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Ladies' boot
No full textA boot of 1860. Made of fine soft leather, short boots normally are buttoned at the side and fitted to the ankle (from Ladies' dress shoes of the nineteenth century
Wedding slipper
No full textA wedding slipper of 1850 has a low heel; the slipper of 1830 is flat (from Ladies' dress shoes of the nineteenth century
Footwear
No full textFrom Ladies' Old-fashioned Shoes, published 1885. This shoe, probably a bedroom slipper, belonged to Mary of Lorraine. It is made of natural-colored leather (City College Art Library, New York
Footwear
No full textFrom Ladies' Old-fashioned Shoes, published 1885. A sixteenth-century pattern (City College Art Library, New York
グレイグ 「古風な婦人靴」
No full textGreig, T. Watson. Ladies'old-fashioned shoes. Edinburgh, David Douglas, 1885. (解題)boo
グレイグ著 古風な婦人靴
No full textGreig, T. Watson Ladies'old-fashioned shoes. Edinburgh, David Douglas, 1885. (解題)boo
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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