1,721,032 research outputs found
Letter from Senator Langer to Ted Baker Regarding Enrollment Status of His Daughters, January 31, 1953
Full text linkThis letter, dated January 31, 1953, is from United States (US) Senator to Ted Baker regarding the status of [his] two daughters on the rolls at Forth Berthold, inasmuch as they had been enrolled at the Blackfeet Reservation when they were born.
Langer asks for additional information and says he will be glad to look over any correspondence Baker has regarding the matter, and looks forward to hearing from him further.https://commons.und.edu/langer-papers/1803/thumbnail.jp
sj-docx-1-jom-10.1177_01492063221077210 - Supplemental material for When Is Less More? Boundary Conditions of Effective Entrepreneurial Bricolage
No full textSupplemental material, sj-docx-1-jom-10.1177_01492063221077210 for When Is Less More? Boundary Conditions of Effective Entrepreneurial Bricolage by Paul Richard Steffens, Ted Baker, Per Davidsson, Julienne Marie Senyard in Journal of Management</p
Imanta
No full textImanta is a cultural support organization formed on March 8, 1947 in Edmonton, Alberta. Imanta was founded by Ted Baker and Latvian people previously established in Alberta. Ted Baker's wife Viola Baker, also supported Ted's belief in the value of a formal organization that would serve as a contact point for new Latvian immigrants. Imanta originally helped immigrants connect with other Latvians and settle in the province. Imanta has continued to remain a vital cultural part of Latvian society in Alberta. The Edmonton Latvian Society "Imanta" meets regularly, through many social and cultural gatherings and formal events. The Imanta resource network remains a vital part of Latvian society in Alberta today.Imanta 1.
Baker 14
No full textNewlyweds Viola and Ted Baker on the streets of Edmonton, Alberta in the autumn of 1946
Baker 10
No full textWedding celebration of Latvian Viola Hasmanis and Canadian soldier Frederick "Ted" Baker, Oldenburg, Germany, 1946. Sister Herta second from left, bottom row
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
Baker 25
No full textHouse party at the Bakers' place. Latvian friends from left to right: Mr. Birznieks, Dr. Olaf Ulmanis, Mrs. Alexander, Vera Donass nee Gipters, Ted Baker, the Schultzes, and Viola Baker in front
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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