1,899 research outputs found
Kick off the Mobilise Wikidata Workshop
No full textAn introduction to the Wikidata workshop run by the Mobilise COST ActionThis workshop was supported by COST (European Cooperation in Science and Technology) as part of the Mobilise Action CA17106 on Mobilising Data, Experts and Policies in Scientific Collections. Quentin Groom acknowledges SYNTHESYS+ a Research and Innovation action in the H2020-EU.1.4.1.2. Programme
Quentin Groom's Quick Files
No full textThe Quick Files feature was discontinued and it’s files were migrated into this Project on March 11, 2022. The file URL’s will still resolve properly, and the Quick Files logs are available in the Project’s Recent Activity
Ash dieback mortality and damage at the Botanic Garden Meise, Belgium, 2016
No full text<p>These data add to the data already published for previous years and are available at Groom, Quentin J. (2015). Ash dieback mortality and damage at the Botanic Garden Meise, Belgium. Zenodo. 10.5281/zenodo.17640.</p>
<p>Four 10m × 10m plots were laid out in the naturally regenerating woodland at the Botanic Garden Meise (WGS84: 50° 55ʹ 37ʺ N, 4° 19ʹ 18ʺ E; 50° 55ʹ 37ʺ N, 4° 19ʹ 17ʺ E; 50° 55' 38.6" N 4° 19ʹ 21ʺ E; 50° 55ʹ 39ʺ N, 4° 19ʹ 29ʺ E). They were selected because the areas contained a large number of ash saplings. Within these plots all ash seedlings greater than 40 cm tall were labelled with a small (2 cm × 4 cm) plastic tag attached with stretchable plant tie. Each tag was engraved with a unique number so that the tree could be identified. These plots were not intended to be replicates but just a convenient method of refinding the tagged trees. In the first year either the height or the girth of the tree was measured with a tape measure, depending upon whether the tree was small enough to measure the height. In 2013 and each subsequent year each tree was scored for the apparent damage caused by ash dieback (<em>Hymenoscyphus pseudoalbidus</em>). The same scoring scheme was used as that by Pliūra et al. (2011). This is a 5 point system where 1 is a dead tree; 5 is an undamaged tree and 2–4 are progressively less damaged trees. In 2016 the plots were scored on 4<sup>th</sup> May.</p>
Goose monitoring data from the Meise Botanic Garden, Belgium
No full textThis data deposit gives details and routes of the goose monitoring at Meise Botanic Garden, Meise, Belgium. Here you will find details of the survey routes and areas where the geese were counted.
These data can be used with the observation data published on the Global Biodiversity Information Facility. However, a snapshot of the data is included here.
Groom Q (2019). Waterbirds of the Botanic Garden Meise. Version 3.6. Botanic Garden Meise. Occurrence dataset https://doi.org/10.15468/cgffyq accessed via GBIF.org on 2019-01-01.
The files contain the following...
0021579-181108115102211.zip
The download of data from the Global Biodiversity Information Facility
Groom Q (2018). Waterbirds of the Botanic Garden Meise. Version 3.4. Botanic Garden Meise. Occurrence dataset https://doi.org/10.15468/cgffyq accessed via GBIF.org on 2019-01-01.
dataonsectors2019.txt; sectorsdbf.txt
A tab-delimited text file containing data on the surveyed sectors of the garden.
gardenSectors3.shp; ods.dbf
A shapefile and data file describing the extents and positions of the surveyed sectors of the Botanic Garden.
lakes.zip
A shapefile describing the extents of the lakes in the Botanic Garden. This file is not particularly precise and is only used to create maps.
route1.zip; route2.zip; route3.zip; route4.zip
Shapefiles giving the survey routes within the Botanic Garden. Routes were always walked in a clockwise direction.
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The author as actor: a defense of Quentin Skinner
No full textIn this thesis, I defend Quentin Skinner's work against some criticisms raised by three of his interlocutors: John Keane, Kennet Minogue, and Joseph Femia. All three of these critics take issue with Skinner's author-centered approach to the historical interpretation of texts. Femia, invoking Roland Barthes 'death of the author' thesis, argues that Skinner's attempt to recover the intentions of authors is impossible. While Minogue and Keane do not dispute the possibility of recovering an author's intentions, they question the unity of such an enterprise. In order to answer Femia's criticism of Skinner, I draw an analogy between Skinner's figure of the author, and Arendt's figure of the political actor. I argue that just as it is possible for someone to know what a political actor is doing in performing a political act, it is similarly possible for an intellectual historian to understand what political acts an author was doing in writing his or her text. To refute Minogue's and Keane's claims that a Skinnerian approach to intellectual history is of no use to the political theorist, I point to three examples of how Skinner's recovery of forgotten political discourses have been applied to contemporary debates in political theory.Graduat
Figure 1 from: Groom Q (2019) Typification of Oxalis bowiei W.T.Aiton ex G.Don (Oxalidaceae). PhytoKeys 119: 23-30. https://doi.org/10.3897/phytokeys.119.33280
No full textFigure 1 The original description of Oxalisbowiei W.T.Aiton ex G.Don from A general history of the dichlamydeous plants by George Don. Taken from the Biodiversity Heritage Library https://biodiversitylibrary.org/page/390566 (Don 1831)
Figure 4 from: Groom Q (2019) Typification of Oxalis bowiei W.T.Aiton ex G.Don (Oxalidaceae). PhytoKeys 119: 23-30. https://doi.org/10.3897/phytokeys.119.33280
No full textFigure 4 A painting of Oxalisbowiei by Thomas Duncanson deposited at the Royal Botanic Gardens, Kew. It is painted from material collected by James Bowie in the Eastern Cape, South Africa, East of the Great Fish River. Painted October 23rd 1823. Number: 340, Alternative number: 452. Copyright The Trustees of the Royal Botanic Gardens, Kew
Figure 4 from: Groom Q (2019) Typification of Oxalis bowiei W.T.Aiton ex G.Don (Oxalidaceae). PhytoKeys 119: 23-30. https://doi.org/10.3897/phytokeys.119.33280
No full textFigure 4 A painting of Oxalisbowiei by Thomas Duncanson deposited at the Royal Botanic Gardens, Kew. It is painted from material collected by James Bowie in the Eastern Cape, South Africa, East of the Great Fish River. Painted October 23rd 1823. Number: 340, Alternative number: 452. Copyright The Trustees of the Royal Botanic Gardens, Kew
Drawing Sacred Forests and Courtyards in South Benin
No full texthttps://drawingmatter.org/drawing-sacred-forests-and-courtyards-in-south-benin/The following conversation between the editors of Accattone and Quentin Nicolaï was first published in Accattone 6 (2019). It documents research carried out by Quentin Nicolaï in Abomey, Benin, between January 2014 and June 2018.Drawing Matter would like to thank the author and the magazine’s editors for allowing us reproduce the essay on www.drawingmatter.org.info:eu-repo/semantics/nonPublishe
Features of auteur cinema in Quentin Tarantino's works
No full textMultimediju komunikācijaInformācijas un komunikācijas zinātnesMultimedia CommunicationInformation and Communication SciencesBakalaura darba tēmas nosaukums ir “Autorkino iezīmes Kventina Tarantīno daiļradē.”
Pētījumā izvirzītā hipotēze apgalvo, ka režisora Kventina Tarantīno (Quentin Tarantino) filmās ir
atrodamas autorkino iezīmes.
Bakalaura darba mērķis ir noskaidrot autorkino iezīmes Kventina Tarantīno sešās
ietekmīgākajās un skatītāju atzītākajās filmās, kuras tika atlasītas pēc Internacionālās filmu datu
bāzes. Darbā tiek apskatītas un analizētas sešas no Kventina Tarantīno filmām, kuras ir “Trakie
suņi” (Reservoir Dogs), “Lubene” (Pulp Fiction), “Nogalināt Bilu: 1. daļa” (Kill Bill: Vol. 1) un
“Nogalināt Bilu: 2. daļa” (Kill Bill: Vol. 2), kas pēc paša režisora uzskatiem ir, viena vesela, filma
sadalīta divās daļās, kā arī filmas “Bēdīgi slavenie mērgļi” (Inglorious Bastards), “Atsvabinātais
Džango” (Django Unchained) un “Reiz Holivdā” (Once Upon a Time... in Hollywood).
Darba mērķa izpildei teorētiskajā daļā tika aplūkots autorkino jēdziens, Holivudas
klasiskais kino stils, kino valoda, kā arī Kventina Tarantīno biogrāfija, lai palīdzētu izprast un
analizēt atlasītās filmas. Par pētījuma metodi tika izvēlēta kvalitatīvā kontentanalīze.The title of the bachelor's thesis is "Features of auteur cinema in Quentin Tarantino's
works" The study’s hypothesis states that directors Quentin's Tarantino's films have the features
of an author.
The purpose of the bachelor's thesis is to find out the influence of author cinema on Quentin
Tarantino's six most influential and audience-recognized films selected from the International Film
Database. Work is discussed and analyzed in six of Quentin Tarantino films, which are “Reservoir
Dogs”, “Pulp Fiction”, “Kill Bill: Vol. 1” and “Kill Bill: Vol. 2”, which the director says is a whole
movie divided into two parts, as well as “Inglorious Bastards”, “Django Unchained” and “Once
Upon a Time ... in Hollywood”.
The theoretical part of the paper explored the concept of author cinema, Hollywood classic
cinema, film language, and the biography of Quentin Tarantino to help understand and analyze
selected films. Qualitative content analysis was chosen as the research method
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