1,722,220 research outputs found
barn, Burns Farm 1/2 S & 1 E of Lyons, S. D. Minnehaha County
No full textphotograph 4x6 Barn with a sliding door on the front, two windows on the side, metal gambrel roof with three windows at the top.H2010-041 Barns Vernell Johnson Coll. Box 2[stamp] No. 8A 58908 [photographer stamp] Photo By: Vernell Johnson, Lyons, S. D. Burns Farm 1/2 S & 1 E of Lyons, S. D
barn, Harold & Helen Bola - 1/2 N & W of Lyons S. D. Minnehaha County
No full textphotograph 4x6 Barn with large windows on the front and side, fancy doors on the front and side, metal gable roof with dormer windows, cupola, patio on the side.H2010-041 Barns Vernell Johnson Coll. Box 2[stamp] No. 23A 494 [photographer stamp] Photo By: Vernell Johnson, Lyons, S. D. Harold & Helen Bola - 1/2 N & W of Lyons S. D
barn,, Old Branson Farm 1/2 N & 1/2 W of Lyons, S. D. Minnehaha County
No full textphotograph 4x6 Barn with a stone foundation, lower level door, one side partially built into a hill, upper door, few windows, gambrel roof with a hay hood, horses next to the barn.H2010-041 Barns Vernell Johnson Coll. Box 2[stamp] No. 1 429 [photographer stamp] Photo By: Vernell Johnson, Lyons, S. D. Old Branson Farm 1/2 N & 1/2 W of Lyons, S. D
barn, Ralph White Farm - 1/2 S - 1 W & 1/2 S of Lyons, S. D. Minnehaha County
No full textphotograph 4x6 White barn with four doors on the front, no windows on the side, gable roof with a hay hood, surrounded by fences.H2010-041 Barns Vernell Johnson Coll. Box 2[stamp] No. 14A 356 [photographer stamp] Photo By: Vernell Johnson, Lyons, S. D. Ralph White Farm - 1/2 S - 1 W & 1/2 S of Lyons, S. D
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
barn, Tim Bunde Farm - North edge of Lyons, S. D. Minnehaha County
No full textphotograph 4x6 Barn with a sliding door on the front, small windows on the side, gambrel roof with a hay hood and ventilator, next to a silo.H2010-041 Barns Vernell Johnson Coll. Box 2[stamp] No. 20A 535 [photographer stamp] Photo By: Vernell Johnson, S. D. Tim Bunde Farm - North edge of Lyons, S. D
barn, Danny Lucas 1 1/2 N & 1/2 E of Lyons, S. D., Minnehaha County
No full textphotograph 4x6 Weathered and abandoned barn with boarded up doors and window on the front, gable roof.H2010-041 Barns Vernell Johnson Coll. Box 2[stamp] 58906 [photographer stamp] Photo By: Vernell Johnson, S. D. Danny Lucas 1 1/2 N & 1/2 E of Lyons, S. D
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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