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  • Digital Humanities and Cultural Heritage
  • 2018-2022
  • Open Access
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Groenen, Marc; Groenen, Marie-Christine;

    The iconographic, formal and technical analysis of the decoration elements of El Castillo and La Pasiega (Cantabria) highlights a heterogeneous distribution of the main themes, with distribution logics that are very different in each of the caves. In El Castillo, the main themes appear in distinct sectors, each one containing a central area with a high density of motifs and an end that sets its limit. Consequently, the decoration appears as a mosaic formed of small sets of motifs. In contrast, using the same analysis criteria for the cave of La Pasiega shows that, besides motifs of the same type spread in the network space, there are more structured decorated sets. The set of Gallery A shows an increasing number of motifs from the beginning to the end of the sector, with a maximum density at the level of the back areas. In turn, the set of Gallery B comprises animal figures that stood out all the more to the viewers that they were illuminated by natural light. Whereas the decoration of Gallery A is organised in the manner of deep sanctuaries, the ornamentation of the Salle du Mégacéros of Gallery B falls rather in the logic of open-air sanctuaries. info:eu-repo/semantics/published SCOPUS: ar.j

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    Article . 2019 . Peer-reviewed
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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Journal of Archaeological Science Reports
    Article . 2019 . Peer-reviewed
    License: Elsevier TDM
    Data sources: Crossref
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DI-fusionarrow_drop_down
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      DI-fusion
      Article . 2019 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Journal of Archaeological Science Reports
      Article . 2019 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Durocher, Maxime;

    1370–1410 yılları arasında Dazya’da inşa edilen Lulu bin Abdullah ve Tokat’ta inşa edilen Horozoğlu Ahmed Bey dergahlarının bazı bölümleri, göze çarpan benzerliklere sahip zarif ustuka süslemelerle bezelidir. Bu derlemede, Orta Çağ Anadolusu’nda, günümüzde bile çalışmalarda hak ettiği yeri bulamayan ustuka üretiminin yanı sıra Eretna Beyliği topraklarında, Osmanlı hakimiyetiyle birlikte girilen geçiş dönemi dergah mimarisinde tek tipleşme ele alınmıştır. Orta ve Doğu Karadeniz bölgelerinden bu iki örnek olay incelemesine odaklanan makale, ustuka imalatının köklerinin yerel geleneklere dayandığını savunmaktadır. Buna ek olarak, söz konusu süslemelere Osmanlı’nın ilk yıllarında inşa edilen dergahlarda da rastlanması, bölgesel ölçekte sanatsal etkileşimler ve bilgi alışverişi konularını açıklığa kavuşturarak Orta Anadolu’nun Orta Çağı’nı Osmanlı İmparatorluğu’nun doğuş döneminden keskin bir çizgiyle ayıran tarihi sınırı ortadan kaldırmaktadır. Built between the 1370s and the 1410s, the dervish lodges of Lulu ibn ʿAbdallah in Tazya and of Horozoğlu Ahmed Bey in Tokat are partially ornamented with refined stucco decorations that have remarkable similarities. This corpus illustrates the production of stucco in medieval Anatolia, a material still understudied, as well as the progressive standardization of the architecture of dervish lodges during a transitional period that witnessed the emergence of the Ottomans in the former Eretnid realm. Focusing on these two case studies from the Inner Pontos region, this paper argues that such production is rooted at the local scale. Moreover, the study of such ornamentation also present in early Ottoman dervish lodges sheds new light on the artistic exchanges and circulations at a regional scale, deconstructing the historiographic border isolating central Anatolia from the emerging Ottoman Empire.

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    Authors: Pau, Clémence;

    L’hôtel de Bourvallais, situé aux nos 11 et 13 de la place Vendôme, occupe une place toute particulière dans l’histoire des institutions françaises : depuis 1718, il n’a jamais cessé d’abriter la Chancellerie de France puis le ministère de la Justice et ce, en dépit des révolutions et des coups d’État qui ont marqué l’histoire de France. Exemple remarquable de la pérennité des lieux de pouvoir dans la capitale, l’hôtel du ministère constitue également un patrimoine exceptionnel pour la Justice : à travers le processus de patrimonialisation de l’hôtel de Bourvallais, aujourd’hui classé au titre des Monuments historiques, nous nous proposons donc de revenir sur l’histoire de cet édifice emblématique qui a connu, en trois siècles d’occupation continue, de très nombreuses transformations. Cette approche patrimoniale permettra de mettre en évidence les différents aménagements de l’hôtel, ainsi que ces décors datant principalement du XIXe siècle, et qui constituent de nos jours l’incroyable témoignage de plus de 300 ans de Justice, place Vendôme. The hôtel de Bourvallais, located at n° 11 and 13 place Vendôme, holds a very special place among the French institutions’ history: since 1718, it never ceased to host the French Chancellery, then ministry of Justice, despite the revolutions and overturns that marked French history. Outstanding example of the sustainability of power places in Paris, the ministry hotel also constitutes an exceptional heritage for the Department of Justice. Through the patrimonialization process of the hôtel de Bourvallais, today listed historical monument, we propose to revisit the history of the iconic building which has undergone, during three centuries of continued occupation, many transformations. This heritage approach will also highlight the various hotel facilities and his interior decoration, mostly dating from the nineteenth century, which are nowadays an incredible testament of more than 300 years of Justice in place Vendôme.

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    In Situ : Revue de Patrimoines
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    In Situ : Revue de Patrimoines
    Article . 2022 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ OpenEdition; In Situ...arrow_drop_down
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      In Situ : Revue de Patrimoines
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      In Situ : Revue de Patrimoines
      Article . 2022 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/

    Solute decoration at grain boundaries (GB) leads to a number of phenomenon such as changes in interface structure, mobility, cohesion etc. Recent experimental investigations on interfacial segregation in steels are based on microstructural characterisation using two correlative methodologies, namely, Transmission Electron Microscopy-Atom Probe Tomography (APT) and Electron Backscatter Diffraction-APT. Considering the growing interest in this avenue, the present review is aimed at addressing the common adsorption isotherms used for quantifying interfacial segregation and providing an overview of the present state of experimental research in the area of GB segregation in steels. The areas where an understanding of GB segregation may be utilised have also been highlighted with a focus on the experimental challenges associated with understanding GB segregation in steels.

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    https://doi.org/10.31224/2891...
    Preprint . 2023
    License: CC BY
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    https://doi.org/10.48550/arxiv...
    Article . 2022
    License: CC BY SA
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    SSRN Electronic Journal
    Article . 2021 . Peer-reviewed
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      https://doi.org/10.31224/2891...
      Preprint . 2023
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      https://doi.org/10.48550/arxiv...
      Article . 2022
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      SSRN Electronic Journal
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    Authors: Saux, Ludovic Le;

    A few days before the opening of the exhibition on Edward Burne-Jones, Tate Britain released a tantalising trailer for this unique event, as no exhibition devoted to the Victorian artist had been held since 1998 – in his hometown, Birmingham – and for over forty years in London. Featuring three mesmerising tableaux vivants of pictures by Burne-Jones (Laus Veneris, Love among the Ruins, and The Rose Bower), the trailer highlights the approach adopted by Chief Curator Alison Smith, and Assistan...

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    Miranda: Revue Pluridisciplinaire du Monde Anglophone
    Article . 2019 . Peer-reviewed
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      Miranda: Revue Pluridisciplinaire du Monde Anglophone
      Article . 2019 . Peer-reviewed
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    Authors: Sacha Kacki; Erik Trinkaus; Eline M.J. Schotsmans; Patrice Courtaud; +6 Authors

    International audience; The Mid-Upper Paleolithic (Gravettian) karstic Grotte de Cussac (France) contains two areas of human remains in the context of abundant (and spectacular) parietal engravings. The first area (loci 1 and 2) includes the skeleton of a young adult male in a bear nest, rearranged by postdecomposition inundation, and the variably fragmentary remains of at least two individuals distributed across two bear nests, sorted anatomically and with most of the elements constrained to one side of one nest. The second area (locus 3) retains remains of two adults and an adolescent, in upper hollows and variably distributed down the slope, largely segregated into upper versus lower body groups. The only decoration associated with the human remains is red pigment on some of the bones or underlying sediment. The human remains indicate variable nonnatural deposition and manipulation of human bodies, body portions, and skeletal elements of at least six individuals. Moreover, Cussac is unusual in the association of these remains with exceptional parietal art. The complex Cussac mortuary pattern joins growing evidence from other Gravettian sites of variable treatment of individuals after death, within and across sites, in terms of formal deposition of the body versus postmortem manipulation versus surface abandonment. It provides a window onto the social diversity and the complex interactions of the living and the dead among these successful Late Pleistocene foragers.

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    Europe PubMed Central
    Other literature type . 2020
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    Authors: Praud, Ivan; Bostyn, Françoise; Cayol, Nicolas; Dietsch-Sellami, Marie-France; +3 Authors

    International audience; Recently, several sites dating from the Early Neolithic were discovered in the extreme North of France, in a region where this period had been unknown up until now. The ten sites presented here all date from the Blicquy/Villeneuve-Saint-Germain (BVSG) chrono-cultural horizon, in a geographic sector located between the Oise valley to the east, the Somme valley to the south and the shores of the Channel/North Sea to the northwest. These sites are rather late for an Early Neolithic, compared to the more imposing Linear Pottery Culture settlements in Belgian Hainaut or the Paris basin, which are several centuries older. The synopsis of these studies defines the typo-chronological framework of these settlements, in parallel with the radiocarbon results and a techno-functional approach to the different objects. Comparisons with Early Neolithic sites from the Paris basin and Belgium contribute to the discussion on the links between the different regions and the broader question of regional axes of Linear Pottery Culture and BVSG.; La découverte récente de plusieurs gisements datés du Néolithique ancien dans l’extrême Nord de la France s’est faite dans une région où cette période n’était pas attestée. Les dix sites présentés ici, sont tous datés de l’horizon chrono-culturel Blicquy/Villeneuve-Saint-Germain (BVSG) et sont implantés dans un secteur géographique compris entre les vallées de l’Oise à l’est, de la Somme au sud et des rivages de la Manche/Mer du Nord au nord-ouest. Cet effectif faible est aussi tardif pour un premier néolithique comparé aux occupations rubanées reconnues, dans le Hainaut belge ou le Bassin parisien, plus importantes mais aussi plus anciennes de quelques siècles. La synthèse des études a permis de préciser le cadre typo-chronologique de ces occupations à l’aide d’approches techno-fonctionnelles sur les différents mobiliers en les mettant en parallèle avec les mesures radiocarbone. Les comparaisons avec les sites du Néolithique ancien du Bassin parisien et de Belgique viendront alimenter la discussion sur les liens entretenus entre les différentes régions et permettront finalement de revenir sur les apports de ces sites dans l'étude plus générale des axes régionaux de colonisation néolithique rubanés et BVSG.

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    Gallia préhistoire
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    OpenEdition
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    Gallia préhistoire
    Article . 2018 . Peer-reviewed
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    Authors: Fabien Salmon; Catherine Ferrier; Delphine Lacanette; Jean-Christophe Mindeguia; +3 Authors

    The Chauvet-Pont d’Arc Cave (Ardèche, France), famous for its remarkable rock art, also contains unique thermal-alterations such as rock spalling and color changes on the walls. These alterations resulted from intense fires that have not been observed in the other decorated caves thus far discovered. The functions of these unusual fires challenge archaeologists. To characterize these combustions, we used a numerical tool, previously validated with experimental data, to study the thermo-alterations in the Megaceros Gallery. This unprecedented approach in cave art research enabled us to assess the wood quantities and locations of the hearths responsible for the thermo-alterations. We report here that at least ten fires took place in the Megaceros Gallery while burning more than 170 kg of wood. Both simulation and in situ observations suggest that the branches were arranged in a tepee shape and purposefully positioned, some distance from the walls. This method therefore enables further analysis of the functions of these fires.

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    Oskar Bordeaux
    Article . 2020
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    Journal of Archaeological Method and Theory
    Article . 2020 . Peer-reviewed
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      Journal of Archaeological Method and Theory
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Groenen, Marc; Groenen, Marie-Christine;

    The iconographic, formal and technical analysis of the decoration elements of El Castillo and La Pasiega (Cantabria) highlights a heterogeneous distribution of the main themes, with distribution logics that are very different in each of the caves. In El Castillo, the main themes appear in distinct sectors, each one containing a central area with a high density of motifs and an end that sets its limit. Consequently, the decoration appears as a mosaic formed of small sets of motifs. In contrast, using the same analysis criteria for the cave of La Pasiega shows that, besides motifs of the same type spread in the network space, there are more structured decorated sets. The set of Gallery A shows an increasing number of motifs from the beginning to the end of the sector, with a maximum density at the level of the back areas. In turn, the set of Gallery B comprises animal figures that stood out all the more to the viewers that they were illuminated by natural light. Whereas the decoration of Gallery A is organised in the manner of deep sanctuaries, the ornamentation of the Salle du Mégacéros of Gallery B falls rather in the logic of open-air sanctuaries. info:eu-repo/semantics/published SCOPUS: ar.j

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    Article . 2019 . Peer-reviewed
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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Journal of Archaeological Science Reports
    Article . 2019 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Journal of Archaeological Science Reports
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    Authors: Durocher, Maxime;

    1370–1410 yılları arasında Dazya’da inşa edilen Lulu bin Abdullah ve Tokat’ta inşa edilen Horozoğlu Ahmed Bey dergahlarının bazı bölümleri, göze çarpan benzerliklere sahip zarif ustuka süslemelerle bezelidir. Bu derlemede, Orta Çağ Anadolusu’nda, günümüzde bile çalışmalarda hak ettiği yeri bulamayan ustuka üretiminin yanı sıra Eretna Beyliği topraklarında, Osmanlı hakimiyetiyle birlikte girilen geçiş dönemi dergah mimarisinde tek tipleşme ele alınmıştır. Orta ve Doğu Karadeniz bölgelerinden bu iki örnek olay incelemesine odaklanan makale, ustuka imalatının köklerinin yerel geleneklere dayandığını savunmaktadır. Buna ek olarak, söz konusu süslemelere Osmanlı’nın ilk yıllarında inşa edilen dergahlarda da rastlanması, bölgesel ölçekte sanatsal etkileşimler ve bilgi alışverişi konularını açıklığa kavuşturarak Orta Anadolu’nun Orta Çağı’nı Osmanlı İmparatorluğu’nun doğuş döneminden keskin bir çizgiyle ayıran tarihi sınırı ortadan kaldırmaktadır. Built between the 1370s and the 1410s, the dervish lodges of Lulu ibn ʿAbdallah in Tazya and of Horozoğlu Ahmed Bey in Tokat are partially ornamented with refined stucco decorations that have remarkable similarities. This corpus illustrates the production of stucco in medieval Anatolia, a material still understudied, as well as the progressive standardization of the architecture of dervish lodges during a transitional period that witnessed the emergence of the Ottomans in the former Eretnid realm. Focusing on these two case studies from the Inner Pontos region, this paper argues that such production is rooted at the local scale. Moreover, the study of such ornamentation also present in early Ottoman dervish lodges sheds new light on the artistic exchanges and circulations at a regional scale, deconstructing the historiographic border isolating central Anatolia from the emerging Ottoman Empire.

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    Authors: Pau, Clémence;

    L’hôtel de Bourvallais, situé aux nos 11 et 13 de la place Vendôme, occupe une place toute particulière dans l’histoire des institutions françaises : depuis 1718, il n’a jamais cessé d’abriter la Chancellerie de France puis le ministère de la Justice et ce, en dépit des révolutions et des coups d’État qui ont marqué l’histoire de France. Exemple remarquable de la pérennité des lieux de pouvoir dans la capitale, l’hôtel du ministère constitue également un patrimoine exceptionnel pour la Justice : à travers le processus de patrimonialisation de l’hôtel de Bourvallais, aujourd’hui classé au titre des Monuments historiques, nous nous proposons donc de revenir sur l’histoire de cet édifice emblématique qui a connu, en trois siècles d’occupation continue, de très nombreuses transformations. Cette approche patrimoniale permettra de mettre en évidence les différents aménagements de l’hôtel, ainsi que ces décors datant principalement du XIXe siècle, et qui constituent de nos jours l’incroyable témoignage de plus de 300 ans de Justice, place Vendôme. The hôtel de Bourvallais, located at n° 11 and 13 place Vendôme, holds a very special place among the French institutions’ history: since 1718, it never ceased to host the French Chancellery, then ministry of Justice, despite the revolutions and overturns that marked French history. Outstanding example of the sustainability of power places in Paris, the ministry hotel also constitutes an exceptional heritage for the Department of Justice. Through the patrimonialization process of the hôtel de Bourvallais, today listed historical monument, we propose to revisit the history of the iconic building which has undergone, during three centuries of continued occupation, many transformations. This heritage approach will also highlight the various hotel facilities and his interior decoration, mostly dating from the nineteenth century, which are nowadays an incredible testament of more than 300 years of Justice in place Vendôme.

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    In Situ : Revue de Patrimoines
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    In Situ : Revue de Patrimoines
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      In Situ : Revue de Patrimoines
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    Solute decoration at grain boundaries (GB) leads to a number of phenomenon such as changes in interface structure, mobility, cohesion etc. Recent experimental investigations on interfacial segregation in steels are based on microstructural characterisation using two correlative methodologies, namely, Transmission Electron Microscopy-Atom Probe Tomography (APT) and Electron Backscatter Diffraction-APT. Considering the growing interest in this avenue, the present review is aimed at addressing the common adsorption isotherms used for quantifying interfacial segregation and providing an overview of the present state of experimental research in the area of GB segregation in steels. The areas where an understanding of GB segregation may be utilised have also been highlighted with a focus on the experimental challenges associated with understanding GB segregation in steels.

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    https://doi.org/10.31224/2891...
    Preprint . 2023
    License: CC BY
    Data sources: Crossref
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    https://doi.org/10.48550/arxiv...
    Article . 2022
    License: CC BY SA
    Data sources: Datacite
    SSRN Electronic Journal
    Article . 2021 . Peer-reviewed
    Data sources: Crossref
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.3...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.31224/2891...
      Preprint . 2023
      License: CC BY
      Data sources: Crossref
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.48550/arxiv...
      Article . 2022
      License: CC BY SA
      Data sources: Datacite
      SSRN Electronic Journal
      Article . 2021 . Peer-reviewed
      Data sources: Crossref
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      This Research product is the result of merged Research products in OpenAIRE.

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    Authors: Saux, Ludovic Le;

    A few days before the opening of the exhibition on Edward Burne-Jones, Tate Britain released a tantalising trailer for this unique event, as no exhibition devoted to the Victorian artist had been held since 1998 – in his hometown, Birmingham – and for over forty years in London. Featuring three mesmerising tableaux vivants of pictures by Burne-Jones (Laus Veneris, Love among the Ruins, and The Rose Bower), the trailer highlights the approach adopted by Chief Curator Alison Smith, and Assistan...

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Miranda: Revue Pluri...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Miranda: Revue Pluridisciplinaire du Monde Anglophone
    Article . 2019 . Peer-reviewed
    Data sources: Crossref
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