1,721,585 research outputs found
Peter Wolf Crier
No full text17 x 11 in. woodcut photopolymer plate, pinhole perforation poster advertising Billikin Club shows on March 31, 2011; featuring Peter Wolf Crier.Peter Wolf Crie
Peter Wolf Crier with Retribution Gospel Choir
No full text17 x 11 in. woodcut photopolymer plate, pinhole perforation poster advertising Billikin Club shows on February 2, 2011; featuring Peter Wolf Crier with Retribution Gospel Choir.Peter Wolf Crier with Retribution Gospel Choi
Heritage Hall; Peter Wolf, with Jim Lewis
No full textThe two men most responsible for bringing Heritage Hall to life unload one of the authentic wagons which are placed in the displays. Peter Wolf, left, internationally known designer and his job superintendent Jim Lewis supervise each step of the construction. Fort Worth Star-Telegram Morning edition June 5, 1966.https://mavmatrix.uta.edu/specialcollections_startelegram1960s/3347/thumbnail.jp
Artist Peter "Wolf" Toth speaking at Dedication Ceremonies for "Chief Wasatch"
No full textDedication ceremonies for "Chief Wasatch", the giant Indian Head by artist Peter "Wolf" Toth, included Native American dancer
Letter regarding the sculpting of "Chief Wasatch" by Peter "Wolf" Toth
No full textLetter reads: TO RAISE THE NATION\u27S CONSCIENCE TO THE PLIGHT OF THE FIRST AMERICANS, SO THAT THEY WON\u27T BE FORGOTTEN. - BUT WILL BE REMEMBERED- ON OUR MINDS AND IN OUR HEARTS. This statue is sculptered out of a giant cottonwood tree in honor of Utah Native Americans - Southern and Northern Ute, Southern Shoshone, Goshutes, Paiutes, and Navaho. Creator Peter Wolf Toth is sculptering statues for all 50 states. The statue was dedicated on November 23. 198
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
Ministerium ist vorerst zurückgerudert. Klaus-Peter Wolf im Interview mit Prof. Dr. Holger Ziegler (Bielefeld) analysiert kritisch Aspekte der SGB VIII Reform.
No full textZiegler H. Ministerium ist vorerst zurückgerudert. Klaus-Peter Wolf im Interview mit Prof. Dr. Holger Ziegler (Bielefeld) analysiert kritisch Aspekte der SGB VIII Reform. . Dialog Erziehungshilfe . 2017:22-26
Jean-Philippe Rameau : Les Paladins, comédie lyrique. Introduction by R. Peter Wolf, with a biography of the composer by Graham Sadler, 1986
No full textMoureau François. Jean-Philippe Rameau : Les Paladins, comédie lyrique. Introduction by R. Peter Wolf, with a biography of the composer by Graham Sadler, 1986. In: Dix-huitième Siècle, n°20, 1988. L'année 1789. pp. 585-586
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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