bluuebunny/crossref_metadata_2025_split huggingface dataset:
Patient Choice and Willingness Toward Gatekeepers as First-Contact Medical Institutions in Chinese Tiered Healthcare Delivery System: A Cross-Sectional Study
Authors: Li Xia , Zhang Liang , Li Zhong , Tang Wenxi 
Published: June 2021

Introduction: Gatekeeping mechanism of primary care institutions (PCIs) is essential in promoting tiered healthcare delivery system in China. However, patients seeking for higher-level institutions instead of gatekeepers as their first contact has persisted in the past decade. This study aims to explain patients' choice and willingness and to provide potential solutions.Methods: A survey was conducted among residents who had received medical care within the previous 14 days. Patients' choice and willingness of PCIs for first contact together with influencing factors were analyzed using binary logistic regression.Results: Of 728 sampled patients in Hubei, 55.22% chose PCIs for first contact. Patients who are older, less educated, with lower family income, not living near non-PCIs, with better self-perceived health status, only buying medicines, and living in rural instead of urban area had significantly higher probability of choosing PCIs. As of willingness, over 90% of the patients inclined to have the same choice for their first contact under similar health conditions. Service capability was the primary reason limiting patients' choice of PCIs.Conclusions: The gatekeeper system did not achieve its goal which was 70% of PCIs among all kinds of institutions for first contact. Future measures should aim to improve gate-keepers' capability.
What Do Secondary Schools Need to Create Healthier Canteens? The Development of an Implementation Plan
Authors: Evenhuis Irma J. , Vyth Ellis L. , Nassau Femke van , Veldhuis Lydian , Westerman Marjan J. , Seidell Jacob C. , Renders Carry M. 
Published: June 2021

Introduction: The Netherlands Nutrition Centre developed guidelines to improve the availability and accessibility of healthier food products in Dutch canteens. This paper describes the development of an implementation plan to facilitate implementation of Guidelines for Healthier Canteens in Dutch secondary schools.Materials and Methods: In cooperation with stakeholders (i.e., school/caterer managers/employees, school canteen advisors, researchers) and based on theory, we developed an implementation plan in three steps. First, we identified factors that impede/facilitate stakeholders to create a healthier school canteen during 14 interviews. Second, 25 experts discussed and prioritized these identified factors in an expert meeting. Third, we translated these factors into tools to be included in the implementation plan, by making use of behavior change taxonomies and evidence-based implementation strategies.Results: The plan aims to support stakeholders in implementing healthier school canteens and consists of five tools: (1) tailored advice based on an online questionnaire to assess schools' and stakeholders' context and the Canteen Scan (i.e., an online tool to assess the availability and accessibility of food/drink products); (2) communication materials with information and examples; (3) online community for support by sharing experiences/questions; (4) digital newsletter as reminder/support; (5) fact sheet with students' needs/wishes to tailor the canteen.Discussion: This study illustrates how collaboration between science, policy and practice resulted in a tailored implementation plan aimed to support schools to adhere to school canteen policy. This development serves as a good example for researchers, health promotion policymakers, and practitioners how to create an implementation plan that fits the needs of stakeholders.
Hybrid Three-Phase Rectifiers with Active Power Factor Correction: A Systematic Review
Authors: Gonçalves José Teixeira , Valtchev Stanimir , Melicio Rui , Gonçalves Alcides , Blaabjerg Frede 
Published: June 2021

The hybrid three-phase rectifiers (HTR) consist of parallel associations of two rectifiers (rectifier 1 and rectifier 2), each one of them with a distinct operation, while the sum of their input currents forms a sinusoidal or multilevel waveform. In general, rectifier 1 is a GRAETZ (full bridge) (can be combined with a BOOST converter) and rectifier 2 is combined with a DC-DC converter. In this HTR contest, this paper is intended to answer some important questions about those hybrid rectifiers. To obtain the correct answers, the study is conducted as an analysis of a systematic literature review. Thus, a search was carried out in the databases, mostly IEEE and IET, and 34 papers were selected as the best corresponding to the HTR theme. It is observed that the preferred form of power distribution in unidirectional hybrid three-phase rectifiers (UHTR) is 55%Po (rectifier 1) and 45%Po (rectifier 2). For the bidirectional hybrid three-phase rectifiers (BHTR), rectifier 1 preferably takes 90% of Po and 10% of Po is processed by rectifier 2. It is also observed that the UHTR that employ the single-ended primary-inductor converter (SEPIC) or VIENNA converter topologies in rectifier 2 can present sinusoidal input currents with low total harmonic distortion (THD) and high Power Factor (PF), even successfully complying with the international standards. The same can be said about the rectifier that employs a pulse-width (PWM) converter of BOOST topology in rectifier 2. In short, the HTR are interesting because they allow using the GRAETZ full bridge topology in rectifier 1, thus taking advantage of its characteristics, being simple, robust, and reliable. At the same time, the advantages of rectifier 2, i.e., high PF and low THD, are well used. In addition, this article also points out the future direction of research that is still unexplored in the literature, thus giving opportunities for future innovation.
Voir et faire voir l’architecture : les gravures de la « Revue générale de l’architecture et des travaux publics » (1840-1890)
Authors: Saboya Marc 
Published: June 2021

Seeing and giving to see architecture : engravings from the "Revue générale de l’architecture et des travaux publics".
The Revue générale de l’architecture et des travaux publics published by César Daly from 1840 to 1890 gave considerable space to images. The use of the most modern and varied techniques, the editing of the illustrations within or outside the text, the ratios plans /elevations and line /light and shade, are all used to the full to serve the editor’s views and to follow their development.
Un architecte toulousain du XIXe siècle : Henri Bach (1815-1899)
Authors: Nayrolles Jean 
Published: June 2021

An architect from Toulouse of the nineteenth century : Henri Bach.
After a short schooling at the École des Beaux-Arts in Paris and thanks to local supporters, Henri Bach (1815-1899) became a professor at the École des Beaux-Arts in Toulouse. He played an important part in the extensive use of the neo-medieval style in the religious architecture in his city. Helped by the general atmosphere of religious revival during the Second Empire, he built for the Jesuits, the Capucins, the Dominicans and the Frères de la Doctrine Chrétienne. He was a typical representative of the third neo-gothic generation, and had a second-hand “modern gothic” style, or a neo-roman style related to Naissant ’s work.
L’agence centrale de la Société Générale à Paris (1908-1912)
Authors: Kozak Thierry 
Published: June 2021

Central Agency of the bank Société Générale in Paris.
The Central Agency of the Société Générale is the last Parisian palace of finance (designed in 1906-1908 ; built in 1908-1912). Commissioned to set it among a group of profit buildings drawn by Rohault de Fleury in 1865 in the vicinity of the Opéra, Jacques Hermant’s sources were the Crédit Lyonnais and the Comptoir d’Escompte, but he innovated by using a reinforced concrete structure, by the choice of a round counter, the arrangement of the safe boxes rooms, copied on the American safe rooms, and by building it on an unprecedented scale, all richly decorated in polychromy.
Sur la date du cratère Borghèse
Authors: Truszkowski Élisabeth 
Published: June 2021

On the date of the Borghese krater.
The Borghese krater, a vase in Pentelica marble, in the Musée du Louvre, has been the subject of several attempts to date it, all of them questionable. In the light of a very precise analysis of the style and the iconography of its carved ornementation and by comparing it with other vases such as those from Mahdia, it must be considered as a basic work of the neo-attic style. The carved relief of the Borghese krater is particularly homogeneous and is reminiscent of the models of the 2nd C. B.C. deriving themselves from works the 4th C. B.C. For reasons of style and political context, the author proposes a date of the 1rst C. B.C.
Robert Morris : des pièces minimales aux Feutres
Authors: Coëllier Sylvie 
Published: June 2021

Robert Morris : from the Minimal works to the Felts.
Robert Morris’s very diversified activity possesses a unity if one considers it from the point of view of its relationship to the human body. From this point of view, the minimalist works from 1964 to 1967 appear particularly expressive of Morris’s theories of the perception of space and the situation of the work of art in relationship with the beholder. Their implicit system is paradoxical : on one hand, an “anthropomorphism” linked to the human proportions, on the other hand, a geometric formalism which tends to dematerialize sculpture. In 1967, the felt-sculptures suggest a new form of analogy with the human body ; they also clearly question the relationship of art with the norms of industrial production.
Le décor peint du XIVe siècle dans le chœur de la cathédrale de Rodez
Authors: Fayel Nicole 
Published: June 2021

The 14th C. painted decoration in the choir of Rodez cathedral.
During the last ten years, three groups of mural paintings have been brought to light in Rodez cathedral : in Saint Catherine Chapel (Christ in Majesty and saints), in Saint Agnes Chapel (prophets and saints), and in the axis chapel (Christ in Majesty surrounded by the Tetramorph). Their state of preservation doesn’t permit to identify all the figures and the scenes. Their style and a few external elements allow a datation around the middle of the 14th C. They have been executed by a single worshop, which worked for the cathedral. The influence of the “italo-avignonnaise” painting is noticeable, as well as the one of french illumination.
Les panneaux historiés du château de La Mothe-Saint-Héray
Authors: Stievenard-Billère Brigitte 
Published: June 2021

The historiated panels of the La Mothe Saint-Heray castle.
Since 1842 the Niort Museum preserves a series of historiated panels from the chapel of La Mothe Saint-Héray castle, which had been redecorated by Jean de Baudéan at the beginning of the 17th C. and destroyed in the middle of the 19th C. The painted scenes are illustrations of the Bible. They show the mark of a deep flemish influence. The artist, probably an itinerant painter, has been inspired for part of them by Peter Van der Bocht’s prints for the Images et figures de la Bible, a book published in Antwerp around 1585. Other secondary sources can also be identified. The choices of the scenes and their treatment show a protestant aspiration, which allows the attribution of the patronage to Jean de Baudéan, who died in 1631.
Unité et cohérence de quelques « imprese » farnésiennes du XVIe siècle
Authors: Bajard Sophie 
Published: June 2021

Unity and Coherence of some of the Famese Devices from the 16th C.
The absence of documents concerning the heraldic devices which decorate the palace of the Farnese family have led the author to establish a corpus of these devices, to describe them, and to define their meaning. The devices of Paul III (1468-1549) and of the Cardinal Alessandro Farnese both in Caprarola and in Rome have been selected. The author attributes the devices to each member of the Farnese family and proposes to see in the capricorn not only an ornament but an additional device in its own right. Erudites close to the Farnese (Orsini, Caro and Panvino) certainly played a role in the selection and the attribution of the devices. Medieval bestiaries provide an obvious source but antique influence should not be neglected, especially that of medals, which were collected in the 16th C.
Some of the devices originate from Augustan medals. The body of the Farnese devices was not meant to create original motifs but to form a unity around the theme of the family’s social and political power.
Artisanat du bronze et grande sculpture : de la Grèce archaïque à la Grèce classique
Authors: Rolley Claude 
Published: June 2021

C. Rolley : Bronze Craft and Great Sculpture : From Archaic to Classical Greece.
In the 5th century, bronze hydrias underwent an essential technical change. The handles, till then made by lost wax technique and devoted to an original and coherent motif, are more often executed in high relief hammered in a mould Unique and specific decoration is replaced by a more repetitive element chosen more randomly from a stock of varied models. The independent art of the bronze craftsmen is replaced by a small-scale artisanal style, which is nothing more than an echo of great statuary. The hydria from Aineia, executed around 430, is the best example of these changes and allows us to propose new marks for the crisis of the cities and the passage from the archaic to the classical period.
Hans Hartung, peintre cubiste ?
Authors: Moret-Martingay Véronique 
Published: June 2021

V. Moret-Martingay : Hans Hartung, Cubist Painter ?
Descriptions such as «lyrical abstraction» or «abstract expressionism» are too vague and restrictive, and also fail to account for Hartung’s years of maturation and the different sources of his inspiration. The years 1926-1934 were particularly important for him. His discovery of French painting at the Universal Exhibition in Dresden (1926) was followed by numerous stays in Paris, the South of France, and Norway. The painter started using Cubist technique and renewed his art through the play of interlocking surfaces in imaginary articulations, an interest in the Golden Number, a refinement of color, and a light graphic technique. The return to full originality in 1934 is the result of these decisive years.
Les vitraux en dalle de verre en France, des origines à 1940
Authors: Loire Natalie 
Published: June 2021

The stained-glass windows in glass-slab in France, from their beginning to 1940.
The technique of stained-glass window as a glass-slab, which consists in setting thick glasses in reinforced concrete and coloring them in the block, was created in France about 1929, in Jean Gaudin’s workshop, who was soon followed by Auguste Labouret and Charles Lorin ; all collaborated with the glass-master J. Albertini. Herein are set out some outstanding creations using this technique, which did not spread outside of France before 1940. Two other but related techniques have been practised by E Décorchemont and P. Dindeleux, a specialist of translucid concrete. Among the 60 or so stain-glass windows in glass-slab created
Esquisse d’une typologie des villes fortifiées de l’Égypte pharaonique
Authors: Soulié Daniel 
Published: June 2021

Outlines of a typology of fortified towns of Pharaonic Egypt.
Recent excavations allow to consider more acutely a little studied aspect of the civilisation of Pharaonic Egypt : the morphology of the towns. The nature of their fortifications allow a distinction between two types of urban areas. Some of them, protected by a wall, often double during the Middle Empire, are generaly situated in the borders (Bouhen) ; they present a chequered plan, with a very obvious division into zones, sometimes materialized by a wall. The others (El Kab, Kahoub), are religious or administrative centers which present only a very simple wall, without walls or bastions, of variable thickness. None of the cities about which we learn they endured long sieges has been yet excavated.
Le manoir en Haute-Normandie (XIIe-XIVe siècle)
Authors: Benoît-Cattin Renaud 
Published: June 2021

Manors in Upper Normandy, 12th to 14th centuries.
A survey located 25 manors of the period, most of them considerably modified inside and some of them now completely destroyed. The civil manors are generally to be found near a church, the chapel of the squire of the manor, whilst ecclesiastical ones are isolated in the middle of their grounds. Traces of the environment sometimes survive : a moat, a pigeon-tower, one or two chapels and the remains of a tithe barn. The manor-house is generally a two storey rectangular construction, with two gables and walls a meter thick, sometimes buttressed. Some have cellars, but no trace of vaulting has been identified. On the upper floor, where one might expects to find a hall and a bed room, only one manor-house had traces of a partition wall. Either these partitions were of wood, or else the upper floor was composed of only one room. The original chimney is situated on one of the long walls, with an outside shaft. The original staircase was presumably of wood and was situated outside the building : it is only traceable by a door on the upper floor which gives outside. The windows on the ground floor are small and not very numerous ; on the upper floor the windows opened in the wall opposite the chimney, are more numerous and larger.
Le manoir d’après les aveux à la Chambre des comptes de Normandie (XVIe-XVIIe siècles)
Authors: Etienne Claire 
Published: June 2021

The manor studied in the recognitions presented to the Norman Roll Chamber (16th-17th centuries).
The archives of the Norman Roll Chamber suggest that a manor is to be identified by the presence of certain outbuildings. The archives examined concern 277 recognitions mentioning a fief (17 %) or — because of estate division — a half (8 9c), a quarter (21 %), or an eighth (18 %). The texts speak not only of the manor itself, but also of its outbuildings. Nine manors have kept a fortified building, and fourteen a moated site within their grounds. The outbuildings scattered around the courtyard are for agricultural uses : barns (40 %), cow-houses (30 %), stables (18 %), press-houses (30 %). The pigeon-tower is, of course, the characteristic mark of the manor (80 %), whilst chapels (24 mentions) are associated with certain fiefs only. Gates and doors are mentioned seven times each. The estate may also include orchards, gardens, woods, fish ponds and mills. The presence of a pigeon-tower enables us to separate manors from ordinary farms, in much the same way as a distinct courtyard for agricultural functions allows us to distinguish a castle from a manor.
La maison en ciment armé de François Hennebique à Bourg-la-Reine
Authors: Delhumeau Gwenaël 
Published: June 2021

The reinforced concrete house by François Hennebique in Bourg-la-Reine.
The Hennebique firm was at the beginning of the century the most important of French firms specialized in reinforced concrete building. After having achieved the building of the rue Danton in Paris, for the plans of which he asked the architect Arnaud, François Hennebique, his owner, built himself, from 1901 to 1903, a villa in Bourg-la-Reine. This villa, the aspect of which is entirely new, demonstrates the possibilities offered by the reinforced concrete in all its forms ; but it constitutes also an exceptional success by the laying-out of the exterior and the conception of the inner spaces. A manifest of the new material, a real work of propaganda, it is also the fruit of an elaborate reflexion on the problems of living conditions.
Les villas « mexicaines » de Barcelonnette (1860-1930)
Authors: Homps-Brousse Hélène 
Published: June 2021

The « Mexican » villas in Barcelonnette 1860-1930.
« Barcelonnettes » is the name given to the emigrants who, during the Second Empire, following in the Arnaud brothers’ footsteps, left the Valley of the Ubaye for the Mexican Eldorado. Their economic success was quick in the textile sector. Having made their fortune, these businessmen called « Mexicans », back in their country, become landowners again and placed architectural orders which contrast strongly with the local practices. The author distinguishes between three building phases (1860-1890, 1890-1914, 1918-1939), the last being characterized by the decline of prestige orders. Several villas are studied. It is interesting to notice that from 1890 onwards the builders resort more to architects. The patrons give importance to comfort and space, but also to the decoration (glass walls). The archives of these buildings have remained in the majority of cases the propriety of the families. The recent « Valley Museum », settled in one of these villas, today gathers a documentation on this original heritage.
Les frères Vera et l’art des jardins entre les deux guerres
Authors: Gueissaz Catherine 
Published: June 2021

The Vera brothers and the art of gardens during the inter-war period.
André Vera (1881-1971) was a self-educated man, of considerable erudition, who developed, from 1910, a theory of the art of gardens. He held that they should belong to the tradition of the French spirit whilst satisfying the demands of the modern world. His brother, Paul Vera (1882-1957), a painter and decorator, illustrated these ideas between the two wars by many projects which are held today, along with the artist’s archives, by the Municipal Museum of Saint-Germain-en-Laye. He also realized several gardens, in particular the ones designed with his brother in 1924 for the Vicomte de Noailles, or with the architect J.-C. Moreux in 1930 for Jacques Rouché. Inspired by Cubism and by the Art Deco movement, these gardens play on the contrast of coloured surfaces set in a strictly laid-out design. The decorative elements are more important than the vegetation, and the gardens, composed just like a picture, belong to the general evolution of art.
Collard, photographe des Ponts et Chaussées
Authors: Le Mée Isabelle-Cécile 
Published: June 2021

Collard, a photographer of the Ponts et Chaussées.
The first part of this paper constitutes the first biographical enquiry, based on archives, on Auguste-Hippolyte Collard. Known as a gilder on wood in Poitiers where he settled in 1839, Collard has perhaps been initiated to photography in 1842 by Niepce’s nephew. In 1850, he exhibits in Poitiers his first framed daguerreotypes. Then he goes to Paris, where he opens a familial photography studio. His first successes are due to his skillness in reproducing paintings. At the end of the 1850s, he turns to photography of building sites and offers his services to engineers. Not only a witness, he gives to his photographies of bridges, viaducts, etc., a personal mark : he tries to restitute the modern forms of iron works executed under his eyes ; and such a result is achieved partly thanks to light effects. The author analyses certain formal characteristics of these photographies. The whole set of albums containing Collard’s photographies of building sites (from 1857 to 1886) is recorded and localized in an appendix to the article.