1,720,970 research outputs found
Labrousse (Pierre) : La méthode vietminh. Indochine 1945-1954
No full textBodinier Gilbert. Labrousse (Pierre) : La méthode vietminh. Indochine 1945-1954. In: Revue française d'histoire d'outre-mer, tome 85, n°318, 1er trimestre 1998. pp. 143-144
Bodin (Michel) : Soldats d'Indochine, 1945-1954
No full textBodinier Gilbert. Bodin (Michel) : Soldats d'Indochine, 1945-1954. In: Revue française d'histoire d'outre-mer, tome 85, n°319, 2e trimestre 1998. pp. 163-164
Lesouef (Pierre) et Bourgere (Raymond) : Palikao (1860). Le sac du Palais d'Été
No full textBodinier Gilbert. Lesouef (Pierre) et Bourgere (Raymond) : Palikao (1860). Le sac du Palais d'Été. In: Revue française d'histoire d'outre-mer, tome 83, n°312, 3e trimestre 1996. p. 124
Lacroix (Général Pamphile de) : La révolution de Haïti. Texte intégral de l'édition originale. Édition présentée et annotée par Pierre Pluchon
No full textBodinier Gilbert. Lacroix (Général Pamphile de) : La révolution de Haïti. Texte intégral de l'édition originale. Édition présentée et annotée par Pierre Pluchon. In: Revue française d'histoire d'outre-mer, tome 83, n°312, 3e trimestre 1996. p. 118
Lesouef (Pierre) et Bourgere (Raymond) : Palikao (1860). Le sac du Palais d'Été
No full textBodinier Gilbert. Lesouef (Pierre) et Bourgere (Raymond) : Palikao (1860). Le sac du Palais d'Été. In: Revue française d'histoire d'outre-mer, tome 83, n°312, 3e trimestre 1996. p. 124
Bodinier (Gilbert) : Les officiers de l'armée royale combattants de la guerre des États-Unis, De Yorktown à l'an II
No full textFohlen Claude. Bodinier (Gilbert) : Les officiers de l'armée royale combattants de la guerre des États-Unis, De Yorktown à l'an II. In: Revue française d'histoire d'outre-mer, tome 71, n°264-265, 3e et 4e trimestres 1984. pp. 227-228
Bodinier (Gilbert) : La guerre d'Indochine 1945-1954. Textes et Documents. Tome 1 : Le retour de la France en Indochine, 1945-1946. Documentation établie par le commandant...
No full textVinay Bernard. Bodinier (Gilbert) : La guerre d'Indochine 1945-1954. Textes et Documents. Tome 1 : Le retour de la France en Indochine, 1945-1946. Documentation établie par le commandant.... In: Revue française d'histoire d'outre-mer, tome 75, n°279, 2e trimestre 1988. pp. 262-264
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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