1,721,187 research outputs found
Studio portrait, John Howell
No full textHowell, John. Portrait. 5x7. The negative contains two head and chest portraits of John Howell wearing a jersey number 13
Studio portrait, John Howell
No full textAth/Football. Portrait. Howell. The negative contains two head and chest portraits of John Howell wearing jersey number 13
"Instructions for John Howell" as an exponent of the feeling of the fantastic by Julio Cortázar
No full textUna de las cartas que Julio Cortázar recibe durante el otoño parisino de 1973 es harto insólita. El remitente, un tal John Howell que dice ser estudiante en la Universidad de Columbia, le cuenta que en los últimos meses varias casualidades del destino han unido sus vidas. Todo comenzó curioseando en una librería: a Howell le cayó en las manos una edición de Todos los fuegos el fuego (1966) donde descubrió que Cortázar había escrito“Instrucciones para John Howell”. El estudiante norteamericano prosigue; resulta que también él, durante una reciente estancia en París, se había dedicado a escribir un cuento sobre Cortázar y, luego más tarde, ya de regreso en Estados Unidos se había visto obligado por razones del azar, al igual que su tocayo londinense del cuento, a colaborar en una obra de teatro. A un lector lego la carta de Howell podría parecerle un cúmulo de historias inventadas o exageradas por parte de un admirador o una broma de buen gusto que deseaba gastarle algún conocido, sabedor del entusiasmo que suscitaban en Cortázar lassituaciones fortuitas. Sin embargo, para el escritor, quien la guardaría durante el resto de sus días, la carta de John Howell constituye prueba irrefutable de que las coincidencias más extraordinarias le salían al paso en el momento más inesperado de su cotidianeidad y de que incluso vinculaban su vida con su ficción.One of the letters that Julio Cortázar receives during the Parisian autumn of 1973 is fed up unusual.The sender, a certain John Howell who claims to be a student at the University ofColumbia, tells him that in recent months several coincidences of fate have united their lives. It all started with browsing in a bookstore: Howell fell into aedition of Todos los fires el fuego (1966) where he discovered that Cortázar had written "Instructions for John Howell." The American student continues; turns out that he too, during a recent stay in Paris, had dedicated himself to writing a short story about Cortázar, and then later, back in the United States, he had been forced to by chance, like his London namesake in the tale, to collaborate on a play. To a lay reader, Howell's letter might seem like a bundle of stories.made up or exaggerated by a fan or a tasteful joke that wanted to spend some acquaintance on him, knowing the enthusiasm that the fortuitous situations. However, for the writer, who would keep it for the rest of his days, John Howell's letter constitutes irrefutable proof that the coincidences the most extraordinary moments that came his way at the most unexpected moment of his daily life andthat they even linked his life with his fiction
"Instructions for John Howell" as an exponent of the feeling of the fantastic by Julio Cortázar
No full textUna de las cartas que Julio Cortázar recibe durante el otoño parisino de 1973 es harto insólita. El remitente, un tal John Howell que dice ser estudiante en la Universidad de Columbia, le cuenta que en los últimos meses varias casualidades del destino han unido sus vidas. Todo comenzó curioseando en una librería: a Howell le cayó en las manos una edición de Todos los fuegos el fuego (1966) donde descubrió que Cortázar había escrito“Instrucciones para John Howell”. El estudiante norteamericano prosigue; resulta que también él, durante una reciente estancia en París, se había dedicado a escribir un cuento sobre Cortázar y, luego más tarde, ya de regreso en Estados Unidos se había visto obligado por razones del azar, al igual que su tocayo londinense del cuento, a colaborar en una obra de teatro. A un lector lego la carta de Howell podría parecerle un cúmulo de historias inventadas o exageradas por parte de un admirador o una broma de buen gusto que deseaba gastarle algún conocido, sabedor del entusiasmo que suscitaban en Cortázar lassituaciones fortuitas. Sin embargo, para el escritor, quien la guardaría durante el resto de sus días, la carta de John Howell constituye prueba irrefutable de que las coincidencias más extraordinarias le salían al paso en el momento más inesperado de su cotidianeidad y de que incluso vinculaban su vida con su ficción.One of the letters that Julio Cortázar receives during the Parisian autumn of 1973 is fed up unusual.The sender, a certain John Howell who claims to be a student at the University ofColumbia, tells him that in recent months several coincidences of fate have united their lives. It all started with browsing in a bookstore: Howell fell into aedition of Todos los fires el fuego (1966) where he discovered that Cortázar had written "Instructions for John Howell." The American student continues; turns out that he too, during a recent stay in Paris, had dedicated himself to writing a short story about Cortázar, and then later, back in the United States, he had been forced to by chance, like his London namesake in the tale, to collaborate on a play. To a lay reader, Howell's letter might seem like a bundle of stories.made up or exaggerated by a fan or a tasteful joke that wanted to spend some acquaintance on him, knowing the enthusiasm that the fortuitous situations. However, for the writer, who would keep it for the rest of his days, John Howell's letter constitutes irrefutable proof that the coincidences the most extraordinary moments that came his way at the most unexpected moment of his daily life andthat they even linked his life with his fiction
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
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
The common-prayer-book the best companion in the house and closet as well as in the temple: or, A collections of prayers out of the liturgy of the Church of England [electronic resource] : most needful both for the whole family together, and for every single person apart by himself. With a particular office for the Sacrament.
No full textCompiled by William Howell.Though "Prayers in the closet" is often found bound with this item, it is treated as a separate publication in "Books printed for John Howell bookseller in Oxford" (b/w L and CSmH copies of "Prayers...") and in Wing.With an initial imprimatur leaf signed and dated: Timo. Halton, Decem. 24. 1685.Reproduction of the original in the British Library.Wing (2nd ed.)Electronic reproduction
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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