1,721,305 research outputs found
A brief account of the rise and progress of the people called Quakers
No full textDie Titelseite ist einseitig bedrucktVorlageform der Veröffentlichungsangabe: "London, bei James Phillips, in George's Yard, Lombard-Street. 1793.
Thinking Matters Lightning Talk: James Phillips
No full textLightning Talk by James Phillips for the Thinking Matters Symposium at the University of Southern Maine titled: Voicing the Past: On-Site Performance in Iceland and New England
Fathoming the musical identity/identities of James Phillips aka Bernoldus Niemand
No full text'n Ondersoek na die musikale identiteit(e) van James Phillips, ook bekend as
Bernoldus Niemand:
Literatuur oor musikale identiteit het in die 1990s gedy. Tog is dit opvallend dat tot op
datum min mense hulle oor hulle eie musikale identiteite uitgespreek het – musici en navorsers ondersoek en skryf meestal oor ander se musikale identiteite. James Phillips
het snerpende lirieke geskryf, wat diep sosiale kommentaar ingesluit het. Hy het 'n formele musiekgraad verwerf en is, as uitvoerder, wyd deur sy eweknieë as die beste ‘rock'-musikant van sy dag erken. Tog was hy gesteld op sy privaatheid, en het hom nie maklik uitgespreek as hy direk oor sake uitgevra is nie. Hy het hom beslis nie oor sy eie musikale identiteit uitgespreek nie – behalwe in terme van wat die musiek self te kenne gegee het. Was hy verward? In watter stadiums was hy James Phillips en wanneer was hy sy alter-ego Bernoldus Niemand? Was hy, in die Suid-Afrikaanse konteks, 'n Engelse of 'n (alternatiewe) Afrikaanse musikant? En kan ons moontlik meer hieroor uitvind, meer as 'n dekade na sy voortydige afsterwe? Hierdie artikel poog om dit te doen, gedeeltelik op grond van bepaalde nuwe bronne, asook 'n vergelyking van baie konflikterende sieninge in beskikbare literatuur en uit onderhoude. Keywords: James Phillips, Bernoldus Niemand, musikale identiteit, Voëlvry, alternatiewe Afrikaanse musiek, Suid-Afrikaanse rock-musiekSouth Africa Journal of Cultural History Vol. 22 (1) 2008: pp. 1-2
Class Demonstration in 1951 First Aid Course with Instructor James Phillips
No full textA course for instructors in First Aid was offered Summer 1951 at Jacksonville State Teachers College. Shown during a class demonstration are, from left, Ruth Traylor, Willard L. Character, Betty Williams, the patient, and James Phillips, the course instructor. (circa July 26, 1951)https://digitalcommons.jsu.edu/lib-ac-histimg/6932/thumbnail.jp
Ondersoek na die musikale identiteit(e) van James Phillips, ook bekend as Bernoldus Niemand
Full text linkLiteratuur oor musikale identiteit het in die 1990s gedy. Tog is dit opvallend dat tot op
datum min mense hulle oor hulle eie musikale identiteite uitgespreek het – musici en
navorsers ondersoek en skryf meestal oor ander se musikale identiteite. James Phillips
het snerpende lirieke geskryf, wat diep sosiale kommentaar ingesluit het. Hy het ’n
formele musiekgraad verwerf en is, as uitvoerder, wyd deur sy eweknieë as die beste
‘rock’-musikant van sy dag erken. Tog was hy gesteld op sy privaatheid, en het hom
nie maklik uitgespreek as hy direk oor sake uitgevra is nie. Hy het hom beslis nie oor
sy eie musikale identiteit uitgespreek nie – behalwe in terme van wat die musiek self
te kenne gegee het. Was hy verward? In watter stadiums was hy James Phillips en
wanneer was hy sy alter-ego Bernoldus Niemand? Was hy, in die Suid-Afrikaanse
konteks, ’n Engelse of ’n (alternatiewe) Afrikaanse musikant? En kan ons moontlik
meer hieroor uitvind, meer as ’n dekade na sy voortydige afsterwe? Hierdie artikel
poog om dit te doen, gedeeltelik op grond van bepaalde nuwe bronne, asook ’n
vergelyking van baie konflikterende sieninge in beskikbare literatuur en uit
onderhoude.
ENGLISH: Writings on musical identity blossomed in the 1990s, yet it is notable that to date very few people have expressed themselves on their own musical identities – musicians and
researchers mostly consider and write about the musical identities of others. Despite
writing biting lyrics with deep social commentary, holding a degree in music and being a performer hailed by his peers as the best South African rock musician of his day,
James Phillips was a private man, non-committal when asked about things directly. He certainly did not voluntarily express himself publicly, other than through his music itself, on his musical identity. Was he confused? When was he James Phillips and when his alter-ego Bernoldus Niemand? Was he an English or an (alternative) Afrikaans
South African musician? And can we possibly discover any more about all of this, more
than a decade after his premature death? In this article attempts are made to do so,
partly based on some new and previously untapped sources, and a comparison of
many conflicting views in available literature and from interviews
James Phillips, left, taking weights from weighmaster Jimmie Cox while Hubert Phillips looks on
No full textHere are 4-H and Future Farmers of America (FFA) Club boys from the recent Nolan-Fisher Club Boys\u27 Livestock Show as they marked their animals in Fort Worth this week, with pictures of two of the champions. Shown in the picture are the boys taking lessons in weighing at the Fort Worth Stock Yards. James Phillips, left, taking weights from weighmaster Jimmie Cox while Hubert Phillips looks on.https://mavmatrix.uta.edu/specialcollections_startelegram1940s/2527/thumbnail.jp
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
The British Abolitionist Movement and print culture: James Phillips, activist, printer and bookseller
No full textThis paper investigates the role of print culture in the British Abolitionist movement. The paper will focus on the role of James Phillips as both activist and as the publisher of the greatest number of tracts and publications in the period. the Quaker’s official printer, James Phillips worked closely with the first association formed in Britain in 1783 to work for the abolition of slavery and the slave trade, and was a founding member of the London Abolition Committee in 1787. An active member of the Committee until his death in 1799, Phillips hosted meetings in his home above his business, acted as a key contact with individuals within the movement within the UK, and was the Committee's liaison with abolitionists in France. Phillips also played an important role as printer for the Committee of its own publications and an increasing number of other works sought out to promote the abolitionist cause. Research for the project concentrates on Phillips as printer, publisher and bookseller and the output of his publishing and printing work for the Abolitionist movement, within a framework of understanding print cultures of the period
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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