting the changes that occur in translation; the character and the significance of these changes are then discussed. It is established that Franck, whilst being unwilling to reverse any of Georgius' value judgements on Islam and Turkish culture, is highly selective in his choice of material for translation, and frequently gives the text new nuances and adds his own
comment. The question of the Tractatus' influence on Franck's further development as a writer and thinker is also raised.
The investigation then turns to Franck's use of the Tractatus material in his Weltbuch. His eclecticism becomes apparent in this text, in which Georgius' account is juxtaposed - but not synthesised - with material from other sources, often of lesser veracity and greater anti-Islamic bias. Franck's distortion of the Tractatus material to suit his own line of argument is clearly discernible: from the unique phenomenon presented in the Tractatus the Turks
become one more example of the general human tendency to externalise and dogmatise faith.
In addition, the transmission of Cronica and Türckei is examined, and the relationship between these two translations is clarified: Franck certainly used Türckei in writing his Cronica, but is unlikely to be the author of the anonymous work
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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