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Michael Nelson
No full textMichael Nelson was born in the Lincoln Square neighborhood of Manhattan in an area known as San Juan Hill in 1956. Nelson grew up living in the Phipps houses, a housing tenement on West 64th Street. In this oral history recorded by Fordham student Nikki Estelami, Nelson discusses his childhood in Lincoln Square, attending grade school in New York City, his connections to Good Shepherd Faith Presbyterian Church and his family\u27s relationship with Thelonious Monk
Cieux noirs et ondes rouges (Michael Nelson)
No full textPalmer Michael. Cieux noirs et ondes rouges (Michael Nelson). In: Réseaux, volume 16, n°87, 1998. Les claviers. pp. 166-169
Michael Nelson and Clarence Day at the 2001 Awards Convocation
No full textReceived from Communications in 2010.Clarence Day is shown with Michael Nelson who was given the Dean's Award for Research and Creative Activity at the 2001 Awards Convocation
Emails regarding a setting up a meeting with James Lockhart & Michael Nelson
Get PDFEmails sent to James Lockhart regarding meeting with Michael Nelson of the Dominion Bond Rating Services (DBRS)
Harold Thomas, Michael Nelson, Ronald Woods and Debra Washington
No full textHarold Thomas, Michael Nelson, Ronald Woods and Debra Washington, lived and grew up in the Amsterdam housing project in the neighborhood which was partially demolished in the construction of Lincoln Center for the Performing Arts and Fordham University\u27s Lincoln Center campus. Fordham students in VART 2222: The Art of the Interview, led by Professor Catalina Alvarez, interviewed them to hear their stories of the once-vibrant neighborhood and the memories and changes wrought by the project
Professors Stephen R. Haynes and Michael Nelson with their citations at the 2001 Awards Convocation
No full textReceived from the Communications Office in 2001.Stephen Haynes won the Clarence Day Award for Outstanding Teaching and Michael Nelson was given the Dean's Award for Research and Creative Activity at the 2001 Awards Convocation
A review of methods for detecting non-reference transposable element insertions from high throughput genome resequencing data.
No full text<p>Poster presented by Michael Nelson at 2013 Cold Spring Harbor Laboratory Regional Meeting on Mobile Genetic Elements October 24 - 26, 2013</p
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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