1,721,025 research outputs found
S. Lallemand, Une Famille mossi
No full textVincent Jeanne-Françoise. S. Lallemand, Une Famille mossi. In: L'Homme, 1980, tome 20 n°1. pp. 132-134
S. Lallemand, Une Famille mossi
No full textVincent Jeanne-Françoise. S. Lallemand, Une Famille mossi. In: L'Homme, 1980, tome 20 n°1. pp. 132-134
S. Lallemand, La Mangeuse d'âmes. Sorcellerie et famille en Afrique
No full textDacher Michèle. S. Lallemand, La Mangeuse d'âmes. Sorcellerie et famille en Afrique. In: L'Homme, 1990, tome 30 n°116. pp. 158-159
S. Lallemand, La circulation des enfants en société traditionnelle. Prêt, don échange
No full textMassard Josiane. S. Lallemand, La circulation des enfants en société traditionnelle. Prêt, don échange. In: L'Homme, 1996, tome 36 n°140. pp. 119-122
S. Lallemand, La circulation des enfants en société traditionnelle. Prêt, don échange
No full textMassard Josiane. S. Lallemand, La circulation des enfants en société traditionnelle. Prêt, don échange. In: L'Homme, 1996, tome 36 n°140. pp. 119-122
M. Augé, J.-P. Dozon, S. Lallemand, F. Michel Jones, La Construction du monde. Religion, représentation, idéologie
No full textTornay Serge. M. Augé, J.-P. Dozon, S. Lallemand, F. Michel Jones, La Construction du monde. Religion, représentation, idéologie. In: L'Homme, 1975, tome 15 n°3-4. Du mariage et de l'inceste. pp. 194-195
What's new in the treatment of Dupuytren's disease?
No full textAmong the recent advances in the field of Dupuytren's contracture, the authors reviewed a series of 171 patients treated by percutaneous needle fasciotomy. Among the 198 hands (241 fingers), 65 were reviewed with a mean follow-up of 2.5 years. Mean age was 62 years and delay between onset and treatment 6.8 years. Rupture of the cords was performed only in the palm in 154 cases, palmo-digital in 82 and purely digital in 5 cases. Complications were rare and benign without tendon or vascular bundle injury. Postoperative gain was essentially observed on the metacarpo-phalangeal joint and recurrence rate was high despite the short follow-up (progression of the disease 54% of cases). The ideal indication for this simple and reliable technique is an elderly patient with a prominent cord and predominant lack of metacarpophalangeal extension
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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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