1,722,853 research outputs found
Francisco X. Serra i Font, fundador de "Jover, Serra i Cía"
No full textEnric Carbonell Serra, nét de Francesc Xavier Serra i Font, fundador de la fàbrica Jover, Serra i Cía, ens fa una semblança biogràfica del seu avi, acostant-nos no només a la seva trajectòria professional del personatge sinó també a la seva personalita
Eva Serra i Puig (1942-2018)
No full textRecord de la professora de l'àrea d'història moderna Eva Serra i Puig (1942-2018)
El Sector social de la resistència d'octubre 1640
No full textConferència de la historiadora Eva Serra i Puig sobre la Guerra dels Segadors686.mp4
686.mp
Fons Manuel Serra i Moret: 1939-1963: cartes, articles de premsa i documents
No full textManuel Serra i Moret (Vic, 1884-Perpinyà, 1963) era fill d’una família benestant i d’orientació religiosa. El seu pare, Josep Serra i Campdelacreu, fou un dels impulsors de la vida cultural osonenca. L’any 1899 s’establí a Barcelona per acabar el batxillerat i iniciar els estudis universitaris. Freqüentà l’Ateneu Barcelonès i el 1900 s’afilià a la Lliga. Va conèixer Sara Llorens (Lobos, Argentina, 1881-Perpinyà, França 1954), amb qui es comprometé i es mantingué unit sentimentalment tota la vida. Jove conferenciant i articulista, col·laborà en La Renaixença, El pensament català i Joventut (1901), com també en diverses revistes comarcals. Després de la mort del seu pare el 1901, marxà als Estats Units i hi estudià economia i ciències socials a les universitats de Chicago i Columbia (Nova York). El 1902 es traslladà a Mèxic i féu un periple per diversos estats de l’Amèrica Central i dels EUA, després del qual tornà a Nova York per a prosseguir els seus estudis. El 1906 retornà precipitadament a Catalunya per a visitar la seva promesa, desnonada pels metges. El 1907 cursà economia a la Universitat de Cambridge, i el 1908 contragué matrimoni civil amb Sara Llorens a l’Argentina. Tots dos es traslladaren a Canàries i finalment, el 1910, s’establiren a Pineda de Mar..
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
Les paysages pyrénéens dans l'oeuvre lyrique de Joan Maragall
No full textSerra i Baldó Alfons. Les paysages pyrénéens dans l'oeuvre lyrique de Joan Maragall. In: Littératures 5, février 1957. pp. 67-84
Art. 2500-septies c.c.
No full textIl contributo esamina la disciplina delle trasformazioni eterogenee regressive alla luce dei più rilevanti orientamenti dottrinali e giurisprudenzial
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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