1,721,130 research outputs found
[Jane Ellen Jones Rides Dazzle Dual]
No full textPhotograph of competitors in the 1997 National Cutting Horse Association Summer Cutting Spectacular held at Will Rogers Coliseum in Fort Worth, Texas. In this image, a horse, Dazzle Dual, ridden and owned by Jane Ellen Jones, separates a cow from the herd during a cutting competition in the Amateur Division of the Finals
David Fletcher Jones and Rena Ellen Jones joint account book
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/32009935907
Item: [2012.0031.00253] "David Fletcher Jones and Rena Ellen Jones joint account book
Ellen Jones, Red Army and Society : A Sociology of the Soviet Military
No full textSapir Jacques. Ellen Jones, Red Army and Society : A Sociology of the Soviet Military. In: Annales. Économies, Sociétés, Civilisations. 44ᵉ année, N. 2, 1989. pp. 308-309
Ellen Jones, Red Army and Society : A Sociology of the Soviet Military
No full textSapir Jacques. Ellen Jones, Red Army and Society : A Sociology of the Soviet Military. In: Annales. Économies, Sociétés, Civilisations. 44ᵉ année, N. 2, 1989. pp. 308-309
In Loving Memory and Celebration for the Life of Mrs. Ellen Jones
No full textFuneral program for Mrs. Ellen Jones, born May 30, 1911 and died February 7, 2007. The funeral was held Saturday, February 10, 2007 at East St. Paul United Methodist Church, officiated by Rev. Maurice Washington. Funeral arrangements were made through Carter-Taylor-Williams Mortuary and she was buried in Meadowlawn Memorial Park in San Antonio, Texas
David Fletcher Jones to Rena Ellen Jones and Bertha Harriest Rust - power of attorney
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/31988135689
Item: [2012.0031.00035] "David Fletcher Jones to Rena Ellen Jones and Bertha Harriest Rust - power of attorney
Interview with Marge Burrows Marvin Mark Hamilton, and Mary Ellen Jones, Honeoye NY, 1991
No full textThere are four interviews on this recording. [0:00-22:17] The first interview is with Marge Burrows who talks about where she has performed and what callers she knew as a child. [22:23-26:00] The second interview is with Mary Ellen Jones who sings “Paddy McGinty’s Goat.” [26:00-28:44] The third interview is with Marvin “Mark” Hamilton who talks about where he performed.https://knightscholar.geneseo.edu/kimball-interviews/1057/thumbnail.jp
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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