scholarly journals The Little Prince -- The Lost Chapter

2021 ◽  
Vol 11 (2) ◽  
pp. 409-416
Author(s):  
Igor Podlubny
Keyword(s):  
Original Work

A "lost chapter" from Antoine de Saint-Exupéry's Le Petite Prince about the Little Prince visiting a mathematician, written in French in the style of the original work, is presented along with several translations.

Instruction for authors

2018 ◽  
Vol 1 (2) ◽  
pp. 75-79
Author(s):  
Abdulghani Alsamarai
Keyword(s):  
Original Work ◽  
Wide Spectrum ◽  
Case Reports ◽  
Editorial Policy ◽  
High Standard ◽  
Publication Ethics ◽  
Current Interest ◽  
Medical Sciences ◽  
Medical News ◽  
Review Articles

Introduction   The International Journal of Medical Sciences [IJMS], ISSN 2522-7386, is a peer-reviewed, 3 issues published annually. Authors are invited to submit for publication articles with a wide spectrum of coverage reporting original work, in the fields of medicine, nursery, dentistry, and pharmacy sciences. Review articles are usually by invitation only. However, Review articles of current interest and high standard will be considered. Prospective work should not be back dated. There are also sections for Case Reports, Brief Communication, correspondence and medical news items. Authors should read the editorial policy and publication ethics before submitting their manuscripts. Authors should also use the appropriate reporting guidelines in preparing their manuscripts

The Spanish Reception of Le Sacre du Printemps (1913–1936)

2018 ◽  
Vol 36 (1) ◽  
pp. 48-66
Author(s):  
Idoia Murga Castro
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Original Work ◽  
Silver Age ◽  
Avant Garde ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Cultural Expansion

Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

Retroaktive Neuverhandlung

2018 ◽  
Vol 63 (1) ◽  
Author(s):  
Daniel Martin Feige
Keyword(s):  
Original Work ◽  
The Other ◽  
Final Part ◽  
Critical Reading ◽  
The Third ◽  
Works Of Art ◽  
The Relationship

Der Beitrag widmet sich der Frage historischer Folgeverhältnisse in der Kunst. Gegenüber dem Gedanken, dass es ein ursprüngliches Werk in der Reihe von Werken gibt, das späteren Werken seinen Sinn gibt, schlägt der Text vor, das Verhältnis umgekehrt zu denken: Im Lichte späterer Werke wird der Sinn früherer Werke neu ausgehandelt. Dazu geht der Text in drei Schritten vor. Im ersten Teil formuliert er unter der Überschrift ›Form‹ in kritischer Abgrenzung zu Danto und Eco mit Adorno den Gedanken, dass Kunstwerke eigensinnig konstituierte Gegenstände sind. Die im Gedanken der Neuverhandlung früherer Werke im Lichte späterer Werke vorausgesetzte Unbestimmtheit des Sinns von Kunstwerken wird im zweiten Teil unter dem Schlagwort ›Zeitlichkeit‹ anhand des Paradigmas der Improvisation erörtert. Der dritte und letzte Teil wendet diese improvisatorische Logik unter dem Label ›Neuaushandlung‹ dann dezidiert auf das Verhältnis von Vorbild und Nachbild an. The article proposes a new understanding of historical succession in the realm of art. In contrast to the idea that there is an original work in the series of works that gives meaning to the works that come later, the text proposes to think it exactly the other way round: in the light of later works, the meanings of earlier works are renegotiated. The text proceeds in three steps to develop this idea. Under the heading ›Form‹ it develops in the first part a critical reading of Danto’s and Eco’s notion of the constitution of the artworks and argues with Adorno that each powerful work develops its own language. In the second part, the vagueness of the meaning of works of art presupposed in the idea of renegotiating earlier works in the light of later works is discussed under the term ›Temporality‹ in terms of the logic of improvisation. The third and final part uses this improvisational logic under the label ›Renegotiation‹ to understand the relationship between model and afterimage in the realm of art.

Value Meanings of the Modern Textbook of the Russian Language

2018 ◽  
Vol 79 (8) ◽  
pp. 7-10 ◽  
Author(s):  
A. D. Deikina
Keyword(s):  
Original Work ◽  
School Education ◽  
Russian Language ◽  
Educational Strategy ◽  
Personal Meanings ◽  
Current Trends ◽  
Modern Textbook ◽  
The Russian Language

Analysis of the current trends in the teaching of the Russian language allows to assert the value of the category of values in the educational strategy. In the context of orientation of the textbook to modern requirements the role of the text in the characteristic of language as an expression of value and personal meanings is emphasized. Providing personal and humanistic thinking and the formation of value view of students in the Russian language is more successful on a wide background of text material by stimulating a variety of ways of original work of students. Its predicted results are closely related to the awareness of the value of the Russian language. Attention is paid to the resources associated with the organization of open educational space on the basis of axiological ideas as the leading in the theory of school education and textbook.

The Producers and Hairspray

2019 ◽  
pp. 589-611
Author(s):  
Dean Adams
Keyword(s):  
Original Work ◽  
Movie Stars ◽  
Creative Team ◽  
Audience Demographics

Marketability is the focus of this chapter on The Producers and Hairspray, movies that were based on stage musicals that were originally based on low-budget, largely nonmusical movies. The chapter compares the two movie adaptations, noting that Susan Stroman restaged her original work for film, and many of the original creative team (including costume designer William Ivey Long) reprised their Broadway visual contributions for film, while the producers of Hairspray selected Hollywood professionals instead of the original Broadway creative team to supervise the making of the film. In another contrast, the 2005 film of The Producers is 134 minutes long to Hairspray’s 116, and The Producers used its Broadway stars rather than using the latest Hollywood names; Hairspray chose movie stars. With these contrasting strategies, and their relationship to the audience demographics for cinema today, it is unsurprising that Hairspray was a hit on the screen and that The Producers was a flop.

»Gott segne Kupfer« Goethes Kunstbeschreibungen im Zeitalter der semitechnischen Reproduzierbarkeit

2017 ◽  
Vol 80 (3) ◽  
pp. 392-417
Author(s):  
Mattias Pirholt
Keyword(s):  
Crucial Role ◽  
Original Work ◽  
Continuous Process ◽  
Work Experiences ◽  
Autobiographical Accounts ◽  
Plaster Casts

Abstract This study investigates how the experience of reproductions – drawings, copperplate engravings, woodcuts, lithography, plaster casts, and so forth – influenced Johann Wolfgang von Goethe’s conception of art in general and his descriptions of art (e.g., ekphrases, reviews, and autobiographical accounts) in particular. Well acquainted with the technologies of reproduction of his time, Goethe, often in collaboration with Johann Heinrich Meyer, acknowledged the crucial role of reproductions for the understanding of the productive idea of the original work. Experiences of reproductions and comparisons between copies, drafts, and the original enabled Goethe to grasp the idea as an ever-transforming productive constant of the continuous process of becoming of the work.

scholarly journals Relationship between workers’ return to work, job retention and income in industrial accidents in Korea: a longitudinal study

BMJ Open ◽  
2021 ◽  
Vol 11 (4) ◽  
pp. e039948
Author(s):  
Suk Won Bae ◽  
Inchul Jeong ◽  
Jin-Ha Yoon ◽  
Seung Wook Lee ◽  
Tae Hyun Kim ◽  
...  
Keyword(s):  
Longitudinal Study ◽  
Return To Work ◽  
Original Work ◽  
Occupational Injury ◽  
Economic Status ◽  
Panel Study ◽  
Estimating Equation ◽  
Job Retention ◽  
Industrial Accidents ◽  
Priority Assignment

ObjectiveThis study aims to compare workers’ income before and after an occupational injury, with regard to return to work and job retention, over a period of 5 years.DesignThis study was designed as a longitudinal study.SettingThe Panel Study of Workers’ Compensation Insurance (PSWCI) survey targeted workers involved in industrial accidents for which medical care was terminated in the year 2012.ParticipantsThe panel study was conducted on a final sample of 2000 workers who were selected proportionally by region (nine regions) after priority assignment by disability rating (six levels). A total of 1458 workers were finally included in this study.MethodsThis study used data from the first to fifth PSWCI. To identify the effect on income after occupational injury considering return to work and job retention, we used the generalised estimating equation.ResultsIn regard to workers’ return to work, the OR that income after an occupational injury would be higher than that before an occupational injury was 3.17 (2.41–4.17) for those who returned to original work and 2.32 (1.81–2.97) for those re-employed as compared with who did not return to work and 1.27 (1.07–1.15) for those who retained their job as compared with those who did not. The ORs were 2.91 (2.26–3.75) for those who were re-employed and retained jobs and 2.96 (2.15–4.08) for those who returned to original work and did not retain jobs as compared with those who did not return to work and did not retain jobs.ConclusionsIt is important for accident victims to retain their jobs to maintain their economic status.

Mounting Works on Paper with Neodymium Magnets

2014 ◽  
Vol 35 (3-4) ◽  
Author(s):  
Martina Noehles ◽  
Lena Niehus
Keyword(s):  
Physical Properties ◽  
Case Studies ◽  
Original Work ◽  
Traditional Methods ◽  
Valuable Addition ◽  
Works Of Art ◽  
Successful Case ◽  
Precautionary Measures ◽  
Neodymium Magnets

AbstractNeodymium magnets have been in use as a mounting technique for works of art on paper for several years; however, the method is still in its infancy. These very strong magnets provide a valuable addition to the traditional methods of mounting artworks on paper and objects made from paper, textile, or other materials for exhibitions. They offer an interesting and elegant alternative to attachment with adhesives, especially when adhesives may not or cannot be applied to the original work. This article addresses the physical properties and manufacture of the magnets, including their coatings and nomenclature. Three successful case studies of mounting artworks on paper with these “super magnets” are presented here. In addition, the limits and possible difficulties of working with neodymium magnets are addressed, as well as precautionary measures to take when handling them.

The sequence form of accounting for atrocity

2021 ◽  
pp. 175069802110179
Author(s):  
Meredith Kimenyi Shepard
Keyword(s):  
Original Work ◽  
Alternative Form ◽  
Mass Violence ◽  
Mass Atrocity ◽  
New Form ◽  
Poetry Collection

Discussions of aesthetic representations of mass atrocity have tended to focus on a particular form—the atrocity allegory—that figures a collective horror through the narrative of an individual protagonist. This essay outlines some of the limits of the atrocity allegory and then examines an alternative form of denoting collective horror, the sequence, through two examples of sequential representation of the genocide against the Tutsi in Rwanda: Juliane Okot Bitek’s poetry collection 100 Days and Wangechi Mutu’s photography essay #100Days. I argue that the sequence offers a radically different method of conceptualizing mass violence than the atrocity allegory by forcing the audience to confront multiple, intimate portraits of loss in quick succession. Unlike the allegory, the sequence does not require the audience to extrapolate from the singular to the collective, as the plurality of sequencing performs that link between individual and collective on its own. I furthermore suggest that the atrocity sequence inspires collaboration and activism by inviting audiences to continue the sequence in a new form where the original work ends, a continuation made possible by the sequence form’s resistance to closure.

scholarly journals The on-axis magnetic well and Mercier's criterion for arbitrary stellarator geometries

2021 ◽  
Vol 87 (2) ◽  
Author(s):  
P. Kim ◽  
R. Jorge ◽  
W. Dorland
Keyword(s):  
Magnetic Field ◽  
Original Work ◽  
Three Dimensional ◽  
Radial Distance ◽  
Analytical Form ◽  
One Dimensional ◽  
Modern Notation ◽  
Magnetic Well ◽  
First Time ◽  
Dimensional Integral

A simplified analytical form of the on-axis magnetic well and Mercier's criterion for interchange instabilities for arbitrary three-dimensional magnetic field geometries is derived. For this purpose, a near-axis expansion based on a direct coordinate approach is used by expressing the toroidal magnetic flux in terms of powers of the radial distance to the magnetic axis. For the first time, the magnetic well and Mercier's criterion are then written as a one-dimensional integral with respect to the axis arclength. When compared with the original work of Mercier, the derivation here is presented using modern notation and in a more streamlined manner that highlights essential steps. Finally, these expressions are verified numerically using several quasisymmetric and non-quasisymmetric stellarator configurations including Wendelstein 7-X.

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