1,743,334 research outputs found
Response by David N. Gibbs
Full text linkDavid N. Gibbs responds to the six scholars who addressed his article in this issue of Class, Race and Corporate Power
David N. Daniels, August 30, 1934 - May 26, 2017
No full textPalo Alto resident David N. Daniels died on May 26
David N. Murdock
No full textHand-written answers by David N. Murdock for a questionnaire filled out for Utah Works Progress Administration\u27s "Pioneer personal history" survey. Murdock was born in 1855 in Davis County but grew up in Midway, Heber Valley, where his father was called to be Bishop at Heber in 186
Letter from David N. Smith to James B. Finley
Full text linkRev. David N. Smith is serving the Newark appointment, Zanesville District. He writes to let Finley know that a box of books is coming (presumably for the prisoners). He reports that the last quarterly meeting was pleasant. Bro. Jameson (James M. Jameson, P.E., Zanesville District) was in attendance, though lame. Smith told Jameson that Finley intends to visit Lancaster, Rushville, and Somerset. Jameson is very anxious to see Finley and hopes that it can be arranged when Finley is in Somerset. Abstract Number - 1035https://digitalcommons.owu.edu/finley-letters/2019/thumbnail.jp
Wright, David N.
No full textcurrentBA (Hons),(Concordia)
MA, (Concordia)
PhD (McGill)
Editor of Graphixia, A Conversation about Comics Graphixia blog
Member / Writer of The Comics Grid: Journal of Comics Scholarship
Current research is focused in three main areas: Establishing methodologies for emerging trends in the digital humanities. In particular the pedagogical applications of digital technologies, the intersection of coding and writing, digital literature and the implications of "open source," and facilitating spaces for the digital dissemination of academic work. An examination of burlesque performance and its relationship to the aesthetic practices of modernist writers. Focussing on a a diverse range of early Twentieth Century practitioners in a variety of media, but spending the most time on E. E. Cummings, Hart Crane, George Herriman, Gilbert Seldes, Gertrude Stein, Ezra Pound, and Djuna Barnes.
Comic books and their role in shaping cultural narratives (particularly those around masculinity), and how comic books offer a way of understanding narrative as it responds to external political and social pressures. Also, writes a monthly post at Graphixia
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David N. Lyons
No full textDavid N. Lyons, advertising manager for the Peddler yearboo
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
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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