1,721,919 research outputs found
Samuel Robert Owens to Guy F. Hull, April 22, 1936
No full textA letter from Samuel Owens to Guy F. Hall at the U.S. Navy recruiting station in Asheville, N.C. with an update on Owens' application for enlistment. Samuel Robert Owens (1918-1995) was stationed at Cavite Naval Yard in the Philippines when the United States entered World War II. He was a member of the crew of the submarine tender USS Canopus (AS-9), which was actively involved in the defense of the Bataan peninsula until the fall of Bataan on April 9, 1942. The majority of the crew of USS Canopus, including Owens, were captured by the Japanese at Corregidor, and became prisoners of war. Owens remained a POW until the end of the war and received the Silver Star and Bronze Star for his service.April Jiii, iea.u.
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Guy F. Hull to Samuel Robert Owens, April 21, 1936
No full textA letter from Guy F. Hull on the behalf of the U.S. Navy recruiting station in Asheville, N.C. to Samuel Owens with an update on Owen's recruitment process. Samuel Robert Owens (1918-1995) was stationed at Cavite Naval Yard in the Philippines when the United States entered World War II. He was a member of the crew of the submarine tender USS Canopus (AS-9), which was actively involved in the defense of the Bataan peninsula until the fall of Bataan on April 9, 1942. The majority of the crew of USS Canopus, including Owens, were captured by the Japanese at Corregidor, and became prisoners of war. Owens remained a POW until the end of the war and received the Silver Star and Bronze Star for his service.,'/
U.S.NAVY RECRUITING STATION
POST OFFICE BUILDING
ASHEVILLE, N.C.
April £1 1936
MR.Samue1 R.Owens,
Webster, N.C.
Dear oir:
Your papers will be completed when the
Principal of fhe Webster High School returns his
reference, and when the Chief of Police returns
the reference I mailed him. Will you please
get in touch with these people and see if you
can expedite your papers. Also if you are in
eylva ask the Sheriff of Jackson County to send
in the reference mailed him.
Thanking you for your cooperation, I am,
\ Very truly jrours ,
\
Guy F. Hull to Samuel Robert Owens, April 28, 1936
No full textA letter from Guy F. Hull on the behalf of the U.S. Navy recruiting station in Asheville, N.C. to Samuel Owens with an update on Owen's recruitment process. Samuel Robert Owens (1918-1995) was stationed at Cavite Naval Yard in the Philippines when the United States entered World War II. He was a member of the crew of the submarine tender USS Canopus (AS-9), which was actively involved in the defense of the Bataan peninsula until the fall of Bataan on April 9, 1942. The majority of the crew of USS Canopus, including Owens, were captured by the Japanese at Corregidor, and became prisoners of war. Owens remained a POW until the end of the war and received the Silver Star and Bronze Star for his service.U.S. NAVY RECRUITING STATION
Postoffice Building
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i'.m.ijaiauel doeert uwens,
webster, N.C. April 2S 1936
Dear Sir:
This is to notify you that your application
papers are now complete and that year n&ne has been
placed on our waiting list of preferred applicants.
Please hoop this office advised as to any
change of address that you may make.
Congratulations,
i,m>i H/ L-:(^
' Guy M Hull,
ChieF Carpenter's Hal
US Navy Recruiter
You will be enlisted as soon as possible and any correspondence
regarding your enlistment to this office is unnecessary.
Hersbherger (Guy F.) et al Das Tâufertum. Erbe und Verplichtung
No full textSéguy Jean. Hersbherger (Guy F.) et al Das Tâufertum. Erbe und Verplichtung. In: Archives de sociologie des religions, n°18, 1964. pp. 192-193
Correspondence with EIA Administrator, The Honorable Guy F. Caruso
Full text linkCorrespondence with the EIA Administrator, The Honorable Guy F. Caruso, on the subject of How Will EIA Capture and Report Information as to Bakken Crude Oil
Bécaud J., Denis M., Folliet J., Guy F. et M. — Contrôle ou régulation des naissances?
No full textB H. Bécaud J., Denis M., Folliet J., Guy F. et M. — Contrôle ou régulation des naissances?. In: Population, 19ᵉ année, n°1, 1964. p. 153
Letter from W. T. Ellis to T. Ward Guy, F. J. Corbett, and S. B. Simmons
No full textLetter from W. T. Ellis to T. Ward Guy, F. J. Corbett, and S. B. Simmons, sharing the time of his summer vacation
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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