1,721,026 research outputs found
Michael Frisch Associates, B
No full textThe offices of Michael Frisch Associates in Tampa, Florida.https://digitalcommons.usf.edu/gandy_street/1058/thumbnail.jp
Michael Frisch Associates, C
No full textThe offices of Michael Frisch Associates in Tampa, Florida.https://digitalcommons.usf.edu/gandy_street/1022/thumbnail.jp
Michael Frisch Associates, D
No full textThe offices of Michael Frisch Associates in Tampa, Florida.https://digitalcommons.usf.edu/gandy_street/1020/thumbnail.jp
Michael Frisch Associates, A
No full textThe offices of Michael Frisch Associates in Tampa, Florida.https://digitalcommons.usf.edu/gandy_street/1059/thumbnail.jp
Comentario a las ponencias de Santos Juliá y Michael Frisch
Get PDFMás que comentar aspectos específicos del estudio de caso presentado por Michael Frisch, haré un par de reflexiones generales sobre las ferias y exposiciones universales como momentos de presentación pública de la imagen nacional. Como ocurre con los Juegos Olímpicos (caso incluso más interesante dado su carácter abiertamente competitivo), estas son ocasiones en que se construyen o refuerzan estereotipos o clichés colectivos, pero se hace con ciertos rasgos que no se dan en otros momentos del proceso de construcción de la identidad nacional
Oral History and Hard Times: A Review Essay
Get PDFMichael Frisch reminds us of the very complicated and ambiguous nature of knowledge about the past and present, stemming from oral history. The author analyses the spectrum of possible meanings written during reading books, such as the 1970 work by Studs Terkel Hard Times: An Oral History of the Great Depression and proposes the concept of “More history – No history.”
Reprint from Oral History Review, 1979, v. 7, p. 70-79, courtesy of the Oral History Association. First published in Red Buffalo, 1972, vol. 1, no. 2/3. [Translation after: M. Frisch, “Oral History and Hard Times: A Review Essay”, [in:] The Oral History Reader, A. Thompson, R. Perks (eds.), London, 1998, p. 29–37. The permission to publish the translated version of the article has been granted by the author. License: CC BY-SA 4.0. (editor’s note)
Comentario a las ponencias de Santos Juliá y Michael Frisch
Get PDFMás que comentar aspectos específicos del estudio de caso presentado por Michael Frisch, haré un par de reflexiones generales sobre las ferias y exposiciones universales como momentos de presentación pública de la imagen nacional. Como ocurre con los Juegos Olímpicos (caso incluso más interesante dado su carácter abiertamente competitivo), estas son ocasiones en que se construyen o refuerzan estereotipos o clichés colectivos, pero se hace con ciertos rasgos que no se dan en otros momentos del proceso de construcción de la identidad nacional
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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