Academic literature on the topic 'Note-taking. [from old catalog]'

Context. Type II Cepheids (T2Cs) are radially pulsating variables that trace old stellar populations and provide distance estimates through their period-luminosity (PL) relation. Aims. We trace the structure of old stellar population in the Galactic bulge using new distance estimates and kinematic properties of T2Cs. Methods. We present new near-infrared photometry of T2Cs in the bulge from the VISTA Variables in the Vía Láctea survey (VVV). We provide the largest sample (894 stars) of T2Cs with JHKs observations that have accurate periods from the Optical Gravitational Lensing Experiment (OGLE) catalog. Our analysis makes use of the Ks-band time-series observations to estimate mean magnitudes and individual distances by means of the PL relation. To constrain the kinematic properties of our targets, we complement our analysis with proper motions based on both the VVV and Gaia Data Release 2. Results. We derive an empirical Ks-band PL relation that depends on Galactic longitude and latitude: Ks0 = (10.66 ± 0.02) − (2.21 ± 0.03)·(log P−1.2)−(0.020±0.003)·l+(0.050±0.008)·|b| mag; individual extinction corrections are based on a 3D reddening map. Our targets display a centrally concentrated distribution, with solid evidence of ellipsoidal symmetry – similar to the RR Lyræ ellipsoid – and a few halo outliers up to ≳100 kpc. We obtain a distance from the Galactic center of R0 = 8.46 ± 0.03(stat.) ± 0.11(syst.) kpc. We also find evidence that the bulge T2Cs belong to a kinematically hot population, as the tangential velocity components (συl∗ = 104.2 ± 3.0kms−1 and συb = 96.8 ± 5.5kms−1) agree within 1.2σ. Moreover, the difference between absolute and relative proper motion is in good agreement with the proper motion of Sgr A✻ from VLBA measures. Conclusions. We conclude that bulge T2Cs display an ellipsoidal spatial distribution and have kinematics similar to RR Lyræ stars, which are other tracers of the old, low-mass stellar population. T2Cs also provide an estimate of R0 that agrees excellently well with the literature, taking account of the reddening law.

We use the 2MFGC catalogue for investigation of large-scale flows on the basis of the Tully-Fisher relation (TFR). The catalogue contains 18020 galaxies selected from the extended sources of the infrared sky survey 2MASS XSC. The majority of galaxies in the catalogue are spiral galaxies of late morphological types whose discs are visible almost from the edge. For more than a decade of the catalogue usage, the number of galaxies in HyperLEDA database with the measured radial velocities and rotational velocities (that are necessary to construct the TFR) has been increased by about 17%. In this paper, an updated working sample of 2MFGC galaxies is presented and earlier results are revised taking into account new data. We have confined ourselves to comparison of only the "old" and "new" parameters of the dipole component of the velocity field. The dipole bulk motion of galaxies of this sample with respect to cosmic microwave radiation is characterised by a velocity of V=264±36 km/s in the direction l=308°±8°, b=-16°±6°.

Abstract Objective – The objective of the study was to determine if summary notes or table of contents notes in catalogue records are associated with the usage of e-books in a large university library. Methods – A retrospective cohort study, analyzing titles from three major collections of e-books was employed. Titles were categorized based on the inclusion of the MARC 505 note (table of contents) or MARC 520 note (summary) in the catalogue record. The usage was based on standardized reports from 2012-2013. The measures of usage were the number of titles used and the number of sections downloaded. Statistical methods used in the analysis included correlations and odd ratios (ORs). The usage measures were stratified by publication year and subject to adjust for the effects of these factors on usage. Results – The analysis indicates that these enhancements to the catalogue record increase usage significantly and notably. The probability of an e-book with one of the catalogue record enhancements being used (as indicated by the OR) was over 80% greater than for titles lacking the enhancements, and nearly twice as high for titles with both features. The differences were greatest among the oldest and the most recently published e-books, and those in science and technology. The differences were least among the e-books published between 1998 and 2007 and those in the humanities and social sciences. Conclusion – Libraries can make their collections more accessible to users by enhancing bibliographic records with summary and table of contents notes, and by advocating for their inclusion in vendor-supplied records.

Resum: L’anàlisi comparativa de l’obra de Ciceró Paradoxa Stoicorum i la traducció del s. XV fetaper Ferran Valentí és d’alguna utilitat des de la perspectiva lingüística. En aquest article, examinemun element d’interès per a la semàntica del català: l’expressió de l’evidencialitat mitjançant algunsverbs com jutjar, estimar, pensar, sentir, etc. En aquest estudi, observem com tradueix Valentí elsverbs llatins en català i provem de reconèixer quins evidentials del català medieval són el resultatd’una interferència del llatí. L’objectiu és establir el valor evidencial de cadascun d’aquests verbs i feraixí un primer acostament a l’expressió de l’evidencialitat en un registre formal del català medieval.Paraules clau: Evidencialitat, Català antic, Ferran Valentí, Onomasiologia, Registre lingüísticAbstract: A comparative analysis of the work of Cicero Paradoxa Stoicorum and the 15thtranslation by Ferran Valentí is of some linguistic utility. In this article, we examine a point ofinterest to Catalan semantics: the expression of the evidentiality by means of some verbs suchas jutjar, estimar, pensar, sentir, etc. In this study, we note how Valentí translates the Latin verbsin Catalan and we try to recognize which evidentials in the Medieval Catalan are the result of aninterference from a form that is peculiar to Latin. The aim is to establish its evidential value in orderto describe the formal uses of evidentiality in Medieval Catalan.Keywords: Evidentiality, Old Catalan, Ferran Valentí, Onomasiology, Linguistic register

We report the case of a 22-year-old woman with a 3-day history of watery stool, generalized abdominal pain, repeated vomiting, and decreased urine output following the consumption of fish gallbladder for self-treatment of acne. She was admitted and received empirical antiemetic, proton pump inhibitor, and intravenous saline treatment. Urine output reduced drastically with markedly elevated urea and creatinine, and she underwent urgent hemodialysis (HD). Based on thorough history taking and prompt biochemical investigations that showed extremely high urea and creatinine levels, we made a diagnosis of acute kidney injury (AKI) secondary to fish gallbladder poisoning. Renal function improved over a period of 5 weeks. Fish gallbladder poisoning is quite frequent in several developing countries in Asia. General physicians in these countries should note that various types of food poisoning can be involved in the etiology of AKI. The condition is commonly reversible, and therefore proper history taking is important and prompt biochemical investigations including blood urea and creatinine are needed to enable early diagnosis and fast institution of treatment, which may include HD.

The imagery of the vision of the valley of dry bones (Ezek 37. 1–14) still fascinates theologians and historians of religion with its exegetical and liturgical significance. Rarely represented in medieval art, the iconography of this singular topic related to the Last Judgment deserves closer attention on the part of art historians. The aim of the present contribution is to remedy this situation by offering an analysis of the main pictorial representations of Ezekiel’s prophecy within the medieval East and West. This paper examines the evolution of the theme from the first pictorial evidence from Mesopotamia through the Roman late antique funerary sculpture into the Catalan and Germanic illuminated manuscript production from 11th and 12th centuries. Then, the field of the investigation broadens by taking into consideration the Byzantine artistic patterns of Ezekiel’s vision of the resurrection of the dead. Finally, this paper accents the multilayered contribution of the mural paintings from the Balkan cultural field. In order to reconsider this subject through the prism of the artistic interactions between East and West, the continuity of an ancient pictorial tradition that seems to have been previously neglected is highlighted.

With the advancement of technology nowadays, taking notes by hand seems old-fashioned to most students nowadays. They prefer typing using their various gadgets since it will be done faster, especially when there is a lot of information to be recorded. However, the use of ICT devices (such as laptops, smartphones, and tablets) in the classroom has a tendency to be distracting for the students – it is very easy for the students to take out their gadgets and click on Facebook or other applications during a dull lecture. The purpose of the present study is to find out whether note-taking using ICT devices affect the students’ understanding of the lecture. This study will use a quasi-experimental design, with 52 English department students of a private university as the participants. They will be divided into two groups as the control and experimental group. Participants of both groups were instructed to watch a video from TED talks twice. While watching the video, the control group was instructed to take notes by hand, while the other group was instructed to take notes using their various devices. After that, participants had to do a comprehension test of the lecture video. The results revealed that participants who took notes by handwriting performed better in comprehension test compared to those who took notes using ICT devices.

Pivot translations are very often used in film festivals, but have been granted little consideration from an academic viewpoint. This article analyses the role of pivot languages in audiovisual translation within the framework of Asian film festivals held in Catalonia. There are three aims of this paper: (i) to examine to what extent pivot translations are part of the translation process in films screened in such festivals, (ii) to determine the justifications for their use, and (iii) to analyse the effects of their use from a qualitative perspective. In order to do so, the answers from a questionnaire distributed among the most relevant agents in Asian film festivals in Catalonia will be analysed. Additionally, the Chinese film Old Stone by Johnny Ma that has been translated into and subtitled in Catalan through English as its pivot language, will be presented as a case study. Lay abstract The use of a third language or pivot translation is widespread in film festivals, although very few studies focus on this practice, which usually remains unnoticed by the average spectator. This article seeks to examine just how common this phenomenon is in film festivals and to analyse its impact with a case study, taking the Chinese film Old Stone by Johnny Ma and its translation into Catalan as an example. More precisely, the article aims to answer two questions regarding the use of pivot languages in audiovisual translation. Firstly, to what extent and for what exact purpose are pivot translations currently being used in Asian film festivals in Catalonia? Secondly, how does using a pivot language, in our case English, affect quality?

The possibility of application in the practice of customs control of the anechoic regime created by means of non-standardized measuring instruments in the form of an anechoic chamber is analyzed. From the standpoint of the principle of reliability of confirmation of conformity, the calibration of a hole-like anechoic chamber was performed as a basis for additional tools in the information system of customs control of an anechoic chamber. The task is to create a data bank of images of typical objects for the introduction into customs practice of methods and means of radar detection and recognition. The functional scheme of the laboratory installation from the anechoic chamber is given and the results of experimental researches are presented. Comprehensive mathematical modeling in the information-measuring system of customs control was carried out, which allowed to choose a more reliable required mode of certification of the involved control-measuring equipment not only from the point of view of their information security due to detection of own accompanying parasitic electromagnetic radiation objects. Note that, for the purity of the experiment when creating a catalog of images of hidden objects of artificial origin, it is advisable to use the anechoic mode, created by special methods and techniques that implement them, for example, anechoic cameras. Thus, without a priori information about hidden objects of artificial origin, it is advisable to create banks of images of hidden objects, taking into account their interaction in the process of detection, measurement and recognition.

AbstractAmong the books in the sale catalogue of Pieter Saeraredam's library (Note I) was a virtually forgotten work on pagan mythology, Hcydensche afgoden, belden, tcmpcls en offerhanden, published in Haarlem in 1646 (Note 2). This rare book crops up again in the 1893 catalogue of Frederik Muller's stock, but the only known example appears to be in the Royal Library in Brussels (Note 3). Among the Dutch sources on the subject, most of which continue the tradition of such Renaissance mythologists as Giraldi, Conti and Cartari, the Haarlem work appears to be the least known and most curious (Note 8). It was published anonymously, bul is dedicated to the author's teacher's, the Haarlem Classicist painters Pieter Fransz. de Grebber (Note 15) and Willem de Poorter. In the dedication the author declares that he felt the lack of descriptions in Dutch of pagan temples, altars and images during his apprenticeship and delermined to make it good later, despite his failure to become an artist. The book was inlended for 'Painters, Poets and others'. It consists of two volumes. The first sections are devoled to pagan religion in general, to the idols mentioned in the Old Testament and to each of the antique gods individually. The second, divided up into countries, offers a kind of information that is rather unusual in the 17th century. Not much is known about the pupils of the two painters mentioned (Notes 10, 11), but among the names we do have (certainly not a complete list) that of Pieter Casteleyn is of unusual interest. He certainly did not become a painter, for in 1645, lert years after the beginning of his apprenticeship to De Poorter, he is recorded as apprenticed to his father Vincent, a well-known Haarlem printer, who in fact printed Heydensche afgoden. Pieter Casteleyn became a member of the Haarlem booksellers' guild in 1649 and from 1650 onwards he was to puhlish the famous Hollandsche Mercurius. In 1649 he printed Pieter de Grebber's 'rules of art', possibly as his masterpiece (Note 14). He may have found some consolation for his failure as an artist in the publication of notes on the gods, which would certainly have been of interest to his teachers, and there would have been time enough to gather the material between 1635 and 1646. He belonged to a relatively well-to-do Mennonite milieu, there is evidence to suggest that he and his brother Vincent probably attended the Latin School and the inventory of his estate made in 1676 included no fewer than 43 paintings, mythological scenes among them (Note 19), none of which contrardicts the hypothesis. If Pieter Casteleyn was indeed the author of the book, there would be some excuse for its weakness, as a youthful work by someone who had not yet found his metier. The book is a mishmash of arbitrary information presented in a totally uncritical and often muddle-headed manner. Casteleyn took over much from the 1581 Frenh edition of Cartari, with the great difference that he was not interested in the meaning, but only in the externals of the images he describes. In the case of Fortuna, f or example, Casteleyn gives a completely arbitrary list of attributes, possibly taken from the illustrations in Cartari (Fig. I), including that of Nemesis (Fig. 2), whose 'measure' he may have wrongly construed as the 'telescope' he so strangely refers to. The illustrations in the book, ten small and rathe primitive woodcuts, are not related to those in the French edition of Cartari. Indeed, in the case of that of Janus (Fig.3), it seems that the artist did not know Cartari's illustration (Fig. 4), since the rod shown there has been transformed, through a linguistic mistake, into a bundle of twigs. As, for the other illustrations (Figs. 5-10), some are of subjects not illustrated in Cartari, while the last one is a rendering in reverse of the illustration of the 'Abgott Jodute' in the Sächsisch Chronicon of 1596 (Note 24). In the title-page print (Fig. 11 ), on the other hand, which may be by Casteleyn himself, the statue of Mercury in the left foreground is a direct borrowing from Carlari (Fig. 12). Whether the Heydenschc afgoden was of any practical use to artists or had any influence on Dutch art seems doubtful, but it did have ils roots in the artistic milieu in Haarlem and as such it remains a highly curious phenomenon.