1,721,050 research outputs found
S3 E9: Assistive Technology & Communication with Dr. Jennifer Kent-Walsh
Get PDFIn today’s episode, Drs. Lisa Dieker and Rebecca Hines talk with Dr. Jennifer Kent-Walsh. Tune in as she gives a breakdown of how she is providing remote services and practical strategies for working with kids using communication devices
Jennifer Kent: Sanquhar
No full textA short essay which considers the reworking of traditional Sanquhar knit patterns by Jennifer Kent, a contemporary knitwear designer based in Scotland. It was first published to coincide with the opening of Kent's exhibition at The Lighthouse, Glasgow
The Nightingale – Jennifer Kent [2018] : la justice des opprimé.es
No full textCarnet de la chute libreChronique du film de de Jennifer Kent [2018]
Jennifer Kent \u2713 and Assoc. Dean Tracey West
No full textJennifer Kent, class of 2013, talks about her experience expanding diversity programming at BC Law--and working with her mentor, Associate Dean Tracey West
The Babadook de Jennifer Kent : la dualidad del ser humano y la escenificación del monstruo
No full textEn el presente estudio, se demostrará cómo la dimensión monstruosa, siempre latente en el inconsciente colectivo e individual, se transforma en una criatura que encarna la irracionalidad desde la infancia. Para ello se analizará la película The Babadook (2014) de Jennifer Kent, tomando en consideración la intertextualidad con la tradición folclórica y las estrategias discursivas que denotan lo fantástico, como la metaficción y el cronotopo pesadillezco.The objective of this paper is to demonstrate how the dimension of monstrosity, ever latent in the individual and collective subconscious, transforms itself into a creature who incarnates the irrationality within childhood. To demonstrate this, the film directed by Jennifer Kent, The Babadook (2014), will be analyzed from the perspective of the intertextual dialogue that it establishes with the folklore tradition and the discursive strategies that denote the fantastic genre, such as metafiction and the nightmare chronotope
The Babadook de Jennifer Kent: la dualidad del ser humano y la escenificación del monstruo
Get PDFEn el presente estudio, se demostrará cómo la dimensión monstruosa, siempre latente en el inconsciente colectivo e individual, se transforma en una criatura que encarna la irracionalidad desde la infancia. Para ello se analizará la película The Babadook (2014) de Jennifer Kent, tomando en consideración la intertextualidad con la tradición folclórica y las estrategias discursivas que denotan lo fantástico, como la metaficción y el cronotopo pesadillezco.
Government sponsored perversity. Review of: Perverse Subsidies: How Tax Dollars Can Undercut the Environment and the Economy by Norman Myers and Jennifer Kent
Get PDFBook review of Perverse Subsidies: How Tax Dollars Can Undercut the Environment and the Economy. Norman Myers and Jennifer Kent. Island Press, Washington (DC), 2001
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
- …
