1,721,457 research outputs found
Lettre du premier ministre du roi de Siam à un jésuite en 1687.
No full textGouget Alexandre. Lettre du premier ministre du roi de Siam à un jésuite en 1687.. In: Bibliothèque de l'école des chartes. 1861, tome 22. pp. 518-527
Mémoire sur le lieu de la bataille livrée avant le siège d’Alesia
No full textGouget Gustave. Mémoire sur le lieu de la bataille livrée avant le siège d’Alesia. In: Mémoires présentés par divers savants à l'Académie des inscriptions et belles-lettres de l'Institut de France. Première série, Sujets divers d'érudition. Tome 6, 2e partie, 1864. pp. 203-260
Atlas-manuel d'histologie pathologique / Hermann Durck ; édition française par Gouget
No full textCollection : Atlas-manuels de médecine coloriésCollection : Atlas-manuels de médecine coloriésContient une table des matièresAvec mode texteOuvrages de référenc
Fables de La Fontaine Edition Taille-Douce, Tomes 1er/2eme
No full textPartial copy of Bodemann #279.1. This large-format book first appeared in sixty-three separate parts. There should be 246 half-page illustrations. The first of them is a bust of La Fontaine set into a pastoral scene including mother and child as well as a dog and some sheep. Apparently the notice on the life of La Fontaine below this illustration stems from Walckenaer. That page is present, as are the two title-pages and the two table-of-contents pages. When one opens this book, one experiences some confusion. The first confusion comes from the nature of the table of contents for each of the volumes. The T of C in each case arranges the fables by La Fontaine's books, but the order it uses within the book is alphabetical. The order in which the fables actually should occur is, I gather, La Fontaine's order. I write I gather because of the second confusion. Much of this book is missing, and what is here is not well ordered. One opens the first volume to page 64 and MSA! Its two pages are followed by 43 (BC) and 46 (SW). Succeeding pages in the (mostly lacking) first volume are 49, 56, 3 (4 pages), 53, 28 (bis), 37 (bis), 39 (bis), 45, 43, and 41. I do not know whether to be angry or to be delighted that I found a weird copy of the book! The illustration styles are quite varied. I am taken with the dog's inactivity while the wolf kills the ass on 56. The Wolf and the Fox (41) makes a good presentation of a traditional visual theme. Of the human scenes, The Fool Who Sells Wisdom may be the most active (53). The second half seems more complete but is still disorganized. There is a wondrously vigorous bear about to smash the fly above his friend on one of the several page 44's. The Animal in the Moon (53) is well presented here. It seems that most pages from 37 through 64 are here with the exception of 39, 42, and 49. In many cases, different pages--up to four of them--have the same number. The organizing motif intended by the publisher may have been the indications at the end of each fable showing its book and number. As Bodemann notes, the illustrations often follow Oudry. There is a good deal of repair evident in the book. Its spine is weak.This is a hardbound book (hard cover)Language note: FrenchWalckenae
Fables de La Fontaine: Edition Taille-Douce, Tome 2
No full textBodemann's descriptions, done by Metzner, are helpful. The 245 half-page illustrations of fables in the two volumes are in part after Oudry, but with different interpretations of the figures. Menschen grob in zeitgenössisch bürgerlicher Kleidung. Notice the unusual women's hairdos! Tiere oft maniriert; meist vor romantischen Naturlandschaften oder schlichtem Interieur im Stil der Zeit. It first appeared in 63 separate installments; the resulting unsystematische Folierung means that page numbers are deceiving. The copper plate engravings seem monumental, to be sure, but, after Oudry and Bewick, they seem a bit off, a strange combination of high detail and cartoon. Among Gouget's best efforts in this second volume might be The Priest and the Dead Man (VII 11); The Bear and the Lover of Gardens (VIII 10); The Ass and the Dog (VIII 17); The Two Dogs and the Dead Ass (VIII 25); The Wolf and the Fox (XI 6); and The Fox, the Wolf, and the Horse (XII 17). There is a T of C for the last six books at the end.This is a hardbound book (hard cover)Language note: FrenchJean de La Fontain
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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