1,721,081 research outputs found
Review: Rachel Harris, Soundscapes of Uyghur Islam
Full text linkA book review is presented for Rachel Harris, Soundscapes of Uyghur Islam. Bloomington: Indiana University Press, 2020
Rachel Harris in Anton in Show Business
No full textReceived from the Theatre Department and edited and uploaded by Leerin Campbell, Class of 2015, in 2014.Rachel Harris as Lisabette in Anton in Show Business
Rachel Harris in a Senior Voice Recital
Full text linkThis is the program for the senior soprano recital of Rachel Harris. Ms. Harris was accompanied on the piano by Phyllis Walker. This recital took place on April 2, 2013, in the McBeth Recital Hall in the Mabee Fine Arts Center
Rachel Harris in a Senior Voice Recital
Full text linkThis is the program for the senior soprano recital of Rachel Harris. Ms. Harris was accompanied on the piano by Phyllis Walker. This recital took place on March 27, 2012, in the McBeth Recital Hall in the Mabee Fine Arts Center
Rachel HARRIS : Soundscapes of Uyghur Islam
Full text linkDans cette nouvelle publication, Soundscapes of Uyghur Islam, Rachel Harris pose un regard pénétrant sur un sujet encore laegement méconnu : le paysage sonore ouïghour de ces dernières années, un environnement en perpétuelle évolution. Son travail nous révèle le lien intime qui existe entre, d’une part, la transformation constante des pratiques spirituelles, religieuses et sociales des Ouïghours et, d’autre part, la présence, l’absence, la circulation et la restriction du son. Cet ouvrage no..
D-2507a: 69 West 500 North, Logan, Utah, Rachel Harris residence. Lot 4 Block 38 Plat A
No full textD-2507a: 69 West 500 North, Logan, Utah, Rachel Harris residence. Lot 4 Block 38 Plat
Rachel HARRIS : The Making of a Musical Canon in Chinese Central Asia: The Uyghur Twelve Muqam
Full text linkLes publications en langues occidentales consacrées à la musique ouïgoure sont suffisamment rares pour qu’elles retiennent toute notre attention. Surtout lorsqu’elles sont accompagnées, comme c’est le cas ici, d’un CD de 51 minutes totalement consacré à un musicien, Abdulla Mäjnun. Maître de conférences en ethnomusicologie à la SOAS (School of Oriental & African Studies, Université de Londres), Rachel Harris a effectué plusieurs séjours au Xinjiang et dans les républiques centrasiatiques ex-s..
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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