1,721,071 research outputs found
Tom Matthews Folder
No full text2 pages of family history documents containing and related to Tom Matthews - including: Star News and Idaho Statesman news article
Tom Matthews and family at Seaspray.
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete.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/276730Tom Matthews and family at Seaspray. They were a farming family opposed to the United States Navy Omega base.200245
Item: [1999.0081.00779] "Tom Matthews and family at Seaspray.
Supplemental Material, Supplementary_Material_(1) - Humid heat and climate change
No full textSupplemental Material, Supplementary_Material_(1) for Humid heat and climate change by Tom Matthews in Progress in Physical Geography: Earth and Environment</p
Tom Matthews, 42, facilities and energy manager for Hannaford Bros. of Scarborou
No full textTom Matthews, 42, facilities and energy manager for Hannaford Bros. of Scarborough, is directing a $2.5 million effort to convert the existing chloroflourocarbon-based refrigeration systems in Hannaford\u27s Shop \u27n Save stores to more environmentally-friendly systems. In October, the federal Environmental Protection Agency awarded four ozone protection awards worldwide, one to Matthews and another to Hannaford\u27s biggest competitor, Shaw\u27s. Both Hannaford and Shaw\u27s are in the forefront of ozone-saving conversions. Details
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
Maquette de costume pour Tom Matthews dans le rôle du Clown : Arlequin , pantomime anglaise jouée au Théâtre des Variétés
No full textEau-forte en couleur, 23 x 14,5 cmRévélé, à la scène, dans les théâtres londoniens de Sadler’s Well et surtout Drury Lane, par Joey Grimaldi, le Clown mime, danseur, chanteur et acrobate accompagne Harlequin dans les pantomimes anglaises largement inspirées de la comédie italienne telle que l’a revisitée le clown John Rich au début du XVIII e siècle. Le Clown, héritage du théâtre élizabethain, tient dans la pantomime anglaise le rôle réinterprété de Scaramouche auprès des figures de la tradition : Arlequin, Colombine et Pantalon. Le costume du Clown Tom Matthews, réalisé pour un Arlequin , pantomime anglaise présentée au Théâtre des Variétés à Paris en 1842, emprunte aux clowns victoriens les volants et des touches de couleurs, déclinés, augmentés, de ceux des comédiens et farceurs italiens.téléchargeabl
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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