1,721,294 research outputs found
Portrait of Agnes Booth in 'Aunt Jack' 1889 [2] [picture] /
No full textAlso available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-an10698679-2
Miss Maud Jeffries [picture] /
No full textCondition: Good, some wear around edges.; "Copyright, Falk; Pratten Bros., Sydney"--Printed beneath image.; Inscription: Victorian postage, Australian address and message handwritten in ink on reverse
Melba [picture] /
No full textCondition: Fair, small piece missing top right hand corner.; "Falk; 13 and 15 West 24th St. N.Y. Madison Square"--Printed beneath image; "Copyright 1896 by B.J. Falk N.Y."--Photographer's mark lower left on image.; Inscriptions: "Melba as in Michaela - in Carmen"--Handwritten in ink top left on image; "Easter 1896 S.N.J."--Handwritten in ink top right on reverse. "Nellie Melba. Sepia cabinet card of Melba as Michaela in "Carmen" by B.J. Falk, New York, 1896. Image shows a young slim Melba in costume with flowing hair. This is a role Melba was currently singing at the Metropolitan Opera, New York, where she had made her debut in 1893. Falk, in 1883, was the first photographer to take theatrical photographs on actual stages. He also had a branch office in Sydney in the 1890s. Original owner has written of role in top left corner and on verso the date of performance."--Vendor's notes
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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