1,721,171 research outputs found
America's Gold Coinage, éd. W. Metcalf.
No full textde Turckheim-Pey Sylvie. America's Gold Coinage, éd. W. Metcalf.. In: Revue numismatique, 6e série - Tome 34, année 1992 pp. 270-271
Mr. Zubie W. Metcalf, Jr. Receives National Science Foundation Grant
Get PDFNews release announcing Assistant Professor of Biology at Florida A & M University and 1957 graduate of the University of Dayton, Mr. Zubie W. Metcalf, has received a National Science Foundation grant of $52,595 to support an Institute in Biology for Secondary School Teachers
Frank W. Metcalf, Superintendent for the Utah School for the Deaf and Dumb, 1889-1901.
No full textPhoto of Frank W. Metcalf, Superintendent for the Utah School for the Deaf and Dumb, 1889-1901
Letter from Grady W. Metcalf to President Kenneth Pitzer and reply, Rice University Charter Trial
No full textThis document is a copy of typewritten correspondence from Grady W. Metcalf to President Kenneth Pitzer and reply from Pitzer
Postcard to Junia Osterhout from Mrs. C. W. Metcalf
No full text2 pages / image & text, handwrittenPostcard from Mrs. C. W. Metcalf to Junia Roberts Osterhout. The photo on the card is of a young girl. She is standing with one arm behind her back and is wearing a white dress and matching hat. Around her waist is a dark belt and she has on stockings. On the front and back, Mrs. Metcalf wrote that the photo was of Sou and that she wanted to hear from Junia
[Postcard from Mrs. C. W. Metcalf to Ora Osterhout, April 14, 1908]
No full textPostcard from Mrs. C. W. Metcalf to Miss Ora Osterhout in Belton, Texas. On the front is a photograph of Mrs. Metcalf's house in Holland, Texas. She says that they "have lots of chickens to fry" and invites Ora to come visit. On the back she says that she would like to hear from Ora. The house is a small wooden cabin with a front porch. There are three small children in the yard in front. The card is postmarked Holland, Texas
[Postcard from Mrs. C. W. Metcalf to Junia Roberts Osterhout, April 14, 1908]
No full textPostcard from Mrs. C. W. Metcalf to Junia Roberts Osterhout. The photo on the card is of a young girl. She is standing with one arm behind her back and is wearing a white dress and matching hat. Around her waist is a dark belt and she has on stockings. On the front and back, Mrs. Metcalf wrote that the photo was of Sou and that she wanted to hear from Junia
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
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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