1,724,398 research outputs found
Santa Fe (ATSF) 3817 (neg)
No full textA photograph negative showing Santa Fe (ATSF) 3817, 2-10-2, Denver, CO. [see also 2008.008.2076
Astronomische Nachrichten, nos 3817-3833
No full textR. R. Astronomische Nachrichten, nos 3817-3833. In: Bulletin astronomique, tome 20, 1903. pp. 173-194
Block Card 3817 Burton Avenue
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: dwelling | 3817 Burton Avenue (Toledo, Ohio) | Bungalow Style | Craftsman Style | Almeda Heights Second Addition (Toledo, Ohio) | Willys Park area (Toledo, Ohio) | West Toledo (Toledo, Ohio
Block Card 3817 Hoiles Avenue
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: West Toledo (Toledo, Ohio) | Willys Park area (Toledo, Ohio) | Homewood Park Extension (Toledo, Ohio) | Dwelling (Toledo, Ohio) | Bungalow Style | Craftsman Style | 3817 Hoiles Avenue (Toledo, Ohio
Block Card 3817 Pitt Street
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: dwelling | 3817 Pitt Street (Toledo, Ohio) | Colonial Revival Style | North Toledo (Toledo, Ohio) | Lagrange Area (Toledo, Ohio) | Creekside Addition (Toledo, Ohio
Block Card 3817 Tall Oaks Road
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 | 3817 Tall Oaks Road (Toledo, Ohio) | Dwelling | Country Club Addition (Toledo, Ohio) | South Toledo Area (Toledo, Ohio
Block Card 3817 Ben Lomond Court
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: Dwelling | Inverness Village Plat (Toledo, Ohio) | Reynolds Corners Area (Toledo, Ohio) | 3817 Ben Lomond Court (Toledo, Ohio) | moderne Styl
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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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