1,724,149 research outputs found
Wm. G. Davis, ca. 1877
No full textThe locomotive William G. Davis was a 4-4-0 built by the Portland Company, a locomotive foundry that was established in 1846 by John A. Poor and Septimus Norris. The Wm. G. Davis was rebuilt in 1890. (specs 16x24-62-70500).https://digicom.bpl.lib.me.us/railroad_mec_img/1013/thumbnail.jp
Claude G. Davis from Bell Laboratories
No full textClaude G. Davis from Bell Laboratories, b&w. Note on back reads: Claude G. Davis of Bell Laboratories (stamp of Benton Studios, Charleston).https://mds.marshall.edu/parthenon_photo_morgue/1090/thumbnail.jp
Elton G. Davis
No full textPhotograph used for a story in the Oklahoma Times newspaper. Caption: "Elton G. Davis, Director of Office of Financial Aids, heads for the files with a stack of Records.
Elton G. Davis
No full textPhotograph used for a story in the Oklahoma Times newspaper. Caption: "As the director of financial aid at the University of Oklahoma, Elton G. Davis, 48, of 1101 E. Louisiana, said he thinks new people being new ideas and feels he can assist in the board's projects.
In Praise of Benjamin G. Davis
No full textIt is an honor to contribute to a special issue of the University of Toledo Law Review dedicated to the work of Professor Benjamin G. Davis. I consider Professor Davis a colleague, a mentor, a friend, and a fellow traveler in the world of international law and human rights
OH008 William G. Davis Oral History
Full text linkWilliam G. Davis recollects about how he started in the tobacco business when he was young man. He discusses the First World War and the part he played in the conflict. He spoke about different travels within and outside of the United States. He explains how he entered the ministry and the decisions he made to become a minister. He also spoke about the discrimination he experienced
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
The guerrilla theatre according to R. G. Davis
No full textA expressão “teatro de guerrilha” aparece pela primeira vez em um ensaio de R. G. Davis, então diretor da San Francisco Mime Troupe, publicado na Tulane Drama Review em 1966 e rapidamente ganha adesão no ambiente de efervescência política e experimentação contracultural do teatro alternativo nos anos 1960 e 1970. Este artigo analisa o desenvolvimento das formulações de Davis sobre o tema entre 1965 e 1971, com destaque para as experiências da San Francisco Mime Troupe.The term “guerrilla theater” appears for the first time in an essay by R. G. Davis, then director of San Francisco Mime Troupe, published in the Tulane Drama Review in 1966 and quickly gains adherence in the environment of political unrest and countercultural experimentation of the 1960s and 1970s alternative theater. This article analyzes the development of Davis’s formulations on the subject between 1965 and 1971, highlighting the experiences of San Francisco Mime Troupe
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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