1,721,623 research outputs found
Dora M. Gloster With Others, circa 1916
Dora M. Gloster with her class at Howe Institute in Brownsville, Tennessee. Written on recto: Class in Brownsville. Second from left is Mrs. Daora Morris G[loster]
Marriage record of Faison, George E. and Goff, Dora M.
Marriage license for George E. Faison and Dora M. Goff. A.F. Randall was the officiant
Marriage record of Goff, John D. and Kennedy, Dora M.
Marriage license for John D. Goff and Dora M. Kennedy. E.S. Tyner was the officiant
Bell (Dora M.). L'idéal éthique de la royauté en France au moyen âge
Imbert Jean. Bell (Dora M.). L'idéal éthique de la royauté en France au moyen âge. In: Revue belge de philologie et d'histoire, tome 42, fasc. 2, 1964. Histoire (depuis la fin de l'Antiquité) — Geschiedenis (sedert de Oudheid) pp. 635-637
Going Beyond Counting First Authors in Author Co-citation Analysis
The 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
Alien Registration- Stewart, Dora M. (Eustis, Franklin County)
https://digitalmaine.com/alien_docs/19827/thumbnail.jp
Variations on the Author
“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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