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Sui an Xu shi cong shu : [10 zhong] /
No full textTen works, each with special t. p.General table of contents has caption title: Sui an Xu shi cong shu.Ten works, each with special t.p.Mode of access: Internet
Xian zheng wen ti yan jiu / Hu Zhuoying bian zhu 憲政問題研究 / 胡卓英編著
Get PDFBen shu shi Xin yi shi za zhi suo chu "Xin zheng yun dong zhuan hao" de kuo da ban, lie wei Xin yi shi cong shu di 2 zhong. 本書是新意識雜誌所出「憲政運動專號」的擴大板, 列為新意識叢書第2
Aesthetic Design for the Shi-cong Viaduct
No full text<p>Bridge aesthetics is both elusive and complex, and the lack of an effective and efficient determination for the major aesthetic dimensions of structures has made it impractical to conduct research on bridge aesthetics. Conventional design of viaducts does not question the goals of the selected plan and can mainly meet short term demands in traffic, taking careless of their other functions like aesthetics. According to the viewpoint analysis for viaduct aesthetics, this paper focused on the structural parameters for bridge aesthetic design, i.e. superstructure cross-section, span length, pier height and shape, and column numbers of pier bodies. Then four schemes were offered with aesthetic concerns for the Shi-cong Viaduct and Scheme 3 was finally chosen to be the very one in light of feasibility and aesthetics.</p></jats:p
The effect of recycled glass powder and reject fly ash on the mechanical properties of fibre-reinforced ultrahigh performance concrete
No full textAuthor name used in this publication: Shi Cong KouVersion of RecordPublishedC
Density matrix reconstructions in ultrafast transmission electron microscopy: Uniqueness, stability, and convergence rates
Get PDFIn the recent paper Priebe et al (2017 Nat. Photon. 11 793–7) the first experimental determination of the density matrix of a free electron beam has been reported. The employed method leads to a linear inverse problem with a positive semidefinite operator as unknown. The purpose of this paper is to complement the experimental and algorithmic results in the work mentioned above by a mathematical analysis of the inverse problem concerning uniqueness, stability, and rates of convergence under different types of a priori information
A Signal Separation Technique for Sub-Cellular Imaging Using Dynamic Optical Coherence Tomography
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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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