1,721,141 research outputs found
J. Robert Atkinson (owner) standing beside a Braille press, 1928
No full textPhotograph of J. Robert Atkinson (owner) standing beside a Braille press, 1928. Atkinson stands in a suit and dark glasses beside the press device, a complicated machine with a metal slate with Braille "words" on it. The device reads "Atkinson Model"
[Portrait of Robert Atkinson, painter and illustrator] [picture] .
No full textTitle from caption on compactus card.; Condition good.; "Robert Atkinson, 1863-1896, painter and illustrator (friend of A. H. Fullwood), Ellerslie, N.Z., painted portrait of Albin Martin, shown in photograph. Albin Martin was a settler in N.Z. and watercolour artist - see album, NL 2661" --compactus card.; NLA negative number 377.; Lent for copying
Letters from Robert Atkinson to Iverson L. Twyman, 1863-1864
No full textContains a letter from Robert Atkinson to Iverson Twyman.
Unfortunately at the present time, user-contributed information or description cannot be accepted via this database. Any users wishing to share further description, subject headings, or other information about the individual letters from the Austin-Twyman Papers should contact the Special Collections Research Center at [email protected]. This information may then be added to the database and available to the public in the future.Found In: Mss. 69 Au7, Austin-Twyman Papers, 1765-193
Blind man (J. Robert Atkinson) seated at a table, listening to a woman reading a book, ca.1928
No full textPhotograph of a blind man (J. Robert Atkinson) seated at a table, listening to a woman reading a book, ca. 1928. J. Robert Atkinson can be seen seated in the foreground, in front of the table, in three quarters profile with his legs crossed, facing a woman seated behind the table. The woman holds a medium-sized book in her hands, apparently reading. She wears a dark dress and a white hat. Three large books can be seen stacked on top of the table, at left, and two smaller books can be seen stacked on top of the table, at right. A piano is visible in the background, behind J. Robert Atkinson and the woman
Blind man [J. Robert Atkinson] putting an album on a turntable, ca.1928
No full textPhotograph of a blind man [J. Robert Atkinson] putting an album on a turntable, ca.1928. Wearing dark glasses and a suit, a blind man puts a "talking book" on a record player
J. Robert Atkinson at a desk reading from a book for the blind, in December 1933
No full textPhotograph of J. Robert Atkinson at a desk reading from a book for the blind, in December 1933. A t center, a man runs his fingers over one of three volumes of "The Thundering Herd" ink print edition, while the other two volumes sit on desk to his right. In the background, three bookshelves stacked with titles line the wall
The Clown Act by Robert Atkinson (1939)
No full textThis photograph shows Springfield College gymnast Robert Atkinson doing a handstand on parallel bars. His face was painted as a clown. The back of the photograph indicates the photograph was taken in May, 1939, but the front says "JUNE 1939".The history of Gymnastics at Springfield College goes all the way back till nearly the founding of Springfield College in 1885, when Dr. James Naismith, the creator of Basketball, was an early SC Gymnast. Beginning in 1904, the SC Gymnastics team would travel to cities to perform their Gymnastics routines. At the end of their travels, they would perform a “Home Show” at Springfield College, a show they continue to perform to this day. It was during the reign of head coach Leslie Judd, widely considered a father of modern Gymnastics, that the Gymnastics exhibition team really gained a claim to fame. Under the leadership of Professor Leslie J. Judd, the purpose of the Springfield College Exhibition team was to promote and maintain an interest in gymnastics, dance, and the artistic phases of physical education in schools, colleges, YMCAs, and recreational centers. The Exhibition Team has appeared before thousands of spectators in the United States, Canada, and Mexico. In fact, in 1941 the team appeared before thirty-five-thousand spectators in twenty-five cities.This photograph comes from a series of photographs that make up Series 5, Sub-series b within MS534 - Eliott G. Baker ’74 SC Memorabilia collection. Most of the photographs are dated and have writing on the back identifying those shown in the photograph. The photographs were arranged and divided up into folders based on this information by the processor for ease of use and do not reflect original order. To see other images within this series, please see the finding aid for the collection for links to all digitized objects for each folder
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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