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Ruth Etting headshot
No full textJohn Alderman, Ruth Etting's stepson, donated these photographs to the Ruth Etting Collection in response to a request from John Moran, the compiler of the collection.Publicity photo of Ruth Etting wearing a flowered dress. She is facing to her left and looking off to the right
Ruth Etting
No full textJohn Alderman, Ruth Etting's stepson, donated these photographs to the Ruth Etting Collection in response to a request from John Moran, the compiler of the collection.Publicity photo of Ruth Etting with back to camera looking down to her left. She is wearing a flowered dres
Autographed photo of Marilyn Miller
No full textJohn Alderman, Ruth Etting's stepson, donated these photographs to the Ruth Etting Collection in response to a request from John Moran, the compiler of the collection.Photograph of Marilyn Miller inscribed 'To Ruth with love and best wishes always, Marilyn Miller'verso: Marilyn Mille
Jane Cowl, stage actress
No full textJane Cowl, stage actressTo order a reproduction, inquire about permissions, or for information about prices see:
http://www.lib.washington.edu/specialcollections/services/reproduction/reproduction
Please cite the Order NumberScanned at 600ppi with an Epson 20000 flatbed scanner. Image then rotated, cropped, level-adjusted, and sharpened using Photoshop CS3. Converted to a JPEG2000 image upon ingest into CONTENTdm
Vanessi
No full textVanessiTo order a reproduction, inquire about permissions, or for information about prices see:
http://www.lib.washington.edu/specialcollections/services/reproduction/reproduction
Please cite the Order NumberScanned at 600ppi with an Epson 20000 flatbed scanner. Image then rotated, cropped, level-adjusted, and sharpened using Photoshop CS3. Converted to a JPEG2000 image upon ingest into CONTENTdm
Autographed photo of Adele Astaire
No full textJohn Alderman, Ruth Etting's stepson, donated these photographs to the Ruth Etting Collection in response to a request from John Moran, the compiler of the collection.Photograph of Adele Astaire inscribed 'To Ruth - with love Adele
Autographed photo of Fred Astaire
No full textJohn Alderman, Ruth Etting's stepson, donated these photographs to the Ruth Etting Collection in response to a request from John Moran, the compiler of the collection.Photograph of Fred Astaire inscribes 'To Ruth - With sincere admiration -- Fred Astair
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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