1,721,261 research outputs found
The adjustment and testing of telescope objectives.
No full textFirst ed. by T. Cooke and Sons, York, published in 1891 under title: On the adjustment and testing of telescopic objectives.Mode of access: Internet
Sextante Villavicencio
No full textLa fecha de producción se ha tomado de fuentes directas existentes en el Archivo del Observatorio de San Fernando.Partiendo del convencimiento de que el sextante podría ser utilizado como instrumento de precisión en las observaciones astronómicas, Manuel de Villavicencio, Conde de Cañete del Pinar, encargó en 1896 a la casa británica T. Cooke & Sons la construcción de un sextante de grandes dimensiones con montura fija para usar como instrumento de observatorio.
Este instrumento, conocido desde entonces como Sextante Villavicencio, dio unos magníficos resultados prácticos, igualando en precisión a otros instrumentos astronómicos tenidos hasta entonces por más precisos. El Sextante Villavicencio fue donado al Observatorio de San Fernando por la viuda del Conde de Cañete del Pinar.Transcripción: "T. Cooke & Sons London & York
Telescopio refractor
No full textLa fecha de producción se ha tomado de fuentes directas existentes en el Archivo del Observatorio de San Fernando.Anteojo acromático (telescopio refractor) muy utilizado durante el siglo XIX, pues sus características técnicas permitían la construcción de aparatos de gran fiabilidad y pequeñas dimensiones, y por tanto fácilmente transportables. Éste fue construido en Londres por Troughton & Simms y originalmente estuvo montado en soporte altacimutal. La montura ecuatorial de la que dispone hoy día fue adquirida a T. Cooke & Sons en 1881.
Este instrumento fue entregado en el Apostadero de La Habana por el vapor Bazán, en abril de 1869. Llegó al Observatorio en 1878. Una vez adquirido el soporte ecuatorial de Cooke, estuvo a cargo de la Comisión encargada de la observación del paso de Venus de 1882 en Cuba y Puerto Rico.Transcripción: "Troughton & Simms, London"
. Localización: Sobre el anteojo. Transcripción: "T. Cooke & Sons York, England"
. Localización: Sobre la montur
I love her how I love her! Tho' mine, alas! she ne'er can be! [first line]
No full textaabacpiano and voiceJohns Hopkins University, Levy Sheet Music Collection, Box
114, Item 137Composed by Huber. Adapted to the English Stage by T. Cooke, Director of the Music to the Theatres Royal Covent Garden & Drury Lane. The Words by I.R. Planche.as Sung by Mr. Templeton at the Theatre Royal Covent Garden in the Grand Opera of Gustavus The Thir
I love her how I love her! Tho' mine, alas! she ne'er can be! [first line]
No full textaabacpiano and voiceJohns Hopkins University, Levy Sheet Music Collection, Box
114, Item 137Composed by Huber. Adapted to the English Stage by T. Cooke, Director of the Music to the Theatres Royal Covent Garden & Drury Lane. The Words by I.R. Planche.as Sung by Mr. Templeton at the Theatre Royal Covent Garden in the Grand Opera of Gustavus The Thir
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
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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