970 resultados para generic exponential family duration modeling


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Kids from left to right: Hans Ludwig, Elizabeth, Kurt Gottschalk

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Left to right: Therese Godshaw (Gottschalk) nee Molling, Walter, Freddy, Grandmother Henriette Gottschalk nee Rothschild, Ursula, Hal and Kurt

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Front row left to right: Tikkun, Back row: the twins, age 8, Shimon's wife Jo,, right: Ariela, age 28, the eldest

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The family was in Hannover, Germany, for the dedication of the memorial to the Holocaust, the Mahnmal am Opernplatz; from left to right: Anne Godshaw nee Pick, Donald Godshaw, Molly Godshaw nee Peck, Freddy Godshaw, Jan Godshaw nee McKay, and Hal (Hans Ludwig Gottschalk) Godshaw.

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From left to right: Kurt, Therese nee Molling, Ursula, the maid, Elizabeth and Hal,

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This family grave is next to the tombstone of Adolf Molling and his wife Henriette (Henny) nee Meyerhof

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The zombie has long been regarded as a “fundamentally American creation” (Bishop 2010) and a western monster representing the fears and anxieties of Western society. Since the renaissance of the zombie movie in the early 2000s, a subsequent surge in international production has seen the release of movies from Norway, Cuba, Pakistan and Thailand to name a few. Although Japanese zombie movies have been far more visible for Western cult audiences than in mainstream markets, Japanese cinema has emerged as one of the more prolific producers of zombie films outside of Anglophone or Western European countries in recent years. Films such as Helldriver (2010), Zombie TV (2013), Versus (2000), Tokyo Zombie (2005), Happiness of the Katakuris (2001) and anime television series High School of the Dead (2010) have generated varying degrees of popularity and critical attention internationally. At first glance Japanese zombie films, with musical zombie interludes, undead yakuza henchmen and revenge-seeking yūrei zombies, appear fundamentally different to their Western counterparts. Yet, on closer examination, the Japanese zombie movie could be regarded as a hybrid and intertextual generic form drawing on syntactic conventions at the core of a universal zombie sub-genre established by Western filmmaking traditions, while also distilling culturally specific tropes unique to various Japanese horror cinema sub-genres. Most importantly, the Japanese zombie film extracts, emphasises and revises particular conventions and motifs common within Western zombie films that are particularly relevant to Japanese audiences. This chapter investigates the cultural resonance of key generic motifs identifiable in the Japanese zombie film. It establishes a production context and the influence of Japanese horror cinema on style and thematic concerns. It then examines the function of prominent narrative conventions, namely: the source, outbreak and spread of infection; mutation and the representation of the monster; and the inclusion of supernatural and religious motifs.

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(l-r) Ilse Meyerhof, Joel Meyerhof (father), Adolf Meyerhof

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Temperature: 117 F

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Compounds of the Y3-x Ba3+x Cu6O14+δ system, which YBa2Cu3O7-δ (x = 1) is member, have been prepared. A relatively low temperature nitrate decomposition method gives almost single phase compounds with tetragonal structure. The phases are metastable and show superconducting transitions (zero-resistance) around 50K.