1,721,678 research outputs found
Phil D.
No full textBlack and white, posted photo of brown gelding, Phil D. at Skowhegan Fairgrounds, August 31, 1931. Phil D. finished second in the 3-year-old pace behind Wilma Scott.https://digitalcommons.library.umaine.edu/kendall_images/1646/thumbnail.jp
Extract from opinion of Phil D. Swing, attorney for the Imperial Irrigation District, October 29, 1919.
No full textNo statute relating to navigable waters prohibits Imperial Irrigation District taking water. Extract of opinion by Phil D. Swing, 10/29/1919No statute relating to navigable waters prohibits Imperial Irrigation District taking water from the Colorado River because it is not a navigable streamScanned with Epson Expression 1640 XL Scanner at 300 dpiDigital image copyright Arizona State University Libraries, 2004-2012. Request permission to publish via [email protected]
Phil D. Clack, rodeo veteran
No full textPhil D. Clack Rodeo Veteran to see the show. He is shown seated in a chair and holding a rodeo picture.https://mavmatrix.uta.edu/specialcollections_startelegram1950s/23772/thumbnail.jp
Phil D., Mason up
No full textBlack and white photo of brown gelding, pacer Phil D. driven by Mason in the 3-year-old pace, Friday, at Skowhegan Fair park, August 21, 1931. The judges\u27 stand can be seen in the background.https://digitalcommons.library.umaine.edu/kendall_images/1638/thumbnail.jp
Chronicles of Oklahoma
No full textArticle narrates how the author met Reverend Willis F. Folsom and describes his thoughts about the man. Reverend Folsom received his education from Bloomfield Academy. Later, he served as a reverend within the Choctaw Nation
Phil D wins 1st heat in 2.12 1/4
No full textBlack and white action photo at the finish line at Skowhegan Fair park, August 21, 1931. Phil D. finished first in the first heat of the 3-year-old pace in 2.12 1/4, ahead of Calumet Bantam and Wilma Scott. Wilma Scott came back to take first in the final two heats of the contest, claiming the $300 purse.https://digitalcommons.library.umaine.edu/kendall_images/1637/thumbnail.jp
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
Phil D., Charles Mason, and \u3cb\u3eZimri\u3c/b\u3e
No full textBlack and white photo of harness racing driver Charles Mason of Medford, Mass., posing with brown gelding, Phil D., and bay gelding Zimri out of the stable of W. H. Wright, Fort Fairfield, Maine. The photo was likely taken August 21, 1931 at Skowhegan Fair Park, Skowhegan, Maine. The photo is mounted inside the front cover of the album identified as 1931b.https://digitalcommons.library.umaine.edu/kendall_images/1589/thumbnail.jp
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
- …
