1,721,031 research outputs found
Haynie Branch School, about 1888, Don Roberts, teacher
No full textHaynie Branch School, about 1888, Don Roberts, teacher, 25.5x20cm.https://mds.marshall.edu/cabell_wayne_hist_soc_collection/1860/thumbnail.jp
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[Letter from Alfred Hurley to Don Roberts, June 1, 1987]
No full textLetter from Alfred F. Hurley to Dr. Don Roberts acknowledging a planning grant from the Getty Center for Education in the Arts, and offering an invitation to a luncheon. Included is a written note at the bottom corner that reads "I look forward to meeting you at this event or some other occasion in the near future...
[Letter from Alfred Hurley to Don Roberts, June 1, 1987]
No full textLetter from Alfred F. Hurley to Dr. Don Roberts acknowledging a planning grant from the Getty Center for Education in the Arts, and offering an invitation to a luncheon. Included is a written note at the bottom corner that reads "I look forward to meeting you at this event or some other occasion in the near future...
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[Letter from R. William McCarter and D. Jack Davis to Don Roberts, November 9, 1992]
No full textA letter from D. Jack Davis and R. William McCarter to Don Roberts about inclosing a proposed draft of a letter for proposed disciplined-based art education curriculum implementation and worksheets for Fort Worth Independent School Distric
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[Letter from D. Jack Davis and William McCarter to Don Roberts, September 20, 1990]
No full textLetter to Dr. Don Roberts from D. Jack Davis and William McCarter regarding cost and expenses from the previous year's Summer Institute and how it will reflect the next
[Letter from D. Jack Davis and William McCarter to Don Roberts, September 20, 1990]
No full textLetter to Dr. Don Roberts from D. Jack Davis and William McCarter regarding cost and expenses from the previous year's Summer Institute and how it will reflect the next
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[Letter from D. Jack Davis and R. William McCarter to Dr. Don Roberts, June 26, 1987]
No full textA letter from D. Jack Davis and R. William McCarter to Dr. Don Roberts about thanking Roberts for attending a briefing on the North Texas Regional Institute for Educators on the Visual Arts, later known as the North Texas Institute for Educators on the Visual Arts
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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