1,721,100 research outputs found
Sally Johnson
No full textfiddlesCollected by Gene Waters
Sally Johnson
Played by Horrace Wallace Western Grove, Arkansas 5/11/62
Reel 403 Item 9
fiddle tuneFunding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Sally Johnson
No full textfiddlescollected by played by Horrace Wallace
Brenda Jo Upton Western Grove, Arkansas
April 25, 1962
Reel 402 Item 7
SALLY JOHNSON
fiddle tuneFunding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Sally Johnson
No full textfiddlesRICKY SUGG ARKANSAS FOLKLORE RECORDED DECEMBER 23, 1964
REEL 439 Item 5.
DEDRICK SATTERFIELD HIGH, ARKANSAS
SALLY JOHNSON (fiddle tune)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Sally Johnson
No full textfiddles; guitarsCollected by Ruth N. Blythe Richard Blythe, fiddle
For Mary C. Parler Marvin Wilson, Guitar
Greenville, Texas c. 1946
Reel 391, Items 1 — 9
The items on this reel were dubbed by Mrs. Blythe from records made by her husband, Richard Blythe, and Marvin Wilson.
Item 1. Ragtime Annie (Key of G).
2. Flop Eared Mule.
3. The Arkansas Traveller (Key of D).
4. Soldier's Joy.
5. Soldier's Joy (Key of D).
6. Sally Johnson (Key of G).
7. Billy in the low Ground (Key of C).
The remaining items on this reel were dubbed from records made in Texas at the same time as the above.
Item 8.. Just Because. Played on two guitars and a mandolin by Burl Horton, Raymond Blythe, and a man named Ben, Greenville, Texas 1946
9. Lindsay Waltz. Ellis Lindsay, Greenville, Texas, 1946.
(Ellis Lindsay said that he composed this fiddle piece.)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Sally Johnson
No full textFiddle tune played by Jim Bowles and recorded in Monroe County, Kentucky [8-28-59] by [D.K. Wilgus]
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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