1,722,097 research outputs found

    Du mu ju xin ji.

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    滿城風雨 / 林洛 -- 新群魔亂舞 / C.S., S.Y.合作 -- 艷芳酒家 / 田克辛 -- 演出之前 / 林洛 -- 還鄉淚 / 田克辛.滿城風雨 /林洛新羣魔亂舞 /S.C /S.Y合作艷芳酒家 /王克辛演出之前 /林洛還鄉淚 /田克辛後記林洛編.本電子書乃根據《香港版權條例(第528章)》而複製, 並只可在大學圖書館系統內的獨立電子書系統上使用.Lin Luo bian.Ben dian zi shu nai gen ju "Xianggang ban quan tiao li (Di 528 zhang)" er fu zhi, bing zhi ke zai da xue tu shu guan xi tong nei de du li dian zi shu xi tong shang shi yong.Detailed contents in vernacular field only

    Correction: Isostructural lanthanide-based metal–organic frameworks: structure, photoluminescence and magnetic properties

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    Correction for ‘Isostructural lanthanide-based metal–organic frameworks: structure, photoluminescence and magnetic properties’ by Li-Lin Luo et al., Dalton Trans., 2018, 47, 925–934.</p

    Study on a novel boost battery charger

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    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The 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

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    “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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