1,721,215 research outputs found
Richard Webb, 1966-1967 Track Team Member 2
No full textRichard Webb was a student at Jacksonville State College (now Jacksonville State University) in the mid 1960s. He was a member of the 1966-1967 track team.https://digitalcommons.jsu.edu/lib-ac-histimg/22330/thumbnail.jp
Richard Webb, 1966-1967 Track Team Member 1
No full textRichard Webb was a student at Jacksonville State College (now Jacksonville State University) in the mid 1960s. He was a member of the 1966-1967 track team.https://digitalcommons.jsu.edu/lib-ac-histimg/22327/thumbnail.jp
Liberalisation of international passenger airline services
No full textAustralia’s international aviation industry is heavily regulated. Whether or to what extent passenger airline services should be further liberalised is again being debated, a particular focus being whether more airlines should be allowed to carry passengers between Australia and the United States. Richard Webb provides background to the debate, and examines some related economic issues
Devesh Kapur, John P. Lewis et Richard Webb (dir.). The World Bank. Its First Half Century, 2 vol.
No full textChavagneux. Devesh Kapur, John P. Lewis et Richard Webb (dir.). The World Bank. Its First Half Century, 2 vol.. In: Politique étrangère, n°1 - 2000 - 65ᵉannée. pp. 257-258
Devesh Kapur, John P. Lewis et Richard Webb (dir.). The World Bank. Its First Half Century, 2 vol.
No full textChavagneux. Devesh Kapur, John P. Lewis et Richard Webb (dir.). The World Bank. Its First Half Century, 2 vol.. In: Politique étrangère, n°1 - 2000 - 65ᵉannée. pp. 257-258
The Future Fund
No full textOn 10 September 2004, the Treasurer announced that a Future Fund would be established to fund the Commonwealth\u27s unfunded superannuation liabilities. He also released a paper titled \u27Investing in the Future\u27 which outlined the proposed Fund. The Treasurer has confirmed that details of the Fund will be announced in the 2005-06 budget. In this research note Leslie Nielson and Richard Webb consider aspects of this proposal based on the information available
Henry Schley: Richard Webb sold Maria Russel and Luera Nichols to his daughters Virginia and Mercy to be freed at the age of 30, January 25, 1836
No full textReport of Manumission, Frederick County, January 25, 1836, Henry Schley: Richard Webb sold Maria Russel and Luera Nichols to his daughters Virginia and Mercy to be freed at the age of 30 [Frederick County]
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
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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