2,710,233 research outputs found
The March model applied to boron cages
No full textAbstract: The so-called March model of fullerene, in which a self-consistent spherical distribution of pi electrons is combined with the proper nuclear-nuclear potential energy for the correct structure, is here extended to boron cages. The Thomas-Fermi approximation of the initial studies is here replaced by Hartree-Fock calculations. Explicit results for B-2k and B-2k+1(+), with k ranging from 15 to 27, are discussed and compared with calculations on similar clusters found in the literature. (C) 2001 Elsevier Science B.V. All rights reserved
Horace Leonard March
No full text"45553. [obscured]WA Corp. Horace Leona[rd] March R A A F Darwin 194[obscured] Batchler."45553. [obscured]Western Australia. Corporal Horace Leona[rd] March. Royal Australian Air Force. Darwin 194[obscured]. Batchelor
[March on Austin for Lesbian-Gay Equal Rights T-Shirt]
No full textWhite T-Shirt from the March on Austin for Lesbian - Gay Equal Rights in 1991. The shirt features an upside down pink triangle with white text reading "March on Austin". The lower point of the triangle features a white silhouette of the Texas State Capital Dome with the year "1991" in pink. Black text reads "For Lesbian - Gay Equal Rights"
2022 March of Dimes report card : stark and unacceptable disparities persist alongside a troubling rise in preterm birth rates.
No full textExposición de cajas, cofres y arquetas a través de la historia : Fundación Bartolomé March Servera : [Palma de Mallorca, mayo de 1979]
No full textCatàleg de l'exposició de caixes i arquetes de tot el món a través de la història, organitzada per la Fundació Bartolomé March Servera a l'any 1979. Aquesta exposició reunia materials de la col·lecció Bartolomé March amb aportacions d'altres col·leccions espanyoles i estrangeres. Conté làmines.Catalogue of the exhibition of boxes and chests from all over the world through history, organized by the Bartolomé March Servera Foundation in 1979. This exhibition brought together materials from the Bartolomé March collection with contributions from other Spanish and foreign collections. With prints.Catálogo de la exposición de cajas y arquetas de todo el mundo a través de la historia, organizada por la Fundación Bartolomé March Servera en 1979. Esta exposición reunía materiales de la colección Bartolomé March con aportaciones de otros co lecciones españolas y extranjeras. Contiene láminas
John Howard March Company Records, Volume 2
No full textBusiness correspondence of the John Howard March Company, June 14, 1817-Sept. 8, 1820. The wine merchants were located in the Madeira Islands. Their correspondence deals primarily with informing customers about orders shipped
John Howard March Company Records, Volume 1
No full textBusiness correspondence of the John Howard March Company, Nov. 8, 1815-June 11, 1817. The wine merchants were located in the Madeira Islands. Their correspondence deals primarily with informing customers about orders shipped
John Howard March Company Records, Volume 3
No full textBusiness correspondence of the John Howard March Company, September 8, 1820-September 21, 1922. The wine merchants were located in the Madeira Islands. Their correspondence deals primarily with informing customers about orders shipped
John Howard March Company Records, Volume 4
No full textBusiness correspondence of the John Howard March Company, Aug. 13, 1824 - Dec. 24, 1827. The wine merchants were located in the Madeira Islands. Their correspondence deals primarily with informing customers about orders shipped
Variations on the Author
No full text“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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