1,905,111 research outputs found
Portrait of Amy Mack (Mrs Lancelot Harrison) [picture] /
No full textTitle from inscription on reverse.; Condition: Fair, glued to card.; Inscriptions: "Amy Mack (Mrs. Lancelot Harrison) author of 'A bush calendar', 'Bush days', etc. photo. J. S. P. Ramsay" --In ink on reverse
J. S. Richardson Collection
No full textPhotograph of the ruins of Fort Washita, Durant, OK. Photo by J. S. Richardson
J. S. Richardson Collection
No full textPhotograph of the ruins of Fort Washita, Durant, OK. Photo by J. S. Richardson
J. S. Bach’ın Çello Süitlerine İlişkin Bir Literatür İncelemesi / A Literature Review of J. S. Bach’s Cello Suites
No full textJ. S. Bach’ın eserleri el yazması veya kopya durumunda olup bu eserlerin bir kısmı kaybolmuştur. Bu durum, bestecinin ne istediğinin tam olarak bilinememesine neden olmakta ve eserlerinin yorumlanmasını daha da zorlaştırmaktadır. J. S. Bach’ın Çello Süitlerinin günümüze kadar ulaşan dört kopya el yazması bulunmaktadır. Bu eserlere ilişkin günümüze kadar ulaşmış otograf olan tek kaynak ise 5. süitin lavta transkripsiyonudur. Bu süitlerin otograflarının kayıp olması nedeniyle, ne zaman ve ne sürede yazıldıkları ancak tahminlere dayanmaktadır. Hakkında sahip olunan bilgilerin kısıtlı olması bir taraftan eserlerin yorumlanması konusunda belirsizliklere yol açsa da diğer taraftan zengin bir yorumlama anlayışı fırsatı sunmuştur. Bu bağlamda, bu çalışmanın amacı barok dönem içerisinde ve günümüzde J. S. Bach’ın çello süitlerinin yerini irdeleyerek bu eserlere ilişkin literatürü incelemektir. / The works of J. S. Bach are autographs or copies and some of them are lost. In this sense it is much more difficult for performers to know what the composer exactly wants. There are four manuscripts of J.S. Bach Cello Suites that has survived. The only source that has been reached to the present day is the autograph of the 5th suite’s lute transcription. Due to the missing autographs of these suites, when and for how long they were written is based on estimates. Limited and mysterious knowledge of these works cause uncertainty about the interpretation, but on the other hand, it offered a substantial sense of interpretation. In this sense, the aim of this study is to examine the literature about the role of the J. S. Bach cello suites in the Baroque period and in the present
J. S. Lee’s pioneering contribution to Geomechanics：the 135th anniversary of J. S. Lee’s birth
Full text linkObjective The Chinese academic community is well known for J. S. Lee’s creation of geomechanics, but the academic community’s understanding of “geomechanics” is still different, and some scholars have doubts about J. S. Lee’s creation of geomechanics. As a result, the understanding of J. S. Lee’s academic contributions is biased, and there is also an obvious dispute whether J. S. Lee’s Geomechanics and geomechanics as used by the international community belong to the same term, which will more or less affect the use of geomechanics terms and the development of the discipline. Methods On the basis of long-term practice in geomechanics research, the author, through systematic study and analysis of J. S. Lee’s geomechanics works (especially J. S. Lee’s book entitled “Fundamentals and Methods of Geomechanics”, 1945 edition), combined with in-depth research and analysis. Results & Conclusion The author confirms that J. S. Lee not only founded geomechanics, but also made a number of groundbreaking contributions to geomechanics such as proposing the concept of principal stress plane and principal stress; introducing the Mohr’s circle into the analysis of structural deformation mechanics; establishing the analytical expression of the generalized Hooke’s law, etc. On this basis, the geomechanics established by J. S. Lee is briefly reviewed, and the development history and prospects of geomechanics are concisely summarized and envisioned. Significance This article was completed on the 135th anniversary of J. S. Lee’s birth to commemorate his pioneering contributions to geomechanics
[Letter from Meyer Bodansky to J. S. Sweeney - February 20, 1940]
No full textLetter addressed to Dr. J. S. Sweeney from Dr. Meyer Bodansky dated February 20, 1940, seeking review and criticism from Dr. Sweeney on the proof of his upcoming textbook
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
Heritage Society (Houston)
No full textTranscript of Letter from J. S. LeClere to William M. Rice discussing dividends received from the Wharf Stock owned by William
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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