1,721,100 research outputs found
Valentine Taylor Nickell and Amanda Harris Nickell
No full textValentine Taylor Nickell and Amanda Harris Nickell
Valentine Taylor Nickel and Amanda Harris Nickell
No full textValentine Taylor Nickell and Amanda Harris Nickell, parents of Zinna Murray
Letter from Martha A. G. Helm and Mother to Amanda Little, circa 1890
No full textThis letter includes a note from Amanda Harris Little's mother, Amanda M. Banks Harris
Parent Perceptions of Their Young Children With Intellectual Disabilities: Participation in Young Athletes™ Activities Within the Home
No full textAbstract
Date Presented 3/31/2017
Occupational therapy continues to provide community-based education and intervention. Parents who received an occupation-based education module increased their perceived comfort and ease infusing Young Athletes™ skills into their home routines.
Primary Author and Speaker: Mary Falzarano
Additional Authors and Speakers: Stephanie Alicea, Amanda Harris, Danna Lyons, Lindsay Moran</jats:p
Amanda Harris on representing Australian Aboriginal music and dance 1930 -1970 [Review of the book Representing Australian Aboriginal Music and Dance 1930 -1970, by Amanda Harris]
No full textIn Representing Australian Aboriginal Music and Dance 1930–1970, Amanda Harris sets out to write the story of Australia’s formation of cultural identity through music and dance from 1930 to 1970, a period characterised by aims to assimilate Aboriginal people into the mainstream population. The book weaves embodied and auditory modes of Indigenous knowledge transmission into this story for the first time, juxtaposing Indigenous perspectives on performance practices with non-Indigenous perspectives from written records. ‘To write a book that only documents histories of appropriation by non-Indigenous Australians’, Harris writes, ‘would be to perform another kind of erasure’ (4)
Letter from L. R. Baker, Maitland, Florida, to Amanda Harris Little, Tuscaloosa, Alabama, March 13, 1920
No full textLetter from Nellie C. Bryce, Tuscaloosa, Alabama, to Amanda Harris Little, November 14, 1873
No full textThis is an item in the Little family papers collection
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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