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Cash paid to O. D. Cooke & Company and charged to the accounts of various cadets, 17 July 1827.
No full textCash paid to O. D. Cooke & Company and charged to the accounts of various cadets. On the reverse is an undated report of cadet misbehavior at American Literary, Scientific, and Military Academy in Middletown, Connecticut.Misbehavior of cadets for throwing stones at the guard
New York, New York 1890
No full text"The property coloured yellow laid out into lots August 16th, 1833 for Jas. L. Curtis - by Joseph F. Bridges, C.S." "New York May 28th 1831, the property was divided and the papers executed agreeable to this map, Joseph F. Bridges." "Original in possession of R. D. Cooke, No. 19 Centre Street, Near Chambers St, New York October 1890."Color
Dr Rodney D Cooke: new Director of CTA
No full textCTA's newly-appointed Director Dr Rodney D Cooke, who is from Britain, took up his duties on a continuing basis in August. Two months earlier he had joined the Centre to participate in the 1995 annual Advisory Committee meeting and the subsequent..
Dr Rodney D. Cooke, nouveau directeur du CTA
No full textRécemment nommé directeur du CTA, Dr Rodney D. Cooke, originaire de Grande-Bretagne, est entré en fonction en août. Deux mois plus tôt, il avait participé à la session annuelle du Comité consultatif du Centre, puis au séminaire que le CTA..
Letter from Alden Partridge to O. D. Cooke & Co., 29 May 1826
No full textCopy or draft of a letter regarding an order for textbooks for the American Literary, Scientific, and Military Academy in Middletown, Connecticut, dated 29 May 1826.Transcription by Raymond Bouchard. Transcriptions may be subject to error
Thomas D. Cooke et Benjamin L. Honeycutt. dir. — The Humor of the Fabliaux. A Collection of Critical Essays, 1976
No full textThomas D. Cooke et Benjamin L. Honeycutt. dir. — The Humor of the Fabliaux. A Collection of Critical Essays, 1976. In: Cahiers de civilisation médiévale, 22e année (n°85), Janvier-mars 1979. p. 103
Thomas D. Cooke et Benjamin L. Honeycutt. dir. — The Humor of the Fabliaux. A Collection of Critical Essays, 1976
No full textThomas D. Cooke et Benjamin L. Honeycutt. dir. — The Humor of the Fabliaux. A Collection of Critical Essays, 1976. In: Cahiers de civilisation médiévale, 22e année (n°85), Janvier-mars 1979. p. 103
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
Variations on the Author
Get PDF“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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