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Quaestionum Controversarum Decas Quarta
No full textQuam ... Sub Praesidio ... Dn. Valentini Guil. Forsteri I.U.D. & in celeberrima Wittebergensium Academia Professoris Publ. ... Publice discutiendam proponit Hermannus Braudtlacht Lemgov. Westphalus ... ad diem 26. Nov.Auch in: Forster, Valentin Wilhelm: Collegium Witebergense publicum Ad Institutiones Iuris. - 1615Vorlageform des Erscheinungsvermerks: Witebergae, Excusa typis Johannis Richteri, Anno 161
Libri primi Institutionum Disputatio Quarta. De Tutelis : Ex tit. 13. cum 9. seqq. decerpta / Cuius positiones compilavit, & ... Sub Praesidio ... Dn. Valentini Guilielmi Forsteri ... prid. Kal. April. ... collegis suis ventilandas proposuit Jacobus Beccius ...
No full textCenturia conclusionum De Nuptiis / Quam D.O.M.A. Praeside Valentino Guilielmo Forsteri IC. Fil. U.I.D. In Illustri Iulia defendendam suscepit. Christophorus Ludovicus Rasca Parthenopolitanus Saxo
No full textAd Octo hasce à se conscriptas decadas positionum De Divisione Rerum, Et Earum Acquirendo Dominio / Praeside ... Dn. Valentino Guilielmo, Forsteri ICti filio, U.I.D. pro ingenii viribus respondebit. Henning vom Kalen. Rug. Habebitur disputatio in Illustri Iuliâ ad diem 20. Aprilis ...
No full textVALENTINI || FORSTERI || IVRISCONSVLTI || CLARISSIMI,|| DE || HAEREDITATIBVS QVAE AB INTESTATO || DEFERVNTVR, LIBRI NOVEM.|| IN QVIBVS EA QVAE AD SVCCESSIONVM AB || INTESTATO MATERIAM PERTINENT,|| PLENE TRACTANTVR.|| Adiecta sunt Summaria. Indices#́[que] tam Argomentorum seu Capitum,|| quàm Rerum et verborum, locupletißimi.|| Seorsum excusi,|| De Historia Iuris Cuilis Romani, eiusdem || Authoris, Libri tres.||
No full textVorlageform des Erscheinungsvermerks: COLONIAE AGRIPPINAE,|| Apud Ioannem Gymnicum, sub Monocerote.|| Anno M.D.XCIIII.||Forster, Valentin: De historia iuris civilis Romani. (VD16 F 1910
Ioannis Corasii iureconsulti clarissimi, primum in praecipuis sex academiis Galliae et Italiae, Andegavi, Aureliis, Lutetiae Parisiorum, Tolosae, Valentiae Allobrogum et Ferrariae professoris publici celeberrimi ... Opera quae haberi possunt omnia
No full textObra perteneciente al Fondo Antiguo de la Biblioteca de la USA
Valentini Forsteri ... De historia iuris romani libri tres
No full textObra perteneciente al Fondo Antiguo de la Biblioteca de la USA
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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