59,028 research outputs found
Declaration of Intention of John Schaefer
No full textDeclaration of Intention to become a citizen of the United States, as filled out and signed by: John Schaefer
Applicant age: 36
Occupation: Unknown
Country of Origin:Germany
Date of Birth: Unknown
Sailed to the US aboard the vessel: Unknown
City of residence at time of declaration: Atlantic City, NJ
Declaration submitted and sworn on date:22 March 189
Letter from Joseph Schaefer to Hagan
No full textHolograph letter from Procurator General Joseph Schaefer of the Congregazione del Prezioso Sangue, Via Poli 1, Rome, to the postulator in the cause of the Blessed Plunkett (Hagan). Asking for tickets for the afternoon service at the beatification, for priests and students of his house
John E. Schaefer
No full textBlack and white portrait photograph of John E. Schaefer, Associate Professor in Physical Education and gymnastics coach, 1969-1990.https://thekeep.eiu.edu/archives_faculty_sz/1012/thumbnail.jp
John Paul Schaefer
No full textJohn Paul Schaefer was the fifteenth president of the University of Arizona, he was only 36 years old when he became president. He is the president who lead to UA having its current status as a research University. He also had the University participate in telescope projects and optical design. He dedicated the Main Library. He was also a skill photographer and was friends with photographer Ansel Adams. The Center of Creative Photography was created when Schaefer asked Adams if his archives would be held there
John P. Schaefer and Ansel Adams
No full textPresident John P. Schaefer and Ansel Adams at the Center for Creative Photography Collection at the University of Arizona
Oral history interview with Marvin Schaefer
No full textTranscript, 43 pp.This interview with computer security pioneer Marvin Schaefer discusses his roles and perspectives on computer security work at the System Development Corporation over many years (an organization he began working at in the summer of 1965), as well as his work at the National Computer Security Center in helping to create the Trusted Computer System Evaluation Criteria (TCSEC). With the latter he relates the challenges to writing the criteria, the debates over the structure and levels, and the involvement of criteria lawyers. He also summarizes his work at the company Trusted Information Systems. In addition to detailing his pivotal work in computer security, he offers insightful commentary on issues in the field such as the Bell-LaPadula Model, John McLean’s System Z, and other topics.
This material is based upon work supported by the National Science Foundation under
Grant No. 1116862, “Building an Infrastructure for Computer Security History.”National Science Foundation Grant No. 1116862, “Building an Infrastructure for Computer Security History.”Schaefer, Marvin. (2013). Oral history interview with Marvin Schaefer. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/163870
Roxy Ann Davenport Schaefer
No full textThis black and white photograph is a scan from the Finn/Schaefer book. Roxy Ann Davenport Schaefer is sitting and is wearing a dark colored dress - wife of John F. Schaefer. John is the son of Charles Schaefer.https://scholars.fhsu.edu/harvey/1362/thumbnail.jp
Schaefer, Michael John
No full textAloy Schaefer - sonhttps://stars.library.ucf.edu/cfm-ch-memoranda-1924/1429/thumbnail.jp
Variations on the Author
No full text“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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