1,722,809 research outputs found
T. G. Alexander
No full textT. G. Alexander used this Model T. Ford to haul freight from Price to Vernal
Gray, A G (Alexander George), QX17698
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete.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/388748Surname: GRAY. Given Name(s) or Initials: A G (ALEXANDER GEORGE). Military Service Number or Last Known Location: QX17698. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 22050.211621
Item: [2016.0049.21041] "Gray, A G (Alexander George), QX17698
Paul G. Alexander
No full textThis black and white photograph features a headshot of Hinds County, Mississippi Chancery Judge nominee, Paul G. Alexander, wearing a gray pin-striped suit and a striped necktie with a white shirt and dark rimmed eyeglasses.https://scholarsjunction.msstate.edu/mss-wilson-minor-photographs/1179/thumbnail.jp
Paul G. Alexander
No full textThis black and white photograph features a headshot of Hinds County, Mississippi Chancery Judge nominee, Paul G. Alexander, wearing a gray pin-striped suit and a dark necktie with a white shirt and dark rimmed eyeglasses.https://scholarsjunction.msstate.edu/mss-wilson-minor-photographs/1180/thumbnail.jp
Interview with Thomas G. Alexander, Utah Humanities Board 1996-2002, for Utah Humanities Fiftieth Anniversary oral history project, 8 November 2024.
No full textThomas (Tom) G. Alexander was a history professor at Brigham Young University. His served on the Utah Humanities Council board from 1996-2002, including as chair. He recalls travelling around the state on behalf of UH to meet with people in rural areas and going to Washington DC, with Cynthia Buckingham, to meet with the Utah congressional delegation during Humanities on the Hill.Tascam DR-40X Digital Recorder, with built in dual microphone
Campaign Flyer for Paul G. Alexander
No full textThis campaign flyer is a thank you to the voters in Hinds County, Mississippi for electing Paul G. Alexander as the Democratic nominee for the Chancery Judge race. The flyer included a photograph of Alexander in a suit and tie.https://scholarsjunction.msstate.edu/mss-wilson-minor-photographs/1181/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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