790 research outputs found
Author Correction: Local Josephson vortex generation and manipulation with a Magnetic Force Microscope (Nature Communications, (2019), 10, 1, (4009), 10.1038/s41467-019-11924-0)
No full text© 2019, The Author(s). The original version of this Article contained an error in the spelling of the author Christophe Brun, which was incorrectly given as Chritophe Brun. Additionally this Article omitted from the author list the seventh author Nickolay Lebedev, who is from the ‘Moscow Institute of Physics and Technology, 141700 Dolgoprudny, Russia’. These errors have now been corrected in both the PDF and HTML versions of the Article
Maternal–Child Co-occupation Within a Domestic Violence Shelter
No full textAbstract
Date Presented 3/31/2017
Using a phenomenological qualitative design, maternal–child co-occupational experiences within a domestic violence shelter were explored. Three themes emerged: (1) a difficult step, (2) I think they will be fine, and (3) maternal–child co-occupation.
Primary Author and Speaker: Jessica De Brun</jats:p
Effets de la structure du paysage sur l’activité de frottage du chevreuil (analyse de la répartition des frottis)
No full textThe growth of roe deer populations in mountain is parallel to the expansion of forests, due to land abandonment. The management of precious deciduous woods, which grow naturally on our study area (Maurienne valley, France), have been planned, so the development of this cervid populations could become a problem.
The effect of different parameters, specially spatial heterogeneity, on rubbing marks distribution in the landscape is pointed out. The results show important seasonal variations in rubbing activity of males ; in the same way, differences are pointed out in using various landscape structure types and various characteristic areas.
The role of heterogeneity could not have been studied in an efficient way because of the analysis scale which was not precise enough. Lastly, our methodology, which uses a multi-scale analysis of influent factors, seems particularly judicious according to our problematic, so we consider it is interesting to be developed.Le développement des populations de chevreuil en montagne est parallèle au retour de la forêt là où la déprise agricole sévit. Or, cette augmentation des effectifs de chevreuils peut se révéler problématique dans l’hypothèse d’une valorisation sylvicole des boisement spontanés où dominent les essences précieuses.
L’effet de divers paramètres descriptifs du paysage sur la répartition des frottis imputables aux brocards est étudié en Moyenne-Maurienne. Les variations saisonnières de l’activité de frottage et l’impact de divers types de structures paysagères sur plusieurs secteurs caractéristiques sont mis en évidence.
L’analyse du rôle de l’hétérogénéité spatiale par le biais de fenêtres de taille croissante révèle qu’au delà d’une certaine distance (quelques mètres), l’hétérogénéité du couvert végétal ne modifie plus l’activité de frottage de ce mammifère. Ainsi, l’analyse de l’influence de la structure du paysage à plusieurs niveaux de perception nous permet de déterminer à quelle échelle le chevreuil est le plus sensible à son environnement.Chenavier Ludovic, Brun Jean-Jacques, Delcros Philippe, Grossi Jean-luc. Effets de la structure du paysage sur l’activité de frottage du chevreuil (analyse de la répartition des frottis). In: Ecologia mediterranea, tome 23 n°1-2, 1997. pp. 55-68
The fixed-income market in Uruguay
No full textWorking paper version of article published as: de Brun Mascheroni, Julio Ernesto and Gandelman, Nestor and Kamil, Herman and Porzecanski, Arturo C., The Fixed-Income Market in Uruguay (August 2006). Available at SSRN: https://ssrn.com/abstract=929166 or http://dx.doi.org/10.2139/ssrn.929166Uruguay's capital markets remain undeveloped despite the country's financial liberalization dating back to the 1970s, which was reinforced by passage of several additional laws in 1990s whose aim was to promote the local financial markets. The government is able to raise funds domestically in what is a liquid bond market, but private firms continue to fund themselves mostly out of retained earnings or else via bank loans and suppliers' credit. Moreover, when compared to others in Latin America, Uruguayan firms feature the highest ratios of liability dollarization, and corporate debt structures with the shortest maturities - currency and maturity mismatches that render them (and by extension, their creditors) extremely fragile. A deepening of the domestic capital market would probably alleviate this vulnerability of the Uruguayan economy. The financial fragility of Uruguayan firms amplified by corporate governance issues are the main impediments for the development of the capital markets. Given the current firm practices and the absence of sizeable institutional investors besides the Pension funds, the fixed income market will most likely remain a source of funding for very few firms
From Vilnius to Dallas. An enigma of a painting by Elisabeth-Louise Vigge-Le Brun
No full textApie Lietuvos mokslų akademijos Vrublevskių bibliotekos (LMAVB) Rankraščių skyriuje aptiktą Prancūzijos karalienės Marijos Antuanetės portretistės Élisabeth-Louise Vigée-Le Brun paveikslo „Michaelio portretas“ kopiją. Rašoma apie kopijos autorę – grafaitę Idaliją Giunterytę, Giunterių ir Tyzenhauzų palikuonę. Kopijos autorės įrašas rodo, kad Élisabeth-Louise Vigée-Le Brun portrete pavaizduotas Octave’o ir Viktorijos de Choiseul-Gouffier pirmagimis Edouardas de Choiseul-Gouffier (1799?–1828). Reikšminiai žodžiai: Dailininkai; Idalija Giunterytė; Portretistai; Paveikslai; PortretaiThe object of the article is a painting Portrait of Michel dated 1802 and stored in Dallas Museum of Art. However, a copy of this art work was recently found in Vrublevskiai Library in Vilnius and the author of the copy is Countess Idalia Güntherow Mostowska. This finding triggered the present research
« L’autheur de ce magnifique ouvrage » : Charles Le Brun et la réception de l’escalier des Ambassadeurs
No full textCet article traite de l’implication de Charles Le Brun sur le chantier de l’escalier des Ambassadeurs. L’analyse des comptes des Bâtiments du roi permet de mettre en évidence l’arrivée tardive du premier peintre de Louis XIV sur ce chantier, alors qu’il n’existait pas d’escalier peint dans les résidences princières européennes. Bien que l’architecture fût inventée vraisemblablement sans son intervention, de nombreuses sources imprimées, en particulier une série d’articles parus dans le Mercure galant dans les années 1680, considèrent Le Brun comme l’auteur de l’ensemble de l’ouvrage, y compris de l’architecture. S’il est probable que l’on ait fait appel à lui en raison de l’étroitesse du lieu et du choix de représenter l’histoire du roi, Le Brun a saisi l’opportunité de prouver ses capacités à unir les arts de l’architecture, de la sculpture et de la peinture. L’accès restreint du lieu, qui ne permettait de voir son œuvre que dans les conditions exceptionnelles des fêtes, a sans doute contribué à renforcer le désir de l’artiste de contrôler la réception de son œuvre.This essay discusses the participation of Charles Le Brun in the decoration of the Ambassadors’ Staircase in Versailles. A close reading of the accounts of the Bâtiments du Roi shows that Le Brun, the First Painter to the King, was asked to elaborate the decoration of the staircase later than supposed. Furthermore, painted staircases did not exist in European royal palaces. Although the architecture was most likely created without his involvement, a few sources, especially certain articles published in the Mercure galant during the 1680s, name Le Brun as the author of the entire staircase, including the architecture. While he may have been asked to elaborate the decoration because of the narrowness of the space and the choice to represent the king’s history, Le Brun seized the opportunity to prove his ability to unite the arts of architecture, sculpture and painting. The fact that the access to the staircase was restricted outside the ceremonies probably contributed to strengthening the artist’s desire to control the reception of this work
L'influence d'un homme sur la géographie française : Conrad Malte-Brun (1775-1826)
No full textThis article looks at geography as it was practiced and preached by an author who wrote after the Revolution, at the time of Napoleon, and under the Restauration, Conrad Malte-Brun. He was a public figure of some considerable influence who had strongly held opinions which, in part, reflected the political, scientific and ideological preoccupations of his time. The focus here is on the internal logic of his thought. His ideas on the nature of geography were often contradictory and sometimes tendentious. They, nevertheless, bear study as they had a considerable influence, although arguably not a strictly positive one, on the future of the discipline and also because they echo the concerns of " literary " or descriptive geographers — including their most modern adherents, the postmodernists.Cet article examine la géographie pratiquée et propagée par Malte-Brun qui écrit après la Révolution et à l'époque de la Restauration. C'est un homme cultivé, opiniâtre, bien connu du public, et dont les jugements répondent surtout aux préoccupations politiques, scientifiques et idéologiques du temps. Je m'intéresse ici à la logique interne de sa pensée. Ses idées sur la nature de la géographie, souvent contradictoires et parfois tendancieuses, sont néanmoins importantes pour leur influence, pas toujours favorable, sur l'avenir de la discipline et parce qu'elles trouvent un écho chez les géographes littéraires, même contemporains.Godlewska Anne. L'influence d'un homme sur la géographie française : Conrad Malte-Brun (1775-1826) . In: Annales de Géographie, t. 100, n°558, 1991. pp. 190-206
La folle course de Charles Le Brun dans le Grand Salon de Vaux-le-Vicomte
No full textThe Grand Salon at Vaux is a complex space, both original and incomplete. It still seems necessary to interpret its stucco decoration in relation to the other arts that constitute it, painting and architecture, trying to eliminate some of the mysteries beyond commonplace ideas. Our object is to link and distinguish these different arts in order to identify the hands that drew and realized the carved elements. Did the sculptor or sculptors of the terminuses diverge from the drawings of their originator Charles Le Brun, to better integrate them into the architectural limits imposed by Louis Le Vau? These terminuses are here attributed to Jacques Houzeau, with the exception of Winter, which is attributed to François Girardon. In the case of the reliefs the author we suggest, Jean Blanchard, faithfully followed the models established by Le Brun. Between liberty and constraint, connections and affinities between architect, painter and sculptors, brought to light by consulting the archives, determined in 1658 the realization of this original and unique programme
Charles Le Brun architecte. Ses projets pour des maîtres-autels d'églises parisiennes, entre ambitions artistiques et stratégies de carrière
No full textInternational audienceThe article discusses Charles Le Brun, a seventeenth-century French painter and art theorist who worked for French King Louis XIV, focusing on his work designing altars for churches in Paris, France. It examines his designs for altars in the church of the Grands-Augustins, the church of Saint-Séverin, and the chapel of the University of Paris-Sorbonne. The author also comments on Le Brun's architectural influence and reflects on the context of his artistic ambitions as well as his career strategies
Charles Le Brun architecte. Ses projets pour des maîtres-autels d'églises parisiennes, entre ambitions artistiques et stratégies de carrière
No full textInternational audienceThe article discusses Charles Le Brun, a seventeenth-century French painter and art theorist who worked for French King Louis XIV, focusing on his work designing altars for churches in Paris, France. It examines his designs for altars in the church of the Grands-Augustins, the church of Saint-Séverin, and the chapel of the University of Paris-Sorbonne. The author also comments on Le Brun's architectural influence and reflects on the context of his artistic ambitions as well as his career strategies
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