1,720,962 research outputs found
As I was a walking For pleasure one day,
No full textVoiceCollected by Mebane Harrison and Tom Wilson Sung by Mrs. T. M. Davis
For M. C. Parler Fayetteville, Arkansas
Transcribed by Mebane Harrison and Tom Wilson January 17, 1960
Reel 338, Item 17
Little Mohee
As I was a walking For pleasure one day,
I sought recreation,
So I careless did stray.
As I sat a musing Out in the cool shade,
Its who should come a nign me, But a fair Indian maid.
She stepped up to me And took me by the hand Saying, "You are a stranger,
Not one of our land.
But if you will follow,
And go now with me,
I'll teach you the language Of the Little Mohee."
Saying, "If you will follow, You're welcome to go,
And live with me always In the cocoanut grove."
"Oh, no, my fair maiden,
That never could be,
For I have a true love In my own country.
And her heart's just as true as The Little Mohee.
The last time I saw her,
She stood on the stran.
And as I passed by her,
She waved me her hand Saying, "When you are landed In your own native land.
Just think of the Little Mohee In the cocoanut grove."
Oh, now I am landed In my own native land.
My friends and relations Around me do stand.
I looked all around me, But none could I see That would even compare With the pretty Mohee.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Come all you pretty girls. Will you listen to my noise?
No full textvoiceCollected by Mebane Harrison and Tom Wilson For M. C. Parler
Transcribed by Mebane Harrison and Tom Wilson
Sung by Mrs. T. M. Davis Fayetteville, Arkansas January 17, 1960
Reel 338, Item 14
Arkansas Boys
Come all you pretty girls.
Will you listen to my noise?
Be careful how you spark those Arkansas boys,
For all that they have for to eat Is cornbread an"lasses an' 'sassafrass
The boys they used to be hearty and gay,
For they could work both night and day.
Now they look so pale and thin,
They rattle like a cornshuck 'shakin' in the wind.
The boys they used to wear pantaloons short,
For they could do work of every sort;
Now they wear them buckled up so tight,
The strap was to break It'd throw 'em outa sight.
Come all you young men;
We'll now begin.
I'll tell you what to do When the girls are sixteen.
They first begin to comb And then begin to lace And artificial flowers,
They put about their face.
They fix up and to Sunday School they go.
And all 'tis done for is just to catch a beau.
The boys they'll say,
"Can I see you home, tonight?"
The girl's they'll say, "No."
When they're mighty sure they might.
The boys they'll all around the girl's lean Just about the time they are sixteen.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
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
Way up in old Wyoming long ago,
No full textVoiceCollected by Mebane Harrison and Tom Wilson For M. C. Parler
Transcribed by Mebane Harrison and Tom Wilson
Sung by Mrs. T. M. Davis Fayetteville, Arkansas January 17, 1960
Reel 338, Item 16
Cheyenne
Way up in old Wyoming long ago,
Where cayotes howl and west winds rage and blow,
A cowboys lusty voice rang out "hello",
And echoed through the valley far below.
Then came the maiden's answer soft and clear;
Cowboy threw his hat up in the air.
Said he, "I came to take you right away from here. Cheyenne they say is miles away,
But they've a preacher there.
The maiden dropped her eyes.
She was so very shy,
So shy, oh my,
And then he made reply:
"Oh, oh, oh, Cheyenne, Cheyenne,
Hop on your pony.
There's room here for two,dear,
But after the ceremony,
We'll both ride back,home as one,dear.
On my pony from old Cheyenne."
They rode that night and most of all next day. Cheyenne was 67 miles away,
And when at last they galloped up the street,
Cowboy's pride was surely hard to beat.
His sweetheart on his strong young arm he's carrying, And when they reached the little Church yard dome, Said she, "I fell like turning back not marrying." Cowboy said,"You will or you'll walk home.
If you ride home today,
You'll honor and obey.
I do. I do,
And he was heard to say,
"Oh, oh, oh, Cheyenne, Cheyenne,
Hop on your pony.
There's room here for two, dear,
But after the ceremony,
We'll both ride back home dear as one On my pony from old Cheyenne.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
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
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
At the foot of yonder's mountain, Where the fountain doth flow
No full textVoiceCollected by Mebane Harrison and Tom Wilson Sung by Mrs. T. M. Davis
For M. C. Parler Fayetteville, Arkansas
Transcribed by Mebane Harrison and Tom Wilson January 17, 1960
Reel 338, Item 15
Red River Shore
At the foot of yonder's mountain, Where the fountain doth flow
Sweet music detained me,
Soft winds there doth blow;
I spied a fair damsel,
Her name I don't know,
Standing by a brave soldier On Red River Shore.
He spoke to her kindly,
"Will you marry me?"
My fortunes not great."
"That's nothing,"said she.
"Then your beauty is a'plenty;
You're the one I adore.
You're the girl I might marry On Red River Shore.
Her cruel old father,
These words came to him.
He said he'd deprivd her Of the dearest of men,
So he sent him to the Army Where the cannons doth roar,
For to leave his own true love On Red River Shore.
She wrote him a letter;
She wrote it most kind,
And in this here letter These words you will find.
"Come home my own true love;
You're the one I adore.
You're the man I might marry On Red River Shore.
He read this here letter.
It made him feel sad,
And none of his comrades Could make his heart glad.
He turned his horse homeward And onward did go,
For to see his own true love On Red River Shore.
Her cruel old father These words came to him;
He said he'd deprive her Of the dearest of men,
So he made up a little Army Of twenty and four,
For to fight this brave soldier On Red River Shore.
He drew his bright saber,
And waved it around.
He slew, he slew, the rest of the
men.
There's no need of a little Army Of twenty and four,
For to fight this brave soldier On Red River Shore.
Love, love is a hard fortune For all of mankind.
The women's controlled;
They're always sublime.
They're controlled by their parents Until they are wives,
And slaves of their husbands The rest of their lives.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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