1,721,037 research outputs found
An Algorithm For 1-bend Embeddings Of Planar Graphs In The Two-dimensional Grid
No full text[No abstract available]73841Liu, Y., (1995) Embeddability in Graphs, , Kluwer, AmsterdamLiu, Y., Morgana, A., Simeone, B., General theoretical results on rectilinear embeddability of graphs (1991) Acta Math. Appl. Sinica, 7, pp. 187-192Liu, Y., Morgana, A., Simeone, B., A for 2-bend embeddings of planar graphs in the two-dimensional (1998) Discrete Applied Mathematics, 81, pp. 69-9
A parallel on-line algorithm for deriving all logical conclusions implied by a set of binary relations
No full text
An Algorithm For 1-bend Embeddings Of Plane Graphs In The Two-dimensional Grid
No full textIn this paper we characterize the class of plane graphs that can be embedded on the two-dimensional grid with at most one bend on each edge. In addition, we provide an algorithm that either detects a forbidden configuration or generates an embedding with at most one bend on each edge. © 2003 Elsevier B.V. All rights reserved.1411-3225241Liu, Y., (1995) Embeddability in Graphs, , Amsterdam: Kluwer Academic PublishersLiu, Y., Morgana, A., Simeone, B., General theoretical results on rectilinear embeddability of graphs (1991) Acta Math. Appl. Sinica, 7, pp. 187-192Liu, Y., Morgana, A., Simeone, B., A linear algorithm for 2-bend embeddings of planar graphs in the two-dimensional grid (1998) Discrete Appl. Math., 81, pp. 69-91Tarjan, R.E., Depth-first search and linear graph algorithms (1972) SIAM J. Comput., 1, pp. 146-16
Adamant digraphs
No full textAbstractIn this paper we introduce the class of adamant digraphs. These are the digraphs with the property that for any two vertices x and y, the set of successors of x and the set of successors of y are either disjoint or (inclusionwise) comparable. Those adamant digraphs whose inverse digraph is also adamant are called inflexible. This subclass includes many previously known classes, e.g. minimal series-parallel digraphs and Ferrers digraphs. For both adamant and inflexible digraphs we give alternative characterizations and linear-time recognition algorithms. The special case of symmetric adamant digraphs is investigated
Deux modules de traitements des maillages: Module Q4T-Module MODGE
No full textThe MODULEF library contains about 3000 procedures written in Fortran 77. These procedures were designed with the utmost concern for software portability
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
Un module de maillage semi automatique: QCOURB
No full textThe MODULEF library contains about 3000 procedures written in Fortran 77. These procedures were designed with the utmost concern for software portability
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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