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Students In The Rose Thomas Writing Lab
No full textPhotograph of students doing a reasearch study project together in The Rose Thomas Writing Lab
[Photograph of Rose Thomas and Ivie J. Klaeveman]
No full textPhotograph of Rose Thomas, English/Fine Arts/Foreign Languages Instructor, and Ivie J. Klaeveman, Associate Professor of English and Speech, at the Centennial Luncheon. Both are seated a table, visible from the waist up and holding hands. Ms. Thomas is wearing a shirt, jacket and eyeglasses. Mr. Klareman is wearing a jacket, striped tie and eyeglasses. A table of three people is visible in the background. Dishes and flowers are on the table in front of them
Details of the life of Samuel Heber Kimball, Utah pioneer
No full textTypescript of a biographical sketch of Samuel Heber Kimball, told by his wife, Rose Thomas Kimball, and typed by Hugh O\u27Neil in 1938. Kimball was born in 1851, son of Heber C. Kimball. Also various brief records compied by Jessie Empey, research worker of the WPA Historical Records Surv
Pemeranan Tokoh Rose Thomas Dalam Naskah Perangkap Karya Eugene O'neill Terjemahan Faried W. Abe
Full text linkNaskah Perangkap karya Eugene O’Neill menceritakan tentang kisah Rose Thomas yang menjadi korban dari kehidupannya yang keras, dia mengambil perannya sebagai seorang ibu bagi anakknya yang rentan. Tindakannya menunjukkan adanya naluri keibuan dan potensi kasih sayang dalam dirinya, meskipun ia hidup di lingkungan yang keras dan penuh keputusasaan. Rose sebagai penderita batuk parah dan juga ibu, menjadi cerminan hidup yang kuat tentang ketahanan semangat manusia dan kekuatan naluri keibuan bahkan dalam situasi yang paling gelap sekalipun. Hal ini tentu akan menjadi kritik pedas terhadap kondisi sosial yang memaksa seseorang seperti Rose terjebak ke dalam situasi yang mengerikan.
Pertunjukan Perangkap adalah bentuk teater realis yang mengeksplorasi kehidupan nyata. Pemeranan tokoh Rose Thomas dalam naskah ini berfokus pada ketahanan semangat manusia dan kekuatan naluri keibuan. Untuk menciptakan karakter ini, teori keaktoran Stanislavski diterapkan secara spesifik melalui teknik Magic If dan Memory Emotional.
Pertunjukan ini akan menghadirkan sesuatu yang baru mengenai ketahanan dan ketulusan seorang ibu kepada penonton. Proses memerankan tokoh Rose Thomas telah menyadarkan pemeran akan pentingnya memahami psikologi tokoh melalui pendekatan psikologis. Pendekatan psikologis ini sangat diperlukan dalam memerankan tokoh dari naskah-naskah realis demi menciptakan tokoh yang konsisten secara tiga dimensi sehingga dapat sepenuhnya dipercaya oleh penonton
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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