1,721,667 research outputs found
Mesolithic, Neolithic and Bronze Age lithic artefacts from the Bell Collection, Iffley Fields, Oxford
No full textThe East Oxford Archaeology and History Project or ARCHEOX is a community archaeology project hosted by Oxford Universityâs Department for Continuing Education, and funded by the Heritage Lottery Fund and Oxford Universityâs John Fell Fund. The Bell Collection is the largest single assemblage of Holocene lithic artefacts from the ARCHEOX study area. Access to the collection was granted by the Pitt Rivers Museum (PRM) and the collection was used to train project volunteers in lithic artefact identification and analysis in spring 2013. A summary analysis of the Mesolithic, Neolithic and Bronze Age portion of the collection was undertaken with the assistance of project volunteers. This analysis of the Bell Collection suggests that a sustained focus of prehistoric activity existed in the Iffley Fields area between the Mesolithic (c. 9600 â 4000 BC) and the end of the Early Bronze Age (c. 1500 BC). The lack of records detailing the exact location and context of the discovery and collection of the current assemblage make it difficult to determine the precise nature of the activity that created it. Those records that do exist suggest that it is derived from both surface finds and archaeological features
The Archaeology of East Oxford: Archeox
No full textHeritage-Lottery Funded Archaeology and History Project on East Oxford, based at Oxford University Department for Continuing Education. Data derived from field, archive and historical research. Includes excavation reports (pdf) and data, geophysical survey data, GIS shape files, photographs, plans and spreadsheets. NB: For full access to the contents of this dataset, it is advised that Archeox.zip be extracted rather than simply opened following download, as there are two pdf files which may not open correctly if the zip is opened directly rather than extracted. Specifically, these files are: Chapter 0 - Monograph Open Access pdf: The Archaeology of East Oxford > Archeox Monograph Open Access.pdf and Chapter 2 - Archeox: the emergence of a community > Impact Evaluation Report.pdf
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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