1,721,147 research outputs found
Morgue records, volume 11, certificate 483 : Davis, Walter, 1911-10-04
No full textKilled by B. & O. Rail Roa
Davis (Walter W.), Joseph II : an imperial reformer for the Austrian Netherlands
No full textVanden Berghe Yvan. Davis (Walter W.), Joseph II : an imperial reformer for the Austrian Netherlands. In: Revue belge de philologie et d'histoire, tome 55, fasc. 2, 1977. Histoire (depuis l'Antiquité) — Geschiedenis (sedert de Oudheid) pp. 699-700
Davis (Walter W.), Joseph II : an imperial reformer for the Austrian Netherlands
No full textVanden Berghe Yvan. Davis (Walter W.), Joseph II : an imperial reformer for the Austrian Netherlands. In: Revue belge de philologie et d'histoire, tome 55, fasc. 2, 1977. Histoire (depuis l'Antiquité) — Geschiedenis (sedert de Oudheid) pp. 699-700
Alien Registration- Davis, Walter U. (Bath, Sagadahoc County)
Full text linkhttps://digitalmaine.com/alien_docs/9507/thumbnail.jp
Alien Registration- Davis, Walter W. (Madison, Somerset County)
Full text linkhttps://digitalmaine.com/alien_docs/6705/thumbnail.jp
S.D. McGill, Charlie Davis, Walter Woodward, Jack Williamson, and Earth M.M. White
No full textPhotograph: S. D. McGill, Charlie Davis, Walter Woodward, Jack Williamson and Eartha White shown after the Scottsboro trial. The three men spent seven years on Death Row for murder. McGill appealed their conviction and obtained their releases.https://digitalcommons.unf.edu/eartha_images/1364/thumbnail.jp
View of Seattle, ca. 1888
No full textBetween about 1888 and 1893, Seattle grocer Charles Louch sold groceries, seeds, cigars and other goods from his store on Front Street (now First Avenue). At some point, he advertised his store, and his 1888 brand of hams and bacon, using give-away photographs of downtown Seattle with his roof sign prominently displayed in the foreground.
This photo, taken by Walter Davis for Charles Louch, shows downtown Seattle sometime around 1888. The view is towards the southeast from the waterfront, across Union Street. The two large buildings on the distant skyline are the Territorial University and Providence Hospital.Original copy negative.
Original photograph: Davis, Walter, 188-?. Copied after 1902 by Webster & Stevens1 nitrate negative: b&w; 8 x 10 in
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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