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[Affidavit in Any Fact - Statement by Mrs. R. A. Reid, November 23, 1963 #1]
No full textTranscription of a statement by Mrs. R. A. Reid in which she recalls seeing Lee Harvey Oswald leave the back office of the School Book Depository after the President was shot
[Affidavit In Any Fact by Mrs. R. A. Reid #2]
No full textAffidavit In Any Fact by Mrs. R. A. Reid, an employee at the Texas School Book Depository. She describes watching the motorcade go by outside and hearing three shots that sounded like they came from the Depository building. After returning inside she saw Lee Harvey Oswald and told him the President was shot, and he mumbled in reply. She then saw him leave the back office near the lunch room
[Affidavit In Any Fact by Mrs. R. A. Reid #1]
No full textAffidavit In Any Fact by Mrs. R. A. Reid, an employee at the Texas School Book Depository. She describes watching the motorcade go by outside and hearing three shots that sounded like they came from the Depository building. After returning inside she saw Lee Harvey Oswald and told him the President was shot, and he mumbled in reply. She then saw him leave the back office near the lunch room
R. A. Ziersch
No full text"Feb 42 - Sept. 43 7 Bn. [X.1] Signal Pl. H.Q. Coy. [Vx.] 115912 Cpl. R. A. Ziersch"February 1942 - September 1943. 7th Batallion. [X.1] Signal Pl. H. Q. Coy. [Vx]. 115912. Corporal R. A. Ziersch
[Affidavit in Any Fact - Statement by Mrs. R. A. Reid, November 23, 1963 #4]
No full textTranscription of a statement by Mrs. R. A. Reid in which she recalls seeing Lee Harvey Oswald leave the back office of the School Book Depository after the President was shot
[Affidavit in Any Fact - Statement by Mrs. R. A. Reid, November 23, 1963 #2]
No full textTranscription of a statement by Mrs. R. A. Reid in which she recalls seeing Lee Harvey Oswald leave the back office of the School Book Depository after the President was shot
[Affidavit in Any Fact - Statement by Mrs. R. A. Reid, November 23, 1963 #3]
No full textTranscription of a statement by Mrs. R. A. Reid in which she recalls seeing Lee Harvey Oswald leave the back office of the School Book Depository after the President was shot
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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