1,721,110 research outputs found
Aaron Reeves' Quick Files
No full textThe Quick Files feature was discontinued and it’s files were migrated into this Project on March 11, 2022. The file URL’s will still resolve properly, and the Quick Files logs are available in the Project’s Recent Activity
Q and A with Sam Friedman and Aaron Reeves on Born to Rule
No full textIn this interview with Anna D’Alton, Sam Friedman and Aaron Reeves discuss their new book, Born to Rule: The Making and Remaking of the British Elite. Drawing on years of extensive research into the complete Who’s Who database and other sources, the book examines the make-up and political views of those with power, influence and extreme wealth in Britain, and how this group has changed (or not) over the past 125 years. Sam Friedman and Aaron Reeves will launch the book at a public, hybrid LSE event on Thursday 03 October – find details on how to attend. You can also take look at a YouTube short, an LSE Festival exhibition poster and an LSE Research for the World feature, all based on the book’s research. Born to Rule: The Making and Remaking of the British Elite. Sam Friedman and Aaron Reeves. Harvard University Press. 2024
Friedman_online_supplement_ – Supplemental material for From Aristocratic to Ordinary: Shifting Modes of Elite Distinction
No full textSupplemental material, Friedman_online_supplement_ for From Aristocratic to Ordinary: Shifting Modes of Elite Distinction by Sam Friedman and Aaron Reeves in American Sociological Review</p
The Making and Remaking of the British Elite: “Born to Rule” by Aaron Reeves and Sam Friedman
Full text linkA review of Born to Rule: The Making and Remaking of the British Elite by Aaron Reeves and Sam Friedma
Supplemental_Material – Supplemental material for The Rhetoric of Recessions: How British Newspapers Talk about the Poor When Unemployment Rises, 1896–2000
No full textSupplemental material, Supplemental_Material for The Rhetoric of Recessions: How British Newspapers Talk about the Poor When Unemployment Rises, 1896–2000 by Daniel McArthur and Aaron Reeves in Sociology</p
Clair_figures_table_box – Supplemental material for Constructing a housing precariousness measure for Europe
No full textSupplemental material, Clair_figures_table_box for Constructing a housing precariousness measure for Europe by Amy Clair, Aaron Reeves, Martin McKee and David Stuckler in Journal of European Social Policy</p
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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