1,722,308 research outputs found
Every mile counts : medium- and heavy- duty truck alternative fuels study
No full textprepared by Morgan B. Schafer.Title from PDF cover (viewed on March 18, 2022).This archived document is maintained by the State Library of Oregon as part of the Oregon Documents Depository Program. It is for informational purposes and may not be suitable for legal purposes.Includes bibliographical references.Mode of access: Internet from the Oregon Government Publications Collection.Text in English
Morgan, B J, 217902
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/406026Surname: MORGAN. Given Name(s) or Initials: B J. Military Service Number or Last Known Location: 217902. Missing, Wounded and Prisoner of War Enquiry Card Index Number: SEA-4392.246932
Item: [2016.0049.38303] "Morgan, B J, 217902
Morgan, B, 217697
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/406025Surname: MORGAN. Given Name(s) or Initials: B. Military Service Number or Last Known Location: 217697. Missing, Wounded and Prisoner of War Enquiry Card Index Number: SEA-4386.246931
Item: [2016.0049.38302] "Morgan, B, 217697
Marriage record of Lynn, Morgan B. and Huggins, Lilla
No full textMarriage license for Morgan B. Lynn and Lilla Huggins. Ed Blanchard was the Notary Public
Morgan, B J, [No Service Number]
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/406041Surname: MORGAN. Given Name(s) or Initials: B J. Military Service Number or Last Known Location: [No Registration Number]. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 17090.246947
Item: [2016.0049.38318] "Morgan, B J, [No Service Number]
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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