1,721,029 research outputs found
L'église Saint-Martin d'Angers
No full textForsyth George H. L'église Saint-Martin d'Angers. In: Bulletin Monumental, tome 110, n°3, année 1952. pp. 201-228
Forsyth, George R, On23782
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete.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/385868Surname: FORSYTH. Given Name(s) or Initials: GEORGE R. Military Service Number or Last Known Location: ON23782. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 20664.253443
Item: [2016.0049.18161] "Forsyth, George R, On23782
La Vierge de l'église Saint-Martin d'Angers
No full textForsyth George H. La Vierge de l'église Saint-Martin d'Angers. In: Bulletin Monumental, tome 91, n°2, année 1932. pp. 287-290
Forsyth (George H.). The church of St. Martin at Angers
No full textAubert Marcel. Forsyth (George H.). The church of St. Martin at Angers. In: Bulletin Monumental, tome 111, n°4, année 1953. pp. 415-416
Forsyth (George H.). The church of St. Martin at Angers
No full textAubert Marcel. Forsyth (George H.). The church of St. Martin at Angers. In: Bulletin Monumental, tome 111, n°4, année 1953. pp. 415-416
Correspondence dated 1958 between Aziz Atiya and George H. Forsyth, along with other letters
No full text1. One page typed letter, dated February 11, 1958, from Aziz Atiya to George Forsyth, explaining what he has done to facilitate Forsyth\u27s upcoming expedition to Mount Sinai. 2. One page typed letter, dated April 9, 1958, from George Forsyth to the Egyptian Consul General in New York, asking for assistance in obtaining visas to Egypt for members of his expedition to Mt. Sinai. 3. One page typed letter, dated June 22, 1960, to George Forsyth, from H. Sharara of the Egyptian Embassy in Wash. D.C., stating that Forsyth has received the approval of the proper authorities. 4. One page typed letter, dated April 4, 1960, from Aziz Atiyia to George Forsyth about arrangements for his trip to Egypt. 5. One page typed letter, dated November 4, 1957, from George Forsyth to Aziz Atiya
0480_023_010_Misc_Correspondence_1946_Stapled_Set_05
No full textLetter dated 6 February 1958 from George H. Forsyth to A. Naguib Hashem about the Michigan-Princeton Expedition and preparations to commence the expedition. Also mentions the cooperation and graciousness of the Egyptian governmen
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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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