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Interdisciplinarity [2nd edition] by Joe Moran
No full textA review of 'Interdisciplinarity 2nd edition' by Joe Moran</p
Interdisciplinarity [2nd edition] by Joe Moran
No full textA review of 'Interdisciplinarity 2nd edition' by Joe Moran</p
Joe Moran Machine Shop, Exterior
No full textThe Joe Moran Machine Shop located at 119 North First Street, mid-renovation. The Joseph Moran Welding and Machine Shop was founded in 1925. The shop's motto was 'We Can Fix It.
Joe Moran Machine Shop, Interior
No full textFrom left to right, Ernie Oblander, Nancy Moran, Joe Moran, and Richard Patterson stand amid machinery and equipment inside the Joseph Moran Welding and Machine Shop. The business was founded in 1925 and the shop was located at 119 North First Street. The shop's motto was 'We Can Fix It.
Ed Gibbs and Joe Moran Golden Gloves boxing tournament
No full textImage shows a boxing match at Golden Gloves tournament. Joe Moran, right, San Antonio punches with left. Left is Ed Gibbs, Waco, punching with right. Published in the Fort Worth Star-Telegram morning edition, February 19, 1951.https://mavmatrix.uta.edu/specialcollections_startelegram1950s/9707/thumbnail.jp
Don DeLillo and the Myth of the Author–Recluse
No full textThe subtly entrapping nature of celebrity has been a common theme of
Don DeLillo's work since his third novel, Great Jones Street (1973),
narrated by a twenty-six-year-old rock star, Bucky Wunderlick, who tires
of fame in the middle of a national tour and goes to ground in a seedy New
York bedsitter. This theme, however, finds its fullest expression in
DeLillo's 1991 novel Mao II, where it is linked to a specific concern which
may be closer to home for him – the paradoxical fascination with
author–recluses in American celebrity culture. DeLillo, who came to
reluctant terms with major league celebrity from the mid-1980s onwards
after a long period of respectful reviews and polite notices, has praised
reclusive authors for “refusing to become part of the all-incorporating
treadmill of consumption and disposal,” in spite of the “automatic
mechanism” of the media which tries “to absorb certain such reluctant
entities into the weave.” Mao II is about what happens when this
absorption takes place, and whether or not this wholly devalues the
author's own tactics of silence and renunciation.</jats:p
Publication: 'Review of Joe Moran, Interdisciplinarity 2nd edition', Rupkatha, 3, 1 (April 2011)
No full text
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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