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Participant 476 Community Conversations Essay
No full textIn this essay, Participant 476 shares their struggle with virtual learning and social isolation during the COVID-19 pandemic. The participant shares that they struggled with learning and using the computer at home. The participant expresses their sadness from not being able to enjoy activities outside, such as going to the shore or the movies.New Jersey Department of Healt
Resolución UNRN N° 476/2009. Designar docente interino
No full textFil: Universidad Nacional de Río Negro (U). Universidad Nacional de Río Negro. Río Negro, ArgentinaResolución UNRN N° 476/2009. Designar docente interinofals
2000 Results 476-100 to 476-858
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete.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/431993166825
Item: [2016.0083.00949] "2000 Results 476-100 to 476-858
1999 Results 476-200 to 476-899
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete.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/431936166768
Item: [2016.0083.00892] "1999 Results 476-200 to 476-899
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
Verlustliste Nr. 476. (Nr. 476. /1916)
No full textVERLUSTLISTE NR. 476.
Verlustliste (-)
Verlustliste Nr. 476. (Nr. 476. /1916) ([1])
Belehrung. (2)
Offiziere. (3)
A, B, C, D, F, G, H, I, J, K, L, M, N, P, Q, R (3)
S (3)
T, V, W, Z (4)
Mannschaft. (4)
A (4)
B (5)
C (10)
D (12)
E (14)
F (15)
G (17)
H (19)
I (23)
J (23)
K (25)
L (32)
M (34)
N (39)
O (41)
P (42)
Q (46)
R (46)
S (48)
T (55)
U (58)
V (58)
W (61)
Z (62)
Berichtigungen zu den Verlustlisten: (63)
Nr. 48. Nr. 177. Nr. 179. Nr. 260. Nr. 326. Nr. 363. Nr. 431. (63)
Ergänzung und Berichtigung zur Verlustliste: (63)
Nr. 171. (63)
Berichtigungen der Internierungsorte der aus Serbien nach Italien gebrachten Kriegsgefangenen. (63)
A, B (63)
C, D, E, F, G, H, K, L, M, N, P, R, S, T, U, V, W, Z (64)
Berichtigungen bereits veröffentlichter, jedoch nicht legal nachweisbarer Todesfälle. (64)
Nr. 352. (64
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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