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The importance of boundaries
Get PDFIn this paper the former Australian Electoral Commissioner considers the issue of electorate boundary changes. The paper provides a comprehensive review of the 2006 redistributions in NSW and Queensland and summarises the history of redistributions in the two states. Colin Hughes analyses the party political competition involved, even when the redistributions are carried out by independent electoral commissions
65967: Letter: To Colin Hughes (November 1969).
No full textDavid Jones thanks Colin Hughes for sending a photograph of the Bois de Mametz / discusses the Battle of the Somme 1916 and the changing hands of the Mametz sector in 1918 / the role of the 38th Welsh Division in August 1918 / Mametz Wood as a 'wasteland' in 1919 but clearly revitalised after the war / memories invoked by the photograph / the relationship between Mametz Wood in the summer of 1916 and 'In Parenthesis', Part VII / discusses maps from Part VII in relation to trenches / explains about trying to use his experiences of war as a framework for the book / describes an advance at Mametz Wood / wonders what the French authorities have done with the wood since the war / remarks on the fact that the landscape looks flatter then he (David Jones) remembers it.</p
65972: Letter: To Colin Hughes (February 1972).
No full textDavid Jones expresses his concern that his failure to respond to a recent letter might imply a lack of appreciation for Colin Hughes' interest in 'In Parenthesis' / notes that he (Jones) has recently been overwhelmed with correspondence and has not been feeling up to answering much / wants to know how Hughes is and to alert him to and discuss an upcoming exhibition of Jones' work organised by Douglas Cleverdon for the National Book League in London / expresses annoyance about the lack of time given to prepare for the exhibition and his inability to do much from Harrow / provides details of private viewing of the exhibition / responds to Hughes' questions stemming from his reading of David Blamires' book ['David Jones: artist and writer', Manchester University Press, 1971] / Jones offers general praise and some comment on possible errors / explains his involvement with the project / notes that he has not re-read this letter before sending it to Hughes.</p
65973: Letter: To Colin Hughes (February 1972).
No full textDavid Jones expresses his concern that his failure to respond to a recent letter might imply a lack of appreciation for Colin Hughes' interest in 'In Parenthesis' / notes that he (Jones) has recently been overwhelmed with correspondence and has not been feeling up to answering much / wants to know how Hughes is and to alert him to and discuss an upcoming exhibition of Jones' work organised by Douglas Cleverdon for the National Book League in London / expresses annoyance about the lack of time given to prepare for the exhibition and his inability to do much from Harrow / provides details of private viewing of the exhibition / responds to Hughes' questions stemming from his reading of David Blamires' book ['David Jones: artist and writer', Manchester University Press, 1971] / Jones offers general praise and some comment on possible errors / explains his involvement with the project / notes that he has not re-read this letter before sending it to Hughes. |File descriptions(s):
David Jones expresses his concern that his failure to respond to a recent letter might imply a lack of appreciation for Colin Hughes' interest in 'In Parenthesis' / notes that he (Jones) has recently been overwhelmed with correspondence and has not been feeling up to answering much / wants to know how Hughes is and to alert him to and discuss an upcoming exhibition of Jones' work organised by Douglas Cleverdon for the National Book League in London / expresses annoyance about the lack of time given to prepare for the exhibition and his inability to do much from Harrow / provides details of private viewing of the exhibition / responds to Hughes' questions stemming from his reading of David Blamires' book ['David Jones: artist and writer', Manchester University Press, 1971] / Jones offers general praise and some comment on a few possible errors / explains his involvement with the project / notes that he has not re-read this letter before sending it to Hughes.David Jones expresses his concern that his failure to respond to a recent letter might imply a lack of appreciation for Colin Hughes' interest in 'In Parenthesis' / notes that he (Jones) has recently been overwhelmed with correspondence and has not been feeling up to answering much / wants to know how Hughes is and to alert him to and discuss an upcoming exhibition of Jones' work organised by Douglas Cleverdon for the National Book League in London / expresses annoyance about the lack of time given to prepare for the exhibition and his inability to do much from Harrow / provides details of private viewing of the exhibition / responds to Hughes' questions stemming from his reading of David Blamires' book ['David Jones: artist and writer', Manchester University Press, 1971] / Jones offers general praise and some comment on possible errors / explains his involvement with the project / notes that he has not re-read this letter before sending it to Hughes.</p
65970: Letter: To Colin Hughes (March 1971).
No full textDavid Jones thanks Colin Hughes for his letter and photographs of Capel y Ffin [Capel-y-ffin] / mentions the effect of the weather on the flow of the River Honddu / comments on Hughes' deductions about the model for the 'In Parenthesis' character Piers Dorian Isambard Jenkins / expresses astonishment that only one of B Company's officers was killed or wounded in the assault on Mametz Wood in July 1916 during the Battle of the Somme / discusses the relative casualties among officers and other ranks / describes the fighting in the wood and the difficulty of giving, receiving, and following orders under fire which may have led to the disorderly falling-back [at Strip Trench] / mentions that a 'Mr Trevor' from 'In Parenthesis' was based on an actual B Company lieutenant and that the physical appearance though not the actions of the 'green-gilled corporal' of 'In Parenthesis' was based on a real corporal with pendulous red ears / describes his own memories of Mametz Wood in 1916, and the difficulty of remembering exact sequences / 'In Parenthesis' not an accurate account of the events but typical of them / discusses the influence of Sir Henry Newbolt's 'Vitae Lampada' on the account in 'In Parenthesis' of a very English looking and English-voiced young officer urging his troops to remember their nationality. Jones notes that the letter was begun on 24th March 1971, but was not posted until 7th April 1971. The letter is in black ink with notes and annotations in red and blue ink.</p
65971: Letter: To Colin Hughes (July 1971).
No full textPostmarked envelope for David Jones's letter of 26th July 1971.David Jones thanks Colin Hughes for a letter of 3rd July 1971 / describes attempting a response but beginning it again after it had begun to 'meander' / discusses how Hughes has cleared up a point about the merging of battalions in the Royal Welch Fusiliers in February 1918, which Jones thought had taken place later on in the year / mentions having contracted trench fever / the weather on 6th and 7th February 1918 / being posted 'elsewhere' after the breakup of the 15th Battalion / describes recovering from trench fever back in England / discussing how impressive was the 'Jerry advance' / missing the 21st March [1918] 'putsch', and being unsure of whether the 38th Division was involved on that day / explains a photograph of himself [Jones] taken at Battalion HQ Company where he was working for a Battalion Intelligence Officer / mentions the BBC dramatic adaptation of 'In Parenthesis' / discusses David Blamires's upcoming book ['David Jones: artist and writer', Manchester University Press, 1971], and having requested an advance copy after having not decided to read a manuscript draft.</p
65969: Letter: To Colin Hughes (January 1971).
No full textDavid Jones thanks Colin Hughes for a card from 5th January [1971] and for his ongoing 'research' / confirms Malory's Morte d'Arthur as the source for the phrase 'and on the morn Elias the captain came' [the adjutant in 15 RWF was actually called Capt Elias] / explains that in 'In Parenthesis' quotations from past literature etc. have a correspondence with actual events / discusses at length the choice of names he gave 'Mr Jenkins', the young subaltern in his battalion: Piers Dorian Isambard Jenkins / Wilde's play Picture of Dorian Gray one source/the Catholic chaplain in his battalion, Father Deiniol Hughes MC, whom Jones encountered in 1917 near the Yser Canal model for the Father Larkin of 'In Parenthesis' / had been in touch with Captain Fitzsimmons of the battalion who was at school with Fr Hughes and could have elaborated on this but was now dead / Fr Hughes always with his men even in battle / inspiration for the phrase 'why is Father Larkin talking to the dead' in 'In Parenthesis' / Written in black ink with notes in purple and black ink.</p
65968: Letter: To Colin Hughes (December 1970).
No full textDavid Jones apologises for having mislaid a letter / refers back to a previous letter of 3rd September [1970] / agrees to sign Colin Hughes' hardback copy of 'In Parenthesis' / expresses annoyance that the paperback copy is so widely available while the hardback is not / discusses improvements made for the US edition / will have to wait to correct existing mistakes, as Jones has no copies himself / asks Hughes to bring a paperback edition for which he will pay him back / Jones happy to renew conversation about Mametz Wood in the summer of 1916 [and the Battle of the Somme], and especially the practical and theoretical implications of water shortages in the sector / describes being wounded and being carried away on a stretcher / noticing common objects that have survived an attack, especially a large roller by the roadside / relations between the 'front' and 'rear' positions / the Mametz Wood attack and 'In Parenthesis' Part VII / describes the weather and landscape passed on the way back to the clearing station / the appeal of the voices of English nurses, recalling Welsh and English intonations, bringing back a 'civilised' world / being visited in the hospital by his mother and father, who brought along the 'Illustrated News' containing optimistic accounts of the Somme Offensive, as well as maps and official photographs, including one of his 'old friend': the large roller / returns to the logistics of meeting / no phone in the room so Hughes must speak to the nuns where Jones is staying / describes recent ill health, with reference to a mild stroke and an operation on his hip, which limits his mobility / notes Hughes's plan to visit Capel y Ffin [Capel-y-ffin] / recommends an exhibition at the Hayward Gallery in London, which contains some of his paintings, but which he hasn't been able to visit himself / instructions on how to reach Jones' rooms. The letter contains some annotations in red and black pen that sometimes refer to 'In Parenthesis', Part VII and sometimes to the letter.</p
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
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