1,721,081 research outputs found
An Interview with Adam Frank
Full text linkAdam Frank was the keynote speaker for GREAT Day in 2020. His speech pertained to the field of astrobiology
Off the Wall (2008) program cover
No full textBSC Drama Club presents Off... the Wall: a presentation of student-directed short plays. Includes: 1) Every man / by Michael Niederman; directed by Adam Frank; 2) The interrogation / by Murphy Guyer; directed by Kris McConnachie; 3) Daniel on a Thursday
Off the Wall (2008) program
No full textBSC Drama Club presents Off... the Wall: a presentation of student-directed short plays. Includes: 1) Every man / by Michael Niederman; directed by Adam Frank; 2) The interrogation / by Murphy Guyer; directed by Kris McConnachie; 3) Daniel on a Thursday
Off the Wall (2008) poster
No full textBSC Drama Club presents Off... the Wall: a presentation of student-directed short plays. Includes: 1) Every man / by Michael Niederman; directed by Adam Frank; 2) The interrogation / by Murphy Guyer; directed by Kris McConnachie; 3) Daniel on a Thursday
Off the Wall program (2009)
No full textBSC Drama Club presents Off... the Wall 2009: Student-directed short plays for adult audiences. Dan Rogers, Drama Club Advisor. Includes: 1) Have a Nice Day / by Shel Silverstein; directed by Adam Frank; 2) The Philadelphia / by David Ives; directed by Kim Fredricks; 3) Abandon All Hope / by Shel Silverstein; directed by Adam Frank
Off the Wall (2008)
No full textBSC Drama Club presents Off... the Wall: a presentation of student-directed short plays. Includes: 1) Every man / by Michael Niederman; directed by Adam Frank; 2) The interrogation / by Murphy Guyer; directed by Kris McConnachie; 3) Daniel on a Thursday / by Garth Wingfield; directed by Klarissa Pudwill
Like-Minded
Full text linkAffect: An Exchange
Ruth Ley's Summer 2011 article in our pages, "The Turn to Affect: A Critique," engendered lively debate. We reprint the original article, with William E. Connolly's response and Leys's reply. From our Summer 2012 issue we add new responses by Adam Frank and Elizabeth A. Wilson and Charles Altieri and a further reply by Leys.
Critical Responses
Summer 2011
I. William E. Connolly, "The Complexity of Intention"
II. Ruth Leys, "Affect and Intention: A Reply to William E. Connolly"
Summer 2012
I. Adam Frank and Elizabeth A. Wilson, "Like-Minded"
II. Charles Altieri, "Affect, Intentionality, and Cognition: A Response to Ruth Leys
III. Ruth Leys, "Facts and Moods: Reply to My Critics
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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