1,721,896 research outputs found
Idaho High Country, 1961 (complete work)
No full textDirector: George Oliver Smith; Writer: Helen Stanfield;Narrator: Max Hartman; photography,
Helen Smith Original presentsTo order a reproduction, inquire about permissions, or for information about prices, see: http://www.lib.washington.edu/specialcollections/services/reproduction/reproductio
Milo and Helen Smith interview
Full text linkMilo and Helen Smith taught at Central Washington University from the 1950s to the 1990s.https://digitalcommons.cwu.edu/cwura_interviews/1042/thumbnail.jp
Helen Smith Video Interview
No full textHelen Smith discusses personal history, being a faculty wife in the 1950s, teaching English, part time teaching, university budget, and acting in a CWU play after retirement.https://digitalcommons.cwu.edu/cwura_interviews/1233/thumbnail.jp
Basketry by Helen Smith
No full textThis four-page brochure was made to accompany a 1973 exhibition of basketry by Helen Smith. In an unbroken chain of tradition, Smith’s baskets are positioned between those of her mother, Eva Calhoun Bradley, and those made by her daughter, Carol Smith Welch. All three weavers were known for their baskets. She grew up in Big Cove community on the Qualla Boundary, lands owned by the Eastern Band of Cherokee Indians and began making baskets when she was 15 or 16 years old. While some Cherokee basket weavers specialized in one type of basket, Helen Bradley Smith (1922-2007) was proficient in white oak, honeysuckle, and rivercane, including the double weave technique. She could also do pottery, beadwork, and finger weaving
Basketry by Helen Smith
No full textThis four-page brochure was made to accompany a 1973 exhibition of basketry by Helen Smith. In an unbroken chain of tradition, Smith’s baskets are positioned between those of her mother, Eva Calhoun Bradley, and those made by her daughter, Carol Smith Welch. All three weavers were known for their baskets. She grew up in Big Cove community on the Qualla Boundary, lands owned by the Eastern Band of Cherokee Indians and began making baskets when she was 15 or 16 years old. While some Cherokee basket weavers specialized in one type of basket, Helen Bradley Smith (1922-2007) was proficient in white oak, honeysuckle, and rivercane, including the double weave technique. She could also do pottery, beadwork, and finger weaving
Recommended from our members
A letter from Helen Smith to Dr. Hector P. Garcia, thanking him for a photograph sent to Ms. Smith.
No full textA letter from Helen Smith to Dr. Hector P. Garcia, thanking him for a photograph sent to Ms. Smith
Recommended from our members
A letter from Helen Smith to Dr. Hector P. Garcia regarding an attached article sent for changes before its publication in the UTMB Newsletter.
No full textA letter from Helen Smith to Dr. Hector P. Garcia regarding an attached article sent for changes before its publication in the UTMB Newsletter
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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