1,720,959 research outputs found
Henry Alexander Lineback
No full textHenry Alexander Lineback (1839-1932) was the son of John Henry and Elizabeth Schneider Leinbach of Salem. He married Susan Elizabeth James in 1876. In the late-nineteenth century, Henry was a prolific photographer in Salem and Winston and this image may be a self-portait taken by Henry himself
Susan Elizabeth Lineback nee James
No full textSusan Elizabeth Linbeack nee James (1848-1933) was the daughter of John James and Elizabeth James nee Perrill. She worked as an assistant to the photographer Henry Alexander Lineback. Her duties in the studio involved tinting photographs and completing any necessary touch-up work. On August 8, 1876, Susan and Henry were wed. They later had two children
Unidentified Woman
No full textThis portrait of an unidentified woman was probably taken by Henry A. Lineback in his Salem or Winston studio. The studio props in this photograph are similar to ones seen in other Lineback portraits
Unidentified Girl
No full textThis portrait of an unidentified girl is attributed to photographer Henry A. Lineback in Salem or Winston
Two Unidentified Girls
No full textThis portrait of two unidentified girls is attributed to photographer Henry A. Lineback in Salem. The girls may have been students at Salem Academy and College
Four Unidentified Girls
No full textThis portrait of four unidentified girls is attributed to photographer Henry A. Lineback in his Salem studio. The girls may have been students at Salem Academy and College
John Henry Leinbach
No full textJohn Henry Leinbach (1796-1870) married Elizabeth Schneider in 1822. Leinbach was a shoemaker who lived on Main Street in Salem. He was also an avid gardener and beekeeper
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
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