1,723,227 research outputs found
1990 B. J. Mayer
No full textAlt Text: Headshot of UNI wrestler B. J. Mayer. He wears a light shirt and dark tie. Black and white image.https://scholarworks.uni.edu/panther_athletics/1086/thumbnail.jp
Leon C. J. Mayer, (1897), purchased by Mr. Leon C. J. Mayer on November 21, 1951.
No full textDocuments regarding the double headstone for Leon C. J. Mayer, (1897), buried with Bertha L. Mayer, (1900-1957), purchased by Mr. Leon C. J. Mayer. The marker was placed at Woodlawn Cemetery, Lot 450, Section 20 in Toledo, Ohio. The stone is duplicate of Mother Bertha L. Mayer, (1900-1957) and made of Balfour Pink Granite with Blown Shop-Type Letters in Steeled Panel. Rubbings is included
“Envelopes”, o sull’architettura di carta di J. Mayer H.
No full textLa mostra stiriana sui lavori artistici e i progetti di architettura di J. Mayer H. indaga le nuove tecniche di ricerca formale nell'era digitale, ripercorrendo i sentieri segreti della strategia progettuale di questo anomalo artista-architetto tedesco.The Styrian exhibition on the artistic works and architectural projects of J. Mayer H. investigates the new techniques of formal research in the digital era, retracing the secret paths of the design strategy of this anomalous German artist-architect
Arno J. Mayer, Les Furies
Get PDFArno J. Mayer, professeur à l’université de Princeton, est connu en France par la grande envergure de son œuvre. Ont ainsi été traduits en français La persistance de l’Ancien Régime : l’Europe de 1848 et la Grande Guerre (Flammarion, 1983) et La Solution finale dans l’histoire (La Découverte, 1990). Les Furies sont également un ouvrage de réflexion large et pertinent, conçu par Arno Mayer pendant son séjour en France à la fin des années 1980, dans un contexte fortement marqué par le bicentena..
Interior of George J. Mayer Store
No full textInterior view of the George J. Mayer Store with the employees lined up behind the counter. The store sold stencils, rubber stamps, seals, etc. Merchandise is stored on shelves that reach the ceiling, and in glass cases. Part of the ceiling is damaged
sj-docx-1-nvs-10.1177_08997640221126147 – Supplemental material for Simmer Down Now! A Study of Revenue Volatility and Dissolution in Nonprofit Organizations
No full textSupplemental material, sj-docx-1-nvs-10.1177_08997640221126147 for Simmer Down Now! A Study of Revenue Volatility and Dissolution in Nonprofit Organizations by Duncan J. Mayer in Nonprofit and Voluntary Sector Quarterly</p
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
- …
