1,986 research outputs found
Labor-Force Participation Rates and the Informational Value of Unemployment Rates: Evidence from Disaggregated US Data
No full textThe informational value of the aggregate US unemployment rate has recently been questioned be-cause of a unit root in the labor-force participation rate; the lack of mean reversion implies that long-run changes in unemployment rates are highly unlikely to reflect long-run changes in jobless-ness. This paper shows that this critique also extends to unemployment rates for sub-populations, such as prime-aged males.Unit-root test;
Memorandum : betr. die Sicherung und Erschliessung der Quellen zur juedischen Kulturgeschichte und Familienkunde.
No full textDocument about the proposed establishment of a center for German Jewish culture and genealogy in Berlin or HamburgdigitizedThe manuscript has been removed from the ‘Lehranstalt fuer die Wissenschaft des Judentums Collection’, AR 11844Born in Hamburg on February 26, 1896, Erna Magnus was a social worker who was engaged in an historical study of the Jewish community of Hamburg during the 1930s. She emigrated to the United States in 1939, where she held various social work and teaching position
Portrait of Paul Heyse.
No full textPhotograph of an oil painting by Eduard Magnus depicting the author, translator and Nobel laureate for literature (1910), Paul Johann Ludwig von Heyse.Digital ImageArtwork
A rediscovered portrait of Magnus Gabriel De la Gardie by Sébastien Bourdon in the Uppsala University Art Collection.
No full textThis essay investigates the identity of the sitter in a c. 1653 portrait, UU 36, by the French painter Sébastien Bourdon (1616 - 1671) in the collections of Uppsala University Art Museum, Gustavianum. Donated to the university in 1835 by collector and antiquarian Adolf Ludvig Stjerneld (1755 - 1835) as a portrait of the extramarital son of Gustavus II Adolphus, Gustav Gustavsson Vasaborg (1616 - 1653), the portrait has been known by that identity ever since. Stjerneld is a known forger of both documents and identities in artworks. Sébastien Bourdon was a founding member of the French Academy of Painting and Sculpture and is best known as a history painter, but when he was called to Sweden in 1652 to spend one year in Stockholm as Queen Christinas court painter he seems to have exclusively produced portraits of Christina and her circle. Most of the international research on Bourdons oeuvre has concerned his history-painting, and most Swedish research has concerned only his portraits of Christina. Bourdon’s Swedish portraits remain relatively unknown to Swedish audiences as they left the country when Christina abdicated in 1654. Despite being the most internationally celebrated artist to ever visit and work at a Swedish court, Bourdon’s time in Sweden is yet to be researched as a whole. The inventory taken of Christinas collections after her 1689 death in Rome includes a portrait of her one-time-favourite, count Magnus Gabriel De la Gardie (1622 - 1686), the description of which matches exactly with the Uppsala university painting. This essay argues that the portrait in Uppsala is indeed Sébastien Bourdons portrait of Magnus Gabriel De la Gardie and presents several arguments why Gustav Gustavsson Vasaborg is not a possible sitter for a portrait by Bourdon. The first part and introduction of this essay introduces the strengths of modern digital methodologies in art historical research and their impact on art historical theory. I then outline the wide range of source materials available for the figures concerned, before introducing the challenges of attributing portrait identities and establishing several other Bourdon portraits as previously (and probably still) misattributed. The second part of the essay establishes the legacy of UU 36 and the impact it has had on the view of Gustav Gustavsson Vasaborg. I then contextualise UU 36 in relation to Queen Christinas collection of portraits on the eve of her abdication, the role of Bourdon as her court painter, and introduce the suite of five military portraits he painted for her. The second part concludes by tracing what is almost certainly Bourdons portrait of Magnus Gabriel through the surviving inventories of Christinas collection taken in Antwerpen in 1656, after her death in Rome in 1689, from the sale of the collection to Livio Odeschalchi in 1713 and the duke of Orlèans in 1721, and possibly as part of the Orleans sale in London in 1798/1800. As Gustav Gustavsson Vasaborg has remained a relatively little studied figure in Swedish history, the third part of the essay gives an overview of his life and personality and presents three certain and two possible portraits of him located in Germany or now lost that have hitherto remained unknown to Swedish research. The essay then discusses Magnus Gabriels career, role as patron and work in promoting French art and culture in Sweden before and after his 1646 embassy to France, and compares the portrait UU 36 to other depictions of Magnus Gabriel De la Gardie. The fourth and final part of the essay explores the reasons for the original attribution of the portrait as depicting Gustav Gustavsson Vasaborg, and investigates the work and donation of Adolf Ludvig Stjerneld as well as the discourse around Gustavsson during Stjernelds life. This research has resulted in the official reattribution of the portrait's sitter and it is now displayed as a portrait of Magnus Gabriel de la Gardie by Sébastien Bourdon
A rediscovered portrait of Magnus Gabriel De la Gardie by Sébastien Bourdon in the Uppsala University Art Collection.
No full textThis essay investigates the identity of the sitter in a c. 1653 portrait, UU 36, by the French painter Sébastien Bourdon (1616 - 1671) in the collections of Uppsala University Art Museum, Gustavianum. Donated to the university in 1835 by collector and antiquarian Adolf Ludvig Stjerneld (1755 - 1835) as a portrait of the extramarital son of Gustavus II Adolphus, Gustav Gustavsson Vasaborg (1616 - 1653), the portrait has been known by that identity ever since. Stjerneld is a known forger of both documents and identities in artworks. Sébastien Bourdon was a founding member of the French Academy of Painting and Sculpture and is best known as a history painter, but when he was called to Sweden in 1652 to spend one year in Stockholm as Queen Christinas court painter he seems to have exclusively produced portraits of Christina and her circle. Most of the international research on Bourdons oeuvre has concerned his history-painting, and most Swedish research has concerned only his portraits of Christina. Bourdon’s Swedish portraits remain relatively unknown to Swedish audiences as they left the country when Christina abdicated in 1654. Despite being the most internationally celebrated artist to ever visit and work at a Swedish court, Bourdon’s time in Sweden is yet to be researched as a whole. The inventory taken of Christinas collections after her 1689 death in Rome includes a portrait of her one-time-favourite, count Magnus Gabriel De la Gardie (1622 - 1686), the description of which matches exactly with the Uppsala university painting. This essay argues that the portrait in Uppsala is indeed Sébastien Bourdons portrait of Magnus Gabriel De la Gardie and presents several arguments why Gustav Gustavsson Vasaborg is not a possible sitter for a portrait by Bourdon. The first part and introduction of this essay introduces the strengths of modern digital methodologies in art historical research and their impact on art historical theory. I then outline the wide range of source materials available for the figures concerned, before introducing the challenges of attributing portrait identities and establishing several other Bourdon portraits as previously (and probably still) misattributed. The second part of the essay establishes the legacy of UU 36 and the impact it has had on the view of Gustav Gustavsson Vasaborg. I then contextualise UU 36 in relation to Queen Christinas collection of portraits on the eve of her abdication, the role of Bourdon as her court painter, and introduce the suite of five military portraits he painted for her. The second part concludes by tracing what is almost certainly Bourdons portrait of Magnus Gabriel through the surviving inventories of Christinas collection taken in Antwerpen in 1656, after her death in Rome in 1689, from the sale of the collection to Livio Odeschalchi in 1713 and the duke of Orlèans in 1721, and possibly as part of the Orleans sale in London in 1798/1800. As Gustav Gustavsson Vasaborg has remained a relatively little studied figure in Swedish history, the third part of the essay gives an overview of his life and personality and presents three certain and two possible portraits of him located in Germany or now lost that have hitherto remained unknown to Swedish research. The essay then discusses Magnus Gabriels career, role as patron and work in promoting French art and culture in Sweden before and after his 1646 embassy to France, and compares the portrait UU 36 to other depictions of Magnus Gabriel De la Gardie. The fourth and final part of the essay explores the reasons for the original attribution of the portrait as depicting Gustav Gustavsson Vasaborg, and investigates the work and donation of Adolf Ludvig Stjerneld as well as the discourse around Gustavsson during Stjernelds life. This research has resulted in the official reattribution of the portrait's sitter and it is now displayed as a portrait of Magnus Gabriel de la Gardie by Sébastien Bourdon
Emerg Infect Dis
No full textCorrects: Emerg Infect Dis. 2014 Mar; 20(3): 489\u2013491.Correction: Vol. 20, No. 3The name of author Magnus Rasmussen was misspelled in the article Septic Arthritis Caused by Streptococcus suis Serotype 5 in Pig Farmer (C. Gustavsson, M. Ramussen). The article has been corrected online (http://wwwnc.cdc. gov/eid/article/20/3/13-0535_article)
Das rhetorische Ich: Hans Magnus Enzensbergers Selbstinszenierungen
No full textThe article discusses the rhetorical strategies underlying Hans Magnus Enzensberger's presentation of his work as an author, editor and poet
Das rhetorische Ich: Hans Magnus Enzensbergers Selbstinszenierungen
No full textThe article discusses the rhetorical strategies underlying Hans Magnus Enzensberger's presentation of his work as an author, editor and poet
Inequality and crime: separating the effects of permanent and transitory income
No full textEarlier studies on income inequality and crime have typically used total income or total earnings. However, it is quite likely that it is changes in permanent rather than in transitory income that affects crime rates. The purpose of this paper is therefore to disentangle the two effects by, first, estimating region-specific inequality in permanent and transitory income and, second, estimating crime equations with the two separate income components as explanatory variables. The results indicate that it is important to separate the two effects; while an increase in the inequality in permanent income yields a positive and significant effect on total crimes and three different property crimes, an increase in the inequality in transitory income has no significant effect on any type of crime. Using a traditional, aggregate, measure of income yields mainly insignificant effects on crime.Crime; permanent income; transitory income
Comparing consortial repositories: a model-driven analysis
No full textThis study aims to provide a comparative assessment of different repository consortia as a reference to inform future work in the area. A review of the literature was used to identify repository consortia, and their features were compared. Three models of consortial repositories were derived from this comparison, based on their structure and aims. The consortial models were based around either: creating a shared repository for the members, developing a repository software platform or creating a metadata harvesting service to aggregate content. Using case studies of each type of repository consortium, each model was assessed in terms of its particular strengths and weaknesses. These strengths were then compared across the models to enable those considering a consortial repository project to assess which model, or combination of models, would best address their needs and to aid in project planning
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