1,720,959 research outputs found
AHC interview with Mordehai Liwshitz
No full textDigital recordingApril 18, 2013Mordehai Liwshitz was born as Paul Liwschitz on January 14th 1923 in Vienna, Austria, where he went to high school at Chajes Realgymnasium. The school was closed in 1938 and the family left the same year for Belgium and later by ship to Palestine. He attended school and college in Israel and became an engineer. In 1957 he immigrated to the United States, where he worked in telecommunications for many years.Austrian Heritage Collectio
AHC interview with Eric Gewurz
No full textOctober 10, 2012Digital recordingEric Gewurz (Gewürz) was born 1928 in Vienna, Austria. His mother was born in Budapest and she and her family moved to Vienna in the early 20th century; his father’s family came from Poland, but he was already born in Vienna. Eric Gewurz’s father was arrested at the events of the so called "Kristallnacht". He was imprisoned in Dachau and then in Buchenwald, only to be released after his wife managed to get immigration visas for the United States by contacting distant relatives. The family left Europe in 1939 on board the ship SS Europa from Bremen. In the United States, Eric Gewurz became a lawyer. He and his wife visited Vienna several times; at their first visit in 1964 they still experienced anti-Semitism, but this subsided in later years
AHC interview with Kurt Duldner
No full textDigital recordingMay 7, 2013Kurt Duldner was born on Jan. 9th 1923 in the 21. District (Floridsdorf ) of Vienna, Austria, the son of a piano teacher and a manager in the metal business. He went to elementary school and high school until 1938 when his school was separated into a Jewish and a gentile part. At the end of 1938 he and his brother fled to Brussels, where they lived under harsh conditions. When the family in Vienna decided to emigrate to Shanghai, the two brothers joined them in 1941, going via Paris and Marseille. In Shanghai Kurt Duldner started to work at a company in the chemical business; the company sent him to New York in the mid-1940s.Austrian Heritage Collectio
AHC interview with Robert Mentken
No full textAugust 20, 2012Robert Mentkewicz was born Jan 18, 1934 in Vienna, Austria. His father David Mentkewicz and his mother Regina had a hatter’s business. In 1938 Robert and his family left for the United States via Belgium. Robert visited a school for art and then worked in the advertising industry.Austrian Heritage Collectio
AHC interview with Frederick Max Kafka
No full textAugust 7, 2012Digital recordingFrederick (Fritz) Max Kafka was born December 12, 1924 in Vienna, Austria into an upper middle-class family. After "Anschluss", in August 1939, he and his family emigrated to the United States, where he served with the Armed Forces until the end of World War II. When Frederick Kafka came back from the war, he set up his own business
AHC interview with Walter Chaim Lebensohn.
No full textMay 21, 2013Walter Chaim Lebensohn was born in 1931 in Vienna, Austria, where he went to school until "Anschluss" in 1938. His father escaped to Belgium, while Walter, his mother and his grandfather hid in Vienna under terrible conditions until 1942, when they left via Bratislava to Budapest. Walter and his grandfather were interned in Budapest, until Walter escaped on the only "Kindertransport" from Hungary to Israel. Months later his mother joined him. His grandfather was never able to leave Hungary and was killed in the Holocaust. - The family was reunited in the late 1940s, when the father, who had immigrated to the USA, brought his family to New York. Walter Chaim Lebensohn became a math professor in Great Neck, NY.Austrian Heritage Collectio
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
AHC interview with Eric Kandel
No full textDigital recordingJuly 19, 2013Eric Kandel was born on Nov. 7, 1929 into a lower middle-class family in Vienna. His father Hermann Kandel had a toy store. After Anschluss he and his brother Ludwig, who was 14 at the time, left Austria via Belgium for the US, where an uncle already lived in Brooklyn. The parents also managed to leave Austria later on. Before studying medicine Eric studied history and literature at Harvard university. He then became interested in neuroscience and became one of the leading scientists in the field. Eric Kandel was awarded the Nobel prize for medicine in 2000.Austrian Heritage Collectio
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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