1,721,650 research outputs found
Louis, Edouard. En Finir avec Eddy Bellegueule. Paris : Seuil. 2014.
No full textCompte rendu de : Louis, Edouard. En Finir avec Eddy Bellegueule. Paris : Seuil. 2014
Tabary (Louis Edouard). Duranty (Étude biographique et critique)
No full textJones Philippe. Tabary (Louis Edouard). Duranty (Étude biographique et critique). In: Revue belge de philologie et d'histoire, tome 34, fasc. 2, 1956. pp. 467-470
Catalogue de l'importante bibliothèque de feu M. Jean-Louis-Edouard Kratz,...
No full text[Vente. Livres. 1908-10-21 - 1908-10-22. Strasbourg][Collection. Livres. Kratz, Jean-Louis-Edouard. 1908]Appartient à l’ensemble documentaire : VenteEST2Avec mode text
Musée neuchâtelois: [recueil d'histoire nationale et d'archéologie] : table générale des années 1984 -1993 : suite de la table générale des années 1864-1963 et de celles des années 1964-1973 et 1974-1983
No full textUn commentaire au sujet de ces tables a été publié dans le Musée neuchâtelois, 1995, p. 97-102, par Louis-Edouard Roulet, sous le titre: Quelques considérations sur les Tables du "Musée neuchâtelois"
“Prix de Rome Students at the Villa Medici” by Louis Edouard Fournier
No full text12 leaves (double-sided)Scribner’s, September 1902 (vol. 32, no. 3) – “Prix de Rome Students at the Villa Medici” by Louis Edouard Fournier, pp. 259-270 – Allyn/Hawkes #901-91
“Prix de Rome Students at the Villa Medici” by Louis Edouard Fournier
No full text12 leaves (double-sided)Scribner’s, September 1902 (vol. 32, no. 3) – “Prix de Rome Students at the Villa Medici” by Louis Edouard Fournier, pp. 259-270 – Allyn/Hawkes #901-91
Peut-on aménager la montagne ? : Montagne et aménagement, Colloque de Chamonix (21-25 octobre 1981), Ouvrage publié sous la direction de Robert Vivian et Jean-Louis Edouard
No full textTaillefer François. Peut-on aménager la montagne ? : Montagne et aménagement, Colloque de Chamonix (21-25 octobre 1981), Ouvrage publié sous la direction de Robert Vivian et Jean-Louis Edouard. In: Revue géographique des Pyrénées et du Sud-Ouest, tome 55, fascicule 4, 1984. Péninsule Ibérique et Pyrénées. pp. 522-524
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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