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Letter from Grun T. Hill, Columbus, to Robert Jemison, Jr., September 20, 1862
No full textThis item is from the Robert Jemison, Jr. Papers. The collection spans the period from 1797 to 1960 and includes both the personal and business papers of Robert Jemison, Jr., along with papers of Robert Jemison (grandfather), William Jemison (father), Priscilla Jemison (wife), Cherokee Jemison Hargrove (daughter), and Andrew Coleman Hargrove (son-in-law), and Robert Jemison, Jr. (IV) of Birmingham (1878-1973). Included are the records of his grist and lumber mills, plantations, stage line, the Tuskaloosa Plank Road, toll bridges, ferries, postal contracts, and the North East and South West Railroad
Letter from Grun T. Hill, Columbus, to Robert Jemison, Jr., July 20, 1866
No full textThis item is from the Robert Jemison, Jr. Papers. The collection spans the period from 1797 to 1960 and includes both the personal and business papers of Robert Jemison, Jr., along with papers of Robert Jemison (grandfather), William Jemison (father), Priscilla Jemison (wife), Cherokee Jemison Hargrove (daughter), and Andrew Coleman Hargrove (son-in-law), and Robert Jemison, Jr. (IV) of Birmingham (1878-1973). Included are the records of his grist and lumber mills, plantations, stage line, the Tuskaloosa Plank Road, toll bridges, ferries, postal contracts, and the North East and South West Railroad
Letter from Grun T. Hill, Columbus, to Robert Jemison, Jr., August 18, 1864
No full textThis item is from the Robert Jemison, Jr. Papers. The collection spans the period from 1797 to 1960 and includes both the personal and business papers of Robert Jemison, Jr., along with papers of Robert Jemison (grandfather), William Jemison (father), Priscilla Jemison (wife), Cherokee Jemison Hargrove (daughter), and Andrew Coleman Hargrove (son-in-law), and Robert Jemison, Jr. (IV) of Birmingham (1878-1973). Included are the records of his grist and lumber mills, plantations, stage line, the Tuskaloosa Plank Road, toll bridges, ferries, postal contracts, and the North East and South West Railroad
Quantification of component diversities within Circumalpine carbonates across the Paleogeen/Neogene transition.
No full textMicrofacies quantification: Assessing component diversity among circumalpine Paleogene and Neogene carbonates
No full textQuantifying component diversities along temporal and geographic gradients in Cenozoic circumalpine carbonates
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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
Quantification of component diversities within Circumalpine carbonate across the Paleogene/Neogene transition
No full textVariations 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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