119,686 research outputs found
[Telegrams to Jack Ruby from Harold L. Gardiner and "Farmer's Branch Coward," November 24, 1963 #1]
No full textIndividual telegrams by Harold L. Gardiner and an anonymous person identifying themselves as "Farmer's Branch Coward" to Jack Ruby, congratulating him for killing Lee Harvey Oswald
Papers from the British Academy Lucy to Language: Archaeology of the Social Brain. Seminar Series on Palaeolithic Visual Display.
No full textContentsThe Importance of Conveying Visual Information in Acheulean Society. The Background to the Visual Display HypothesisDr John McNabb, Centre for the Archaeology of Human Origins (CAHO), Department of Archaeology, University of Southampton, Southampton, Hampshire, SO17 1BF, [email protected] Identity Model: a theory to access visual display and hominin cognition within the PalaeolithicJames Cole, Centre for the Archaeology of Human Origins (CAHO), Department of Archaeology, University of Southampton, Southampton, Hampshire, SO17 1BF, [email protected] Tool Production, Neural Integration and the Social BrainDerek Hodgson, Department of Archaeology, University of York, York, [email protected] Phylogeny and Ontogeny in Hominin Brain EvolutionFiona Coward, Department of Geography Royal Holloway University of London, Egham, Surrey, TW20 0EX, [email protected] Grove, School of Archaeology, Classics and Egyptology, University of Liverpool, G.09 HartleyBuilding, Brownlow Street, Liverpool L69 3GS, [email protected]
Mozambique Channel Eddies in GCMs: A question of resolution and slippage
No full textHydrographic observations in the 21st century have shown that the flow within the MozambiqueChannel is best described by a series of large poleward-propagating anticyclonic eddies, rather than, aspreviously thought, a continuous intense western boundary current. The portrayal of this region in various runs of the NEMO 75-level model is found to vary between those two descriptions depending upon the resolution used and the implementation of the model's lateral boundary conditions. In a comparison of 1/4 ? resolution runs, the change of these conditions from free-slip to no-slip leads to the mean southward flow moving further offshore, with greater variability in the zonal and meridional velocities as the flow organises itself into eddies, and a reduction in total transport. If a realization of a model is unable to get these aspects of the physical flow correct, then this will significantly reduce its ability to show a realistic biological signal or long-term response to climate change. Further south, beyond Durban, the application of no-slip conditions similarly causes the mean Agulhas Current to lie further offshore, making it much more able to simulate Natal Pulses.<br/
Portrait: Coward family
No full textAbraham Lincoln Ensley (1865-1948) was one of the earliest commercial photographers in western North Carolina. He made images, mostly portraits, on 5” x 7” glass plates that he developed on his farm in Jackson County. Like most native residents, Ensley was also a farmer and, perhaps, made pictures during the agricultural off season. Married to Laura Louisa Sherrill of Dillsboro, the couple raised their family in the Cope Creek section of the county. Through marriage, Ensley was related to George Sherrill, who learned, and perhaps assisted, in Ensley’s photography studio. Sherrill went on to open his own studio in nearby Waynesville in 1902. This photograph taken around 1900 shows the Dave and Lou Coward family. Left to right, first row Annie Lou (Annie) (1893-1971), Jonathan David Coward (Dave) (1851-1928), Clara Edna (Edna) (1897-1979), Martha Lou Ellen Norton Coward (Lou) (1853-1936), Julia Davie (Davie) (1894-1986). Back row, Sallie Gertie (Gertie) (1884-1967), Ben Buchanan, Fannie May (Fannie) (1876-1949), unknown, Charlie Davis, Laura Bell (1882-1939), Florence Emmalissa (Florence) (1887-1968)
Review of Breglia, L. and Moleti, A. (eds.), Hespería: tradizioni, rotte, paesaggi (Tekmeria 16. Paestum: Pandemos, 2014)
No full textReview of Gentili, B., Catenacci, C., Giannini, P., and Lomiento, L. (eds.), Pindaro: Le Olimpiche (Scrittori Greci e Latini; Fondazione Lorenzo Valla: A. Mondadori, 2013)
No full textGoing Beyond Counting First Authors in Author Co-citation Analysis
No full textThe 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
Uraniµ metamorphosis in Sydus, or, The transfiguration of our l[ate] gracious sovereign Queen Mary [electronic resource] : discover'd in a miraculous vision since the celebration of her funeral : a poem ... /
No full text"To the Honourable Charles Montague, Esq; chancellor of the Exchequer, and one of His Majesties most honourable Privy Council, &c. Most humbly presented."Attributed to Dr. William Coward. Cf. Dobell, P.J. Literature of the Restoration.Imperfect: stained, with loss of print; bracketed letters in title taken from NUC pre-1956 imprints.Reproduction of original in the Huntington Library.WingElectronic reproduction
La Londra first class di Nöel Coward tra le due guerre
No full textIl saggio indaga la rappresentazione della metropoli londinese nel teatro di Noël Coward, consacrando un’immagine della capitale britannica per certi versi molto lontana dalla realtà di quegli anni e tuttavia rappresentativa di una certa élite cui quel teatro si rivolgeva. La Londra che Coward ritrae nelle commedie più riuscite e di maggior successo del periodo tra le due guerre - The Vortex (1923), Fallen Angels (1923), Easy Virtue (1924), Hay Fever (1925), Design for Living (1932), Present Laughter (1939) - è la Londra glamour dei “folli” anni Venti alla cui costruzione come modello di eleganza e stile contribuirono, da un lato, le immagini patinate della pubblicità dell'epoca, che dopo la parentesi della Grande Guerra (anzi, proprio grazie al suo sviluppo nel periodo bellico) si fa più convincente e ammaliatrice, e, dall’altro, lo stesso Coward e la sua programmatica esaltazione della frivolezza
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