1,736,111 research outputs found
Santa Fe (ATSF) 2069
No full textA photograph print showing Santa Fe (ATSF) 2069, 0-6-0, Richmond, CA
Murphy, H F A, W-2069
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/406923Surname: MURPHY. Given Name(s) or Initials: H F A. Military Service Number or Last Known Location: W-2069. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 58734.239394
Item: [2016.0049.39199] "Murphy, H F A, W-2069
2069. Gaufredus Malaterra, Historia Sicula
No full text2069. Gaufredus Malaterra, Historia Sicula. In: Molinier Auguste. Les Sources de l'histoire de France - Des origines aux guerres d'Italie (1494). II. Époque féodale, les Capétiens jusqu'en 1180. Paris : A. Picard et fils, 1902. p. 265
Stone, Dan Ray, 1921-2007 (SC 2069)
Get PDFFinding aid only for Manuscripts Small Collection 2069. Correspondence with Kentucky\u27s senators related to advertising of alcoholic beverages on television; application for a retail beer license
Other title: House Bill 2069
No full text"January 24, 2023."
Testimony before the Kansas Legislature, House Corrections and Juvenile Justice Committee, by Randy Bowman, Executive Director of Public Affairs, Kansas Department of Corrections.
This same testimony was presented before the Kansas Legislature, Senate Committee on Judiciary, by Randy Bowman, Executive Director of Public Affairs, Kansas Department of Corrections, on March 9, 2023.Testimony in support of HB 2069. "The question is if a person should be credited for jail time served on their current postrelease supervision offense or a new conviction. A topic the department proposed to clarify in 2018 HB 2603. ... HB 2069 would clarify that time can only be tolled in accordance with the current law, a continuation of decades long application by KDOC.
Block Card 2069 Heatherwood Drive
No full textThis image was produced by the Auditor's Office in Lucas County, Ohio for tax assessment purposes. Associated dates are approximate. Descriptive terms related to this photograph include: Ranch houses | 2069 Heatherwood Drive (Toledo, Ohio) | Dwelling | Glen Arbor (Toledo, Ohio) | South Toledo Area (Toledo, Ohio
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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