1,721,484 research outputs found
Letter from Moses B. Walker to James B. Finley
Full text linkMoses B. Walker, brother of George W. Walker, has learned that Finley intends to travel to Hancock County to see his land. Moses wants Finley to know that he has not yet paid the taxes on the land Finley bought from him. If Finley sees fit to pay the taxes while in Hancock County, Moses will repay him. Abstract Number - 249https://digitalcommons.owu.edu/finley-letters/1247/thumbnail.jp
Lakeman, Moses B.
No full textCarte de Visite of Colonel Moses B. Lakeman, 3rd Maine Infantry; From the MacDonald Collectionhttps://digitalmaine.com/arc_civilwarportraits/2411/thumbnail.jp
Lakeman, Moses B.
No full textCarte de Visite of Colonel Moses B. Lakeman, 3rd Maine Infantry; From the MacDonald Collectionhttps://digitalmaine.com/arc_civilwarportraits/2411/thumbnail.jp
A Letter of Gerrit Van Schelven to Moses B. Hopkins
Full text linkA letter of Gerrit Van Schelven to Moses B. Hopkins regarding the petitions to incorporate the city. Upon the request of Rev. Dr. Van Raalte, we have concluded to withdraw his farm from the City Territory. As the original proprietor and Settler of this place, we respected his claim & demand.https://digitalcommons.hope.edu/vrp_1860s/1408/thumbnail.jp
Letter from [?] Moses B Cotsworth [signature illegible] to J.E. Quibell Esq. [March 11, 1903]
No full textBox 01, Folder 07, Item 01; correspondence of [?] Moses B Cotsworth (3 December 1859-4 June 1943) regarding photography of the Sphin
Letter from Moses B. Walker to James B. Finley
Full text linkMoses Walker has from 300 on hand for Finley. He had hoped to have all of Finley\u27s money. Unfortunately, his Wilmington attorney lost $500 of Moses\u27 money on the way to deliver it to him. He has promised to refund the money to Walker before Christmas. Walker is anxious to pay Finley, as he wishes to be clear of debt. Abstract Number - 402https://digitalcommons.owu.edu/finley-letters/1600/thumbnail.jp
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
תשובות הרמב''ם. R. Moses b. Maimon Responsa quae exstant... collegit... Jehoshua Blau... Volumen Secundum, 1960
No full textVajda Georges. תשובות הרמב''ם. R. Moses b. Maimon Responsa quae exstant... collegit... Jehoshua Blau... Volumen Secundum, 1960. In: Revue des études juives, tome 3 (120), juillet-décembre 1961. p. 399
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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