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[Martin Halbert and woman at Ties and Tux 2014]
No full textPhotograph of Martin Halbert (left) with a woman (right) at the 2014 Ties and Tux Gala, hosted by The Black Academy of Arts and Letters. They are standing side by side at a dining table, facing to the left of the camera. Halbert appears to be speaking
[Martin Halbert and woman at Ties and Tux 2014]
No full textPhotograph of Martin Halbert (left) with a woman (right) at the 2014 Ties and Tux Gala, hosted by The Black Academy of Arts and Letters. They are standing side by side at a dining table, facing to the left of the camera. Halbert appears to be speaking
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[Martin Halbert, Cathy Hartman, and Sue Parks at Dickens exhibit]
No full textPhotograph of (L-R) Martin Halbert, Dean of UNT Libraries, Cathy Hartman, the Associate Dean of UNT Libraries, and Sue Parks at the reception for UNT Special Collections' Fall 2014 exhibit about the Vann Victorian Collection. They are standing together in the Special Collections reading room where the exhibit was housed
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[Gabriel Cervantes, Kelly Wisecup, and Martin Halbert at Dickens exhibit]
No full textPhotograph of (L-R) Dr. Gabriel Cervantes, Dr. Kelly Wisecup, both professors in the UNT English department, and Martin Halbert, Dean of the UNT Libraries, at the reception for UNT Special Collections' Fall 2014 exhibit about the Vann Victorian Collection. They are gathered in front of a set of display cases against the wall
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[Martin Halbert, Curtis King and woman with Loretta Devine, Ties and Tux 2014]
No full textPhotograph of Martin Halbert (2nd left), Curtis King (right), and a woman (left) with Loretta Devine (2nd right) at the 2014 Ties and Tux Gala, hosted by The Black Academy of Arts and Letters. They are standing side by side, facing to the right of the camera slightly. Halbert, Devine, and the unidentified woman are smiling. King is clasping his hands
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[Kelly Wisecup, Gabriel Cervantes, Nora Gilbert, and Martin Halbert at Dickens exhibit]
No full textPhotograph of three professors in the UNT English Department (L-R) Dr. Kelly Wisecup, Dr.Gabriel Cervantes, and Dr. Nora Gilbert, all speaking with Martin Halbert, the Dean of the UNT Libraries, at the reception for UNT Special Collections' Fall 2014 exhibit about the Vann Victorian Collection. They are gathered by a table in front of a wall of display cases with books inside
[Martin Halbert, Curtis King and woman with Loretta Devine, Ties and Tux 2014]
No full textPhotograph of Martin Halbert (2nd left), Curtis King (right), and a woman (left) with Loretta Devine (2nd right) at the 2014 Ties and Tux Gala, hosted by The Black Academy of Arts and Letters. They are standing side by side, facing to the right of the camera slightly. Halbert, Devine, and the unidentified woman are smiling. King is clasping his hands
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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