1,721,274 research outputs found
Vanhalle kullalle haudan kaivan Tervaskannon juureen (4/4 F)
No full textLaulun sanat: Vanhalle kullalle haudan kaivan Tervaskannon juureen, Ja kaivan vähän syvemmälle Ja sieltä mä löydän uuden
Mä kaivan hautaa toisellen (6/8 d)
No full textLaulun sanat: Mä kaivan hautaa toisellen, Johon se haudataan, Joka on kuollut tuonelle Ja menee multahan
Three essays on institutions and economic development
No full textThesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Economics, 1995.Includes bibliographical references.by Kaivan D. Munshi.Ph.D
Pemerolehan Bahasa Anak Usia 3 Tahun di Paud Al-Anwar (Studi Kasus Muhammad Kaivan Arasyid)
Get PDFThis study aims to describe the form of vocal and consonant acquisition in children aged 3 years in the case study of Muhammad Kaivan Arasyid. This study uses a qualitative descriptive research method. The theory used in this research is Darjowidjojo's theory (2012). The source of the data in this study was Kaivan's conversations of 3-year-old children at PAUD al-Anwar, where conversations were taken from parents, relatives, friends and teachers at school in the form of sentences that Kaivan often utters in everyday life. The results of the study concluded that the acquisition of the kaivan language obtained from the results of the study, that kaivan had acquired the vowel sounds (a), (i), (u), (e) and (0) clearly at the beginning, in the middle and at the end. kaivan has also acquired consonant sounds consisting of (b), (c), (d), (g), (h), (j), (k), (l), (m), (n), (p ), (s), (t), (w) and (y). there are several consonants that are difficult for kaivan to produce, namely consonants (f), (v), and (z) because when he reaches 3 years old, kaivan experiences loss of air which is still free due to the fact that his lower teeth are not perfectly attached to his upper lip. Meanwhile, the consonant (r) never appears at the beginning, in the middle or at the end, but removes and replaces the consonant (r) with (l). example: (walna) means (color
Tämän kylän kaulle Mie kanavaisen kaivan (2/4 ?)
No full textLaulun sanat: Tämän kylän kaulle Mie kanavaisen kaivan, Missä käyvät seilaamaan Ämmän konttilaivat
Minähän sen tän kylän raittiin leveän ojan kaivan (2/4 a)
No full textLaulun sanat: Minähän sen tän kylän raittiin leveän ojan kaivan, josta pääsee kulkemaan se muijain juttulaiva
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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