1,722,542 research outputs found
Deborah H. Roberts, Apollo and his Oracle in the Oresteia
No full textMund-Dopchie Monique. Deborah H. Roberts, Apollo and his Oracle in the Oresteia. In: L'antiquité classique, Tome 55, 1986. pp. 399-400
Scotland Eagles Baseball
No full textDeborah H. Young donated a digital copy of documents and photographs she compiled about the Scotland Eagles baseball team. Her father, Dennis Young, played for the team. Included are pictures of Dennis Young's baseball uniform, memoirs about Dennis Young, photographs of the baseball uniform and team, transcribed interviews with other Scotland Eagles baseball players, and news clippings related to the baseball uniform and baseball team
Book review: Deborah H. Green: The Aroma of Righteousness: Scent and Seduction in Rabbinic Life and Literature.
No full textThis article reviews the book: "The Aroma of Righteousness: Scent and Seduction in Rabbinic Life and Literature", by Deborah H. Green
Deborah H. S. Cianchette of Saco was confirmed by the Senate as the first woman
No full textDeborah H. S. Cianchette of Saco was confirmed by the Senate as the first woman on the Maine Turnpike Authority depite questions about her ties to the construction industry. Cianchette\u27s husband Earle owns ECCO Concrete, while her husband\u27s uncle is chairman of the Cianbro Corp
Deborah H. S. Cianchette of Saco was confirmed by the Senate as the first woman
No full textDeborah H. S. Cianchette of Saco was confirmed by the Senate as the first woman on the Maine Turnpike Authority depite questions about her ties to the construction industry. Cianchette\u27s husband Earle owns ECCO Concrete, while her husband\u27s uncle is chairman of the Cianbro Corp
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
"Get in, get out, go back?" : transitioning from prison ethnography to prison policy research in Russia
Full text linkPrisons are unpredictable worlds that exist in time and in space. They are institutions people ‘go to’ acting as both a product and a generator of society’s lost trust in acts of malevolence, crime and re-offending (Wacquant, 2002). Prisons have endured for centuries and consequently, the arrangement of people, activities and buildings are deeply implicated in a power-knowledge couplet (see Foucault, 1980) where phenomena, events and structures of history are registered and dispersed. Indeed the prison is one of very few institutions where pain, suffering and power are depressed into the entire infrastructure and social fabric. In my ethnographic work a combination of sheer curiosity that Russia remains an uncharted penal territory for Western scholars, coupled with a long-standing personal interest in the region that extended to mastering the language, made the site one of rich and potent allure. What I have learned about all prisons - from doing prison research in Russia - is that ‘the place’ (jurisdiction) and the ‘the site’ (the prison) are the repositories of a unique cultural relationship: the relationship between the prison and the state is a clear mirror reflection of the relationship between the person and the state. Thus, the prison reveals the state, which is why prisons are such unique sites of sociological inquiry. In my chapter I will do two things. First, I will reflect on almost twenty years of doing ethnography in Russian prisons. What I hope to achieve is a better understanding of the totality of the physical, emotional and intellectual challenges of researching a hidden penal system such as Russia’s; one which looms large and vast across the European sphere and which weighs heavily in the histories of incarceration in high punishment societies. My own prison research journey is one in which the historical and cultural registers of incarceration can be understood as ruptured, contingent and in a state of cultural to-ing and fro-ing
21. Roberts (Deborah H.), Dunn (Francis M.), Fowler (Don), éd., Classical Closure. Reading the End in Greek and Latin Literature
No full textPayen Pascal. 21. Roberts (Deborah H.), Dunn (Francis M.), Fowler (Don), éd., Classical Closure. Reading the End in Greek and Latin Literature. In: Revue des Études Grecques, tome 114, Janvier-juin 2001. pp. 302-304
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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