1,721,411 research outputs found
Wilfred L. Knox, St. Paul and the Church of the Gentiles, 1939
No full textVaganay Léon. Wilfred L. Knox, St. Paul and the Church of the Gentiles, 1939. In: Revue des Sciences Religieuses, tome 19, fascicule 4, 1939. pp. 517-518
Paul L. Knox named Virginia Tech Senior Fellow for International Advancement
No full textVirginia Tech Distinguished Professor Paul L. Knox has been appointed Senior Fellow for International Advancement by university President Charles W. Steger. In this role, Knox will work to enhance international education at Virginia Tech
Géographie et inégalité : B.-E Coates, R.-J Johnston, P.-L Knox, Geography and Inequality
No full textGeorge Pierre. Géographie et inégalité : B.-E Coates, R.-J Johnston, P.-L Knox, Geography and Inequality. In: Annales de Géographie, t. 87, n°479, 1978. pp. 83-85
Géographie et inégalité : B.-E Coates, R.-J Johnston, P.-L Knox, Geography and Inequality
No full textGeorge Pierre. Géographie et inégalité : B.-E Coates, R.-J Johnston, P.-L Knox, Geography and Inequality. In: Annales de Géographie, t. 87, n°479, 1978. pp. 83-85
Paul L. Knox receives Distinguished Scholarship Honors from the Association of American Geographers
No full textPaul L. Knox, University Distinguished Professor of Urban Affairs and Planning and senior fellow for international advancement for Virginia Tech, has received the Distinguished Scholarship Honors of the Association of American Geographers for 2008
Slave And Freeman: The Autobiography of George L. Knox
No full textBorn in Tennessee in 1841, George L. Knox survived slavery and service with both Confederate and Union armies during the Civil War and afterward made his way north to find a chilly reception in Indiana. His autobiography covers the first 44 years of his life and tells how he persevered against threats, harassment, and physical intimidation to become a leading citizen of Indianapolis and an important figure of the Republican Party.
Willard B. Gatewood Jr. is Alumni Distinguished Professor of History at the University of Arkansas.
A significant contribution to a missing chapter in our American heritage. —Ohio History
A valuable book. —North Carolina Historical Reviewhttps://uknowledge.uky.edu/upk_african_american_studies/1014/thumbnail.jp
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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