1,722,455 research outputs found
Saunders, J, VX61405
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/415401Surname: SAUNDERS. Given Name(s) or Initials: J. Military Service Number or Last Known Location: VX61405. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 13867.235969
Item: [2016.0049.47662] "Saunders, J, VX61405
Saunders, J D (Jack William), VX62464
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/415403Surname: SAUNDERS. Given Name(s) or Initials: J D (JACK WILLIAM). Military Service Number or Last Known Location: VX62464. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 42294.235973
Item: [2016.0049.47664] "Saunders, J D (Jack William), VX62464
Saunders, J H W, [No Service Number]
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/415381Surname: SAUNDERS. Given Name(s) or Initials: J H W. Military Service Number or Last Known Location: [No Registration Number]. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 9945.235929
Item: [2016.0049.47642] "Saunders, J H W, [No Service Number]
Mrs. Lewis D. Gillis, Jane Venita Saunders, J\u27Ann Spielman, Martha Enloe, and Gladys Thomas
No full textCollege girls, campus bound, talk of rush and campus. Campus Togs: Looking over togs displayed by model, Mrs. Lewis D. Gillis, are left to right, Jane Venita Saunders, J\u27Ann Spielman, Martha Enloe and Gladys Thomas. Mrs. Gillis is shown modeling an outfit for the other girls. The other girls are sitting on a couch observing the outfit.https://mavmatrix.uta.edu/specialcollections_startelegram1950s/14201/thumbnail.jp
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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