1,721,931 research outputs found
Antonio J. Cano
No full textComentario sobre la muerte de Antonio J. Cano, quién fue Rector del Instituto de Bellas Artes.Biblioteca Luis Echavarría Villegas, Sala de Patrimonio Documenta
Ambiente y recursos naturales dirigée par Guillermo J. Cano
No full textAmbiente y recursos naturales dirigée par Guillermo J. Cano. In: Revue Juridique de l'Environnement, n°2, 1985. p. 224
Ambiente y recursos naturales dirigée par Guillermo J. Cano
No full textAmbiente y recursos naturales dirigée par Guillermo J. Cano. In: Revue Juridique de l'Environnement, n°2, 1985. p. 224
Guillermo J., Cano. Derecho, Politica y Administracion ambientales, 1978
No full textKiss Alexandre. Guillermo J., Cano. Derecho, Politica y Administracion ambientales, 1978. In: Revue Juridique de l'Environnement, n°1, 1981. p. 72
Guillermo J., Cano. Derecho, Politica y Administracion ambientales, 1978
No full textKiss Alexandre. Guillermo J., Cano. Derecho, Politica y Administracion ambientales, 1978. In: Revue Juridique de l'Environnement, n°1, 1981. p. 72
Diseño de botellas de vino para Bodegas J. Cano-Ludeña
No full textEste proyecto consistirá en la realización del diseño del envase de las botellas de vino de la empresa Bodegas J. Cano-Ludeña de cara a la próxima temporada. Para ello será necesaria una investigación previa de los factores que influyen en el éxito de una botella de vino, para a partir de ella desarrollar la imagen gráfica de la que será la marca, “Ludena”, y adaptarla al desarrollo del etiquetado de la botella de vino. Una vez la imagen de marca esté ya definida, y siguiendo la misma línea estética, se procederá a desarrollar la línea de diferentes variedades del producto.Cano-Ludeña Cañaveras, J. (2014). Diseño de botellas de vino para Bodegas J. Cano-Ludeña. Universitat Politècnica de València. https://riunet.upv.es/handle/10251/60424Archivo delegad
Cuadernillos de poesía colombiana. No. 39 - Antonio J. Cano
Full text linkContiene comentarios sobre Antonio J. Cano escritos por J. Yepes Morales y algunas de sus poesías como:
Lo que dijo el ángel - Como el pintor ignoto - Madrigal de donaire y picardía - Rondel - La locura de Epifanio - El retorno del manchego - Amor que fue - Las dos fuerzas - Los vasos - Anhelos - El soneto y la espada - El rosal - Sola - Secret
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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