1,721,642 research outputs found
Kiri tundmatule
Full text linkHoffmann, Georg Franz, 1761-1826, saksa arst ja loodusteadlaneLoodusteadusliku sisuga kir
Panorama of the St. Chrischona mountain, near Basle, extending into the Northern parts of the Jura mountains, and the high Alps of Switzerland
No full textGezeich. von Gg. Hoffmann ; lith. v. Hasler & Cie.FederlithographieBeide Panoramen übereinander angeordnetOberes Panorama: VollpanoramaUnteres Panorama: Einzelne Berge und Bergketten in vergrösserter Darstellung (im Vollpanorama bezeichnet I-XII)Panorama, rechts, 2 Abbildungen: St. Chrischona von der Ostseite; St. Chrischona von der Sudseite [!]Beiheft (33 S.): Panorama vom St. Chrishona-Berge bei Basel in die nördlichen Jura-Gegenden und die Hochalpen der Schweiz = Panorama of the St. Chrischona mountain, near Basle, extending into the Northern parts of the Jura mountains, and the high Alps of SwitzerlandBeiheft mit deutschem und englischem ParalleltextPanorama und Beiheft in Einbanddecke eingekleb
Panorama des Maderaner-Thales im Kanton Uri
No full text1. Panorama Ansicht der Nordseite des Maderanerthales, aufgenommen von der Seeleck gezeichnet im Juli 1852 von Georg Hoffmann2. Panorama Südseite des Maderanerthals, aufgenommen von der Alp Bernetsmatt im Juli 1852 von Georg HoffmannFührer > Führer in das Maderanerthal und seine nächsten Umgebungen hrsg. von einigen Mitgliedern der Basler Section des schweizerischen Alpenclubsnach einer hinterlassenen Zeichnung des verstorbenen Georg Hoffmann in Basel, von ihm nach der Natur aufgenommen im Juli 1852, dazu ein Führer in die Gebirge des Maderaner-Thales / verfasst von einigen Mitgliedern der Basler Section des schweizerischen AlpenclubsBeide Panoramen FederlithographienUmschlag mit gelbem Titelblat
Panorama des Maderaner-Thales im Kanton Uri
No full text1. Panorama Ansicht der Nordseite des Maderanerthales, aufgenommen von der Seeleck gezeichnet im Juli 1852 von Georg Hoffmann2. Panorama Südseite des Maderanerthals, aufgenommen von der Alp Bernetsmatt im Juli 1852 von Georg HoffmannFührer > Führer in das Maderanerthal und seine nächsten Umgebungen hrsg. von einigen Mitgliedern der Basler Section des schweizerischen Alpenclubsnach einer hinterlassenen Zeichnung des verstorbenen Georg Hoffmann in Basel, von ihm nach der Natur aufgenommen im Juli 1852, dazu ein Führer in die Gebirge des Maderaner-Thales / verfasst von einigen Mitgliedern der Basler Section des schweizerischen AlpenclubsBeide Panoramen FederlithographienUmschlag mit gelbem Titelblat
Hoffmann'sche Fibel für den vereinigten Anschauungs-, Sprech-, Schreib- und Leseunterricht
No full textErste Abteilun
Vegetabilia cryptogama
No full textTitelvignetteErscheinungsort aus Praefatio, S. VIII: Scripsi Erlangae ..
Efficient suboxide sources in oxide molecular beam epitaxy using mixed metal + oxide charges: The examples of SnO and Ga2O
Full text linkSources of suboxides, providing several advantages over metal sources for the molecular beam epitaxy (MBE) of oxides, are conventionally realized by decomposing the corresponding oxide charge at extreme temperatures. By quadrupole mass spectrometry of the direct flux from an effusion cell, we compare this conventional approach to the reaction of a mixed oxide + metal charge as a source for suboxides with the examples of SnO2 + Sn → 2 SnO and Ga2O3 + 4 Ga → 3 Ga2O. The high decomposition temperatures of the pure oxide charge were found to produce a high parasitic oxygen background. In contrast, the mixed charges reacted at significantly lower temperatures, providing high suboxide fluxes without additional parasitic oxygen. For the SnO source, we found a significant fraction of Sn2O2 in the flux from the mixed charge that was basically absent in the flux from the pure oxide charge. We demonstrate the plasma-assisted MBE growth of SnO2 using the mixed Sn + SnO2 charge to require less activated oxygen and a significantly lower source temperature than the corresponding growth from a pure Sn charge. Thus, the sublimation of mixed metal + oxide charges provides an efficient suboxide source for the growth of oxides by MBE. Thermodynamic calculations predict this advantage for further oxides as well, e.g., SiO2, GeO2, Al2O3, In2O3, La2O3, and Pr2O3 © 2020 Author(s)
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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