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Block Card 4623 Rambo Lane
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: Cape Cod Style | 4623 Rambo Lane (Toledo, Ohio) | dwelling | Monroe Acres (Toledo, Ohio) | Franklin Park Area (Toledo, Ohio) | Trilby Area (Toledo, Ohio)
Block Card 4623 Monac 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 | 4623 Monac Drive (Toledo, Ohio) | Dwelling | Greenbush Knolls Addition (Toledo, Ohio) | Trilby Area (Toledo, Ohio)
Block Card 4623 Shadowood Lane
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: Split-Level Style | 4623 Shadowood Lane (Toledo, Ohio) | Dwelling | Glendale Gardens (Toledo, Ohio) | South Toledo Area (Toledo, Ohio
Block Card 4623 Glenbrier 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: Split-Level Style | 4623 Glenbrier Road (Toledo, Ohio) | Dwelling | Glendale Hills (Toledo, Ohio) | South Toledo Area (Toledo, Ohio
Block Card 4623 Vermaas 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 | 4623 Vermaas Avenue (Toledo, Ohio) | Cape Cod Style | North Toledo (Toledo, Ohio) | Willys Park area (Toledo, Ohio) | Alfred Bailey Addition (Toledo, Ohio
Block Card 4623 282nd 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 | 4623 282nd Street (Toledo, Ohio) | Side gabled | Parkview Addition (Toledo, Ohio) | Point Place (Toledo, Ohio) | North Toledo Area (Toledo, Ohio) | Folk House 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
1e. Mappe-monde [cartographic material] /
No full textDouble hemispherical map of the world with boundaries of some countries shown.; Rex Nan Kivell Collection Map NK 4623
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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