1,721,100 research outputs found
UA1D Russell Miller Personnel File
Get PDFPersonnel file of Russell Miller who taught in the English, Speech & Theatre department from 1947 to 1968. Prior to working at WKU, Miller was head of the typewriting department at the Bowling Green Business University from 1936 to 1942 and 1947
Russell-Miller Milling Company, 1937
No full text1937 photograph of the Russell-Miller Milling Co. flour mill at 106 South 5th Street. Diamond Flour is advertised on the side of the mill, while a delivery truck with Occident Flour is in the front. Additional automobiles are parked alongside the building, along with one railroad car.https://commons.und.edu/gf-city-photos/1012/thumbnail.jp
UA68/17/4 Caricature of Russell Miller
Get PDFCaricature of Russell Miller by Mason Ploch during production of Bye Bye Birdie. Ploch signed his work on the back:
Dr. Miller,
Thought you might like to have the artist\u27s proof. Break a leg on Birdie, I know it will be great!
Mac
Mary Tedrick Cornish Collection
No full textPhotograph of Mr. and Mrs. Samuel Miller, standing center right, visiting a Penrod Corp. Logging camp near Anadarko, Oklahoma Territory, c. 1902. Photo by Russell & Miller, Anadarko, Oklahoma Territory
Russell Miller: A Tribute, February 2, 1995
Get PDFThis is the concert program of the Russell Miller: A Tribute performance on Thursday, February 2, 1995 at 4:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Bist Du Bei Mir by Johann Sebastian Bach, Clarinet Quintet in A major, K. 581 by Wolfgang Amadeus Mozart, Selected Poems by Robert Frost, Walt Whitman and Fazil Daglarca, and Sarabande in D minor, BWV 1004 by Johann Sebastian Bach. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
The Lawfare Podcast: Russell Miller and Ralf Poscher on ‘Privacy and Power’
No full textFour years on, the cultural differences between Europe and the United States exposed by Edward Snowden’s disclosures of NSA surveillance programs still loom large in transatlantic relations. At our most recent Hoover Book Soiree, Benjamin Wittes sat down with Russell Miller—editor of a new volume on Privacy and Power: A Transatlantic Dialogue in the Shadow of the NSA-Affair—and Ralf Poscher, who contributed a chapter to the book, to chat about privacy and surveillance oversight post-Snowden
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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