1,726,120 research outputs found
Edith N. Smith, 1926
No full textThis photograph is a studio portrait of Edith N. Smith. She is wearing a dark dress with embroidery and beads around the front. She is also wearing a longer necklace made of various sized beads. Her hair is pulled back into a bun. She is looking to the left, creating a three-quarter profile.The photograph is in excellent condition. On the back "2B 20793C" and "Edith N. Smith, 1926" are handwritten in pencil
Calvin N. Smith
No full textBlack and white portrait photograph of Calvin N. Smith, Professor in Speech Communication, 1965-1998.https://thekeep.eiu.edu/archives_faculty_sz/1084/thumbnail.jp
Dr. Edward N Smith
No full textPhotograph of the game room in the home of Dr. Edward N Smith, 229 NW 35th St., Oklahoma City, OK. Photo by the Meyers Photo Shop, Oct. 1949
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
Photograph - A. N. Smith Memorial Lecture
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete.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/291086A. N. Smith Memorial Lecture.310672
Item: [2003.0003.08150] "Photograph - A. N. Smith Memorial Lecture
Photograph - A. N. Smith Memorial Lecture
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete.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/285113A. N. Smith Memorial Lecture290444
Item: [2003.0003.02091] "Photograph - A. N. Smith Memorial Lecture
Photograph - A. N. Smith Memorial Lecture.
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/291088A. N. Smith Memorial Lecture. Mr Pichai Chuensuksawadi [?], Editor of the Bangkok Post. 1998.310674
Item: [2003.0003.08152] "Photograph - A. N. Smith Memorial Lecture.
Photograph - A. N. Smith Memorial Lecture
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/285115A. N. Smith Memorial Lecture290446
Item: [2003.0003.02093] "Photograph - A. N. Smith Memorial Lecture
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
- …
