1,724,827 research outputs found
Rutherford, Francis D., 1883-1933
No full textBiographical information for Francis D. Rutherford. Includes photos of Douglas (McGillis) School, Salt Lake City; Classroom Building, Rowland Hall St. Mark\u27s campus, Salt Lake City; Gymnasium, Snow College campus, Ephraim
Book review: To Chain the Dog of War: The War Power of Congress in History and Law. By Francis D. Wormuth and Edwin B. Firmage, with Francis P. Butler as a contributing author.
Full text linkBook review: To Chain the Dog of War: The War Power of Congress in History and Law. By Francis D. Wormuth and Edwin B. Firmage, with Francis P. Butler as a contributing author. Dallas, Tex.: Southern Methodist University
Press. 1986. Pp. xi, 347. Reviewed by: Charles A. Lofgren.Lofgren, Charles A.. (1988). Book review: To Chain the Dog of War: The War Power of Congress in History and Law. By Francis D. Wormuth and Edwin B. Firmage, with Francis P. Butler as a contributing author.. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/164965
Francis, D W, 416665
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete.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/386096Surname: FRANCIS. Given Name(s) or Initials: D W. Military Service Number or Last Known Location: 416665. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 45385.254069
Item: [2016.0049.18389] "Francis, D W, 416665
Introduction à l'oeuvre de Francis D. Klingender
No full textFabiani Jean-Louis. Introduction à l'oeuvre de Francis D. Klingender. In: Actes de la recherche en sciences sociales. Vol. 23, septembre 1978. Sur l’art et la littérature. pp. 19-22
Game Div IDs - Francis D Dunn Biologist
No full textHistorical Photographs taken by the Department of Inland Fisheries and Wildlife. Group of photos identified as Game Div IDs . Photo identified as Francis D Dunn Biologist .https://digitalmaine.com/ifw_photos/2999/thumbnail.jp
Marriage record of Jones, Francis D. and Stevens, Stella P.
No full textMarriage license for Francis D. Jones and Stella P. Stevens. John J. Navin was the officiant
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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