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[AIDS Memorial Quilt Panel for Martin Fernando Narbaiz]
No full textPhotograph of the AIDS memorial quilt panel for Martin Fernando Narbaiz. Block number is 2659. Photograph of quilt has been cropped and mounted to a 4" x 6" index card
Valuación de Apple Inc.
Full text linkFil: Martin, Fernando. Universidad de San Andrés. Escuela de Negocios; Argentina
Stadig et trekantsdrama? Europæisk og amerikansk sikkerhedspolitik i Mellemøsten siden Irak krigen
No full textHelle Malmvig; Martin Fernando Jakobse
Aplicación de proyecto kaizen a la mejora de contribución de una lı́nea de productos reincorporada a la planta productiva de origen
No full textFil: Martin, Fernando Nelson. Universidad de Buenos Aires. Facultad de Ciencias Económicas. Buenos Aires, Argentina
I regimi della politica e le elezioni negli Stati Uniti – Parte Seconda
Full text linkIn attesa dell’esito delle elezioni di domani sera, la seconda parte dell’analisi della campagna elettorale statunitense.Fil: Plot, Martin Fernando. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de Tres de Febrero. Centro de Estudios sobre Genocidio; Argentin
The self-institution of society: A democratic interrogation with no end
Full text linkIntroducción a la sección: Democratic (de) consolidation and constitution‐making in Latin AmericaFil: Plot, Martin Fernando. Universidad Nacional de San Martín. Instituto de Altos Estudios Sociales; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentin
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
History, the Mother of Truth
No full textIn this paper I offer a new reading of some of the philosophical, social, and political,implications of Argentine writer Jorge Luis Borges’ fiction and non-fiction work. The aimof this new reading is to show that Borges exhibited broad philosophical sympathies forthe pragmatist imagination. The paper’s first section offers a genealogy of Borges’early fiction pieces and a close reading of “Pierre Menard, Author of the Quixote.” It isin this text that Borges engaged William James in his fiction writing. In the secondsection, I present a broad picture of pragmatism, from its origins in the work of Peirceto its most recent revival in Richard Rorty’s tour de force. Finally, I analyze Borges’essays on James and suggest they are evidence that the Argentine’s interest in Jameswas related to something more comprehensive than a mere attraction for the James’work’s aesthetic value.Fil: Plot, Martin Fernando. Universidad Nacional de San Martín. Instituto de Altos Estudios Sociales; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentin
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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