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Craftsman's Fair, 1950: Jack Hall
No full textJack Hall (1920-1984) is shown here demonstrating carving at a table displaying finished animals and rough-cut items in progress. This photograph was taken by an unknown photographer at the 1950 Craftsman's Fair of the Southern Highlands in Gatlinburg, Tennessee.
Hall was born into a family of carvers living in the Warne community east of Brasstown. His father, A. Ben Hall, and uncles, John and Elisha, were well-respected carvers. With carving all around him, Jack began to try his hand at carving when he was just 11 years old. He carved throughout the 1930s and 1940s and was listed as having sold more than $150 of his work on a sales list dated 1942. During the war, Hall left the region to work first as a machinist in Ohio and then at a defense plant in Marietta, Georgia. After the war, he returned to Brasstown where he took up carving again. He was an assistant to John C. Campbell Folk School carving teacher Murrial Martin and, upon her retirement in the 1973, took over as carving instructor at the school
Craftsman's Fair, 1948: Jack Hall
No full textJack Hall (1920-1984) is shown here demonstrating carving for a group of children at the 1948 Craftsman's Fair of the Southern Highlands in Gatlinburg, Tennessee. Hall often carved horses, and at least one horse carving can be seen on the table next to him in this photograph. The name of the photographer who captured this shot is unknown.
Hall was born into a family of carvers living in the Warne community east of Brasstown. His father, A. Ben Hall, and uncles, John and Elisha, were well-respected carvers. With carving all around him, Jack began to try his hand at carving when he was just 11 years old. He carved throughout the 1930s and 1940s and was listed as having sold more than $150 of his work on a sales list dated 1942. During the war, Hall left the region to work first as a machinist in Ohio and then at a defense plant in Marietta, Georgia. After the war, he returned to Brasstown where he took up carving again. He was an assistant to John C. Campbell Folk School carving teacher Murrial Martin and, upon her retirement in the 1973, took over as carving instructor at the school
Craftsman's Fair, 1953: Jack Hall
No full textJack Hall (1920-1984) is shown here demonstrating carving and talking to a group of boys at the 1953 Craftsman's Fair of the Southern Highlands in Asheville, North Carolina. Carvings in various stages of completion are on display around the group. In the background an unidentified woman waits for visitors at the Folk School booth. This photograph was taken by Edward L. DuPuy.
Hall was born into a family of carvers living in the Warne community east of Brasstown. His father, A. Ben Hall, and uncles, John and Elisha, were well-respected carvers. With carving all around him, Jack began to try his hand at carving when he was just 11 years old. He carved throughout the 1930s and 1940s and was listed as having sold more than $150 of his work on a sales list dated 1942. During the war, Hall left the region to work first as a machinist in Ohio and then at a defense plant in Marietta, Georgia. After the war, he returned to Brasstown where he took up carving again. He was an assistant to John C. Campbell Folk School carving teacher Murrial Martin and, upon her retirement in the 1973, took over as carving instructor at the school
Craftsman's Fair, 1951: Jack Hall
No full textJack Hall (1920-1984) is shown here carving a wooden horse at the 1951 Craftsman's Fair of the Southern Highlands in Asheville, North Carolina. Hall is known for carving horses, as shown in this photograph; other rough-cut carved figures are on the table in front of him. This photograph was taken by Edward L. Dupuy.
Hall was born into a family of carvers living in the Warne community east of Brasstown. His father, A. Ben Hall, and uncles, John and Elisha, were well-respected carvers. With carving all around him, Jack began to try his hand at carving when he was just 11 years old. He carved throughout the 1930s and 1940s and was listed as having sold more than $150 of his work on a sales list dated 1942. During the war, Hall left the region to work first as a machinist in Ohio and then at a defense plant in Marietta, Georgia. After the war, he returned to Brasstown where he took up carving again. He was an assistant to John C. Campbell Folk School carving teacher Murrial Martin and, upon her retirement in the 1973, took over as carving instructor at the school
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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