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Letter to David Frank (1977)
No full textA framed photograph and letter from Justice William O. Douglas to student David Frank, a third-year day student. The letter is in response to a poem from David Frank to Justice William O. Douglas that is attached to the back of the frame. Image 1 of 1.https://digitalcommons.lmu.edu/albany_street_campus_1964_present/1150/thumbnail.jp
Letter to David Frank (1977)
No full textA framed photograph and letter from Justice William O. Douglas to student David Frank, a third-year day student. The letter is in response to a poem from David Frank to Justice William O. Douglas that is attached to the back of the frame. Image 1 of 1.https://digitalcommons.lmu.edu/albany_street_campus_1964_present/1150/thumbnail.jp
David Frank Jenkins and Sons
No full textDavid Frank Jenkins is pictured with his sons David D., Earl, Jack E. and Frank W. Jack entered the service in December 1944
David Frank and Mable Jenkins Family
No full textDavid Frank and Mable Jenkins are pictured with their family, Pearl, Merle, Earl, Jack E., Frank W., Reva, Rex and Francis
Artistic identity set in stone: Italian sculptors' signatures, c. 1250-1550
No full textThis dissertation examines some 300 signatures and inscriptions from sculptors working in the Late Middle Ages and Renaissance in Italy. The project discusses the signatures broadly in order to provide a context with which to study individual cases in detail. To that end, my analysis begins with a short breakdown of the signatures’ basic information: geographic distribution, date, artist, material. In separate chapters I then devote
considerable attention to issues of textual content; placement and location; lettering style; audience and reception; and fundamental social factors, such as the status of sculptors and their works. Ultimately I bring together the information on signatures and related
sources to describe some of the notable trends in signing practices during the Middle Ages and Renaissance and what the implications and significance of those trends may be. In particular, I discuss how the increasing standardization and simplicity of many sculptors’ signatures—especially in central Italy—illustrates a sense of collective and communal identity that counters some of the usual assumptions about Medieval collectivism versus Renaissance individualism. For sculptors of fifteenth-century Tuscany, for example, the common motif of signing with “opus + name” (“the work
of…”) gave artists the ability to reference both antiquity—as this form of signature survived on the classical Dioscuri statues in Rome—as well as their fellow craftsmen, creating for them a group identity that complemented their status as individual artists.
Later, toward the end of the fifteenth century and into the sixteenth, the popularity of signing with the imperfect verb faciebat (“was making”), as Michelangelo did on his St Peter’s Pietà, offered similar possibilities for artists wishing to express their links to both
classical antiquity and the best artists of their own time. Through my analysis of individual cases situated within a large body of data—presented in the dissertation’s
appendix—I illustrate how Medieval and Renaissance sculptors conveyed identity via a range of signature types. My findings and data thus lay a foundation for future research into artists’ inscriptions.Ph.D.Includes bibliographical referencesby David Frank Boff
Tintic Giant Mining Co.-Eagle before operation and David Frank Ottley [?]
No full textA man (possibly David Frank Ottley) poses beside a wooden mining structur
The marine geochemistry of argon
Full text linkThesis (M.S.)--Massachusetts Institute of Technology, Dept. of Geology and Geophysics, 1964.Includes bibliographical references (leaves 32-38).by David Frank Bolka.M.S
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
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