1,721,653 research outputs found
Richard Lewis, 1953 Senior
No full textRichard Lewis was a senior at Jacksonville State Teachers College in 1952-1953. He was a secondary education major.https://digitalcommons.jsu.edu/lib-ac-histimg/4134/thumbnail.jp
Richard Lewis Arnowitt obituary
Full text linkRichard Lewis Arnowitt, distinguished
professor emeritus at
Texas A&M University (TAMU)
and an internationally renowned figure
in general relativity (GR) and high-energy
physics, died on 12 June 2014
after a gallant struggle with cancer. His
older brother, Edwin, has begun an endowment
in Dick’s name for graduate
student support at TAMU
Portrait of Richard Lewis, UTSA Director of Admissions
No full textPortrait of Richard Lewis, UTSA Director of Admissions
In Loving Memory of Richard Lewis, Sr.
No full textFuneral program for Richard Lewis, Sr., born April 13, 1918. The funeral was held Saturday, December 11, 1999 at Mt. Zion First Baptist Church, officiated by Rev. Kenneth Allen, Pastor. Funeral arrangements were made through Lewis Funeral Home
Canzone scordate. 2 / Bellman, Dowland, comp. ; Aksel Schiøtz, BAR ; Richard Lewis, T ; Jacqueline Bonneau, p
No full textTitre uniforme : [Fredmans epistlar]. ChoixComprend : Neuf mélodies / Bellman, comp. ; Aksel Schiøtz, BAR ; Jacqueline Bonneau, p ; Sept mélodies / Dowland, comp. ; Richard Lewis, T ; Jacqueline Bonneau, pBnF-Partenariats, Collection sonore - BelieveContient une table des matière
Objective Correlatives, Subjective Selves
No full text(Statement of Responsibility) by Richard Lewis Holt(Thesis) Thesis (B.A.) -- New College of Florida, 1991RESTRICTED TO NCF STUDENTS, STAFF, FACULTY, AND ON-CAMPUS USE(Bibliography) Includes bibliographical references.This bibliographic record is available under the Creative Commons CC0 public domain dedication. The New College of Florida, as creator of this bibliographic record, has waived all rights to it worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law.Faculty Sponsor: Miller, Arthu
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
Les Videurs, de John Godber. Mise en scène de Richard Lewis au théâtre de la Colline à Paris
No full textVideau André. Les Videurs, de John Godber. Mise en scène de Richard Lewis au théâtre de la Colline à Paris. In: Hommes et Migrations, n°1154, mai 1992. Le poids des mots. p. 62
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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