1,730,272 research outputs found
Union Pacific (UP) 2870
A photograph postcard showing Union Pacific (UP) 2870, 4-6-2, Denver, CO
Gardiner, Robert Henry, F-2870
This record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete.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/386812Surname: GARDINER. Given Name(s) or Initials: ROBERT HENRY. Military Service Number or Last Known Location: F-2870. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 44221.208582
Item: [2016.0049.19105] "Gardiner, Robert Henry, F-2870
2870. Guillaume de Nogaret
2870. Guillaume de Nogaret. In: Molinier Auguste. Les Sources de l'histoire de France - Des origines aux guerres d'Italie (1494). III. Les Capétiens, 1180-1328. Paris : A. Picard et fils, 1903. pp. 195-196
Description of the study cohort (N = 2870).
Description of the study cohort (N = 2870).</p
Martin, Jerry W. (SC 2870)
Finding aid only for Manuscipts Small Collection 2870. “A Morning Walk,” by Dr. Jerry W. Martin, a descriptive and contemplative essay about an outdoor excursion in winter at Sally’s Rock in Warren County, Kentucky
Block Card 2870 Broadway Street
This 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: Modern Colonial Style | 2870 Broadway (Toledo, Ohio) | Dwelling | Harvard Terrace Addition (Toledo, Ohio) | South Toledo Area (Toledo, Ohio
Технологические решения для строительства разведочной вертикальной скважины глубиной 2870 метров на нефтяном месторождении(Томская область)
Цель работы – проектирование вертикальной разведочной скважины глубиной 2870 метров.
В процессе работы был составлен проект на строительство вертикальной разведочной скважины на газ глубиной 2870 м (по вертикали).
Разработаны мероприятия по организации строительства, охране труда и окружающей среды.The purpose of the work is to design a vertical exploration well with a depth of 2870 meters. In the process of work, a project was drawn up for the construction of a vertical well. Measures have been developed for the organization of construction, environmental protectio
Going Beyond Counting First Authors in Author Co-citation Analysis
The 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
“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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