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Mayor Rice C. Cooper
No full textPortrait of Rice C. Cooper, Vernal City mayor, March 1924 - December 1929, and 1932-1941
Mayor Rice C. Cooper
No full textRice C. Cooper served as Vernal mayor for two seperate terms, first from 1926 to 1929 and later from 1932 to 1941. This photo was taken during his first term. Rice was married to Hester Sowards; she died and he married Edith Lawrence. He died September 17, 1950
John C. Cooper, The right to fly
No full textGottmann Jean. John C. Cooper, The right to fly. In: Annales. Économies, Sociétés, Civilisations. 3ᵉ année, N. 3, 1948. pp. 371-373
John C. Cooper, The right to fly
No full textGottmann Jean. John C. Cooper, The right to fly. In: Annales. Économies, Sociétés, Civilisations. 3ᵉ année, N. 3, 1948. pp. 371-373
Rice C. Cooper
No full textRice C. Cooper came to Ashley Valley in 1910. He married Esther Sowards; later after her death he married Edith Lawrence in 1929. He was manager of the Vernal Drug for 35 years. He served as mayor fro 1926 to 1929 and 1932 to 1942. He was chairman of the war bond drive during World War II and received a service award for his efforts. He was a charter member of the Lions Club as served on the city council. He was chairman of the Uintah County Hospital board. He was born November 5, 1887 and died September 17, 1950
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
King Kong de Merian C. Cooper et Ernest B. Schoedsack
No full textEn 1933, le film King Kong de Merian C. Cooper et Ernest B. Schoedsack met en scène le gigantesque singe au sommet de l'Empire State Building, gratte-ciel de 381 m de hauteur achevé depuis deux ans
OH100 Alma C. Cooper
Full text linkAlma C. Cooper describes the effects of the Great Depression on a rural farming community in Trigg County, Kentucky. She discusses attending one and two room schools and the disciplinary actions enforced by teachers. She recalls listening to President Franklin D. Roosevelt\u27s fireside chats on the radio and the coming of the Second World War. She mentions bootleggers at Golden Pond, Kentucky and the Land Between the Lakes region during the prohibition era. She describes that many young men died in her community in the line of military duty and the rise of food prices during the Second World War. Cooper also explains the development of ammunition plants and other armament businesses in Viola and Paducah
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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