1,721,826 research outputs found
Australia welcomes you [picture] : this is Australia? This is Australia! : historic ruins, Port Arthur, Tasmania : see them soon /
No full textCaption title.; "10m/12/69".; "Australian Tourist Commission: San Francisco, Los Angeles, New York, London, Frankfurt, Tokyo, Auckland, Sydney. Head office: Melbourne".; Also available in an electronic version via the internet at: http://nla.gov.au/nla.pic-vn5057665. Travel poster of photograph depicting the Convict-built church at Port Arthur, Tasmania. A fashion model standing at the door way of the building.This is Australia? This is Australia! : historic ruins, Port Arthur, Tasmani
Murray, N F, NX31273
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/406977Surname: MURRAY. Given Name(s) or Initials: N F. Military Service Number or Last Known Location: NX31273. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 36579.242857
Item: [2016.0049.39253] "Murray, N F, NX31273
Shadowgraphy of the end-effects regime produced by clustered rockets
No full textThe plume produced by a cluster of two high area-ratio thrust optimized parabolic contour nozzles is visualized by way of retroreflective shadowgraphy. Both steady and transient operations of the nozzles (start-up and shut-down) were conducted in the anechoic chamber and high speed flow facility at The University of Texas at Austin. Both nozzles exhibit free shock separated flow, restricted shock separated flow and an end-effects-regime prior to flowing full. Radon transforms of the shadowgraphy images are used to identify the locations in the flow where sound waves are being generated. During these off design operations of the nozzles, most sound waves are generated by turbulence interactions with the shock cells located in the supersonic annular plume. During the end-effects-regime, this supersonic annular plume is shown to flap violently, thus providing a first principals understanding of the sources of most intense loads during engine ignition
Il libertarismo di Murray N. Rothbard. Una discussione
No full textIn questo saggio viene illustrata la proposta filosofico-politica e filosofico-giuridica di Murray N. Rothbard, forse il maggiore interprete di secondo Novecento della teoria libertaria
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
Zoledronic acid versus ibandronate comparative evaluation in breast cancer patients with bone metastases: the NCRI zice trial
No full textVariations 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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