1,722,124 research outputs found
Hubert G. Foster
No full textHubert G. Foster, president of the Fort Worth Opera Association, scans a copy of sheet music written by his father. Fort Worth Star-Telegram Morning September 1, 1963.https://mavmatrix.uta.edu/specialcollections_startelegram1960s/2212/thumbnail.jp
Hubert G. Foster
No full textHubert G. Foster, president of the Fort Worth Opera Association, is shown in his office on the top floor of the Trans-American Life Insurance Company building. He organized the company in 1945. He is now board chairman. Fort Worth Star-Telegram Evening edition July 23, 1964.https://mavmatrix.uta.edu/specialcollections_startelegram1960s/2555/thumbnail.jp
Illustration, General John G. Foster
No full textThis black and white illustration is of General John G. Foster, a Union general during the American Civil War, he served in North and South Carolina during the war. Foster is depicted as wearing a double breasted military uniform with shoulder boards on each shoulder. Foster\u27s name is captioned beneath. The illustration is within volume three of Abraham Lincoln : A History by John G. Nicolay and John Hay.https://scholarsjunction.msstate.edu/fvw-manuscripts-nicolay-and-hay-images/1121/thumbnail.jp
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
Cecil G. Foster with schoolchildren in classroom
No full text''Lt. Cecil G. Foster, San Antonio ace who has nine MIGs to his credit, is shown visiting students at Will Rogers Elementary School. Teachers Mrs. Ann Hix and Mrs. Barbara Beasom stated that the youngsters had been looking forward to a visit from Foster for several weeks.'
Cecil G. Foster with schoolchildren in classroom
No full text''Lt. Cecil G. Foster, San Antonio ace who has nine MIGs to his credit, is shown visiting students at Will Rogers Elementary School. Teachers Mrs. Ann Hix and Mrs. Barbara Beasom stated that the youngsters had been looking forward to a visit from Foster for several weeks.'
Cecil G. Foster with schoolchildren in classroom
No full text''Lt. Cecil G. Foster, San Antonio ace who has nine MIGs to his credit, is shown visiting students at Will Rogers Elementary School. Teachers Mrs. Ann Hix and Mrs. Barbara Beasom stated that the youngsters had been looking forward to a visit from Foster for several weeks.'
Business Card for John G. Foster, Niagara Representative of Psychiana
No full textBusiness card reading 'Write 'Psychiana'' lists the name of Niagara Representative John G. Foster and physical address 5 Water Street, St. Catharine's
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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