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C. W. Holmes, Idaho farmer
No full textBlack and white photograph of farmer C. W. Holmes with his fields irrigated by the Bureau of Reclamation\u27s Boise Project
Exterior of R. W. Holmes house
No full textImage shows the exterior of the R. W. Holmes home. The Home appears to be in a field. (No Clipping)https://mavmatrix.uta.edu/specialcollections_startelegram1950s/9892/thumbnail.jp
R. W. Holmes living room
No full textImage shows the living room in the R. W. Holmes home in Edgecliff. Mrs. Holmes and daughter, Pamela are shown seated left and the older daughter, Cecilia is seated on the right. They appear to be reading. Published in the Fort Worth Star-Telegram morning edition, March 4, 1951.https://mavmatrix.uta.edu/specialcollections_startelegram1950s/9891/thumbnail.jp
Los votos discrepantes del juez O. W. Holmes [book review]
No full textEste artículo reseña: HOLMES, Oliver Wendell; estudio preliminar y traducción de César Arjona Sebastià. Los votos discrepantes del juez O. W. Holmes. Madrid: Iustel, 2006. 239 p
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[Oral History Interview with Zan W. Holmes, Jr.]
No full textPart one of an interview with Reverend Zan W. Holmes, Jr., who was a reverend in Dallas. Holmes discusses growing up in Waco, Texas during segregation, his time at SMU, his early experiences as a pastor in Dallas, and the activism and political elections he took part in. The transcript cuts off mid-sentence
Miss Shari Nance, J. W. Holmes and N. F. Gouffe
No full textMiss Shari Nance chats about Australia and New Zealand with (left) J. W. Holmes of the Australian National Tourist Office and N. F. Gouffe of the New Zealand Tourist Department. Areas of the South Pacific are featured in the Star-Telegram-TCU Travel Club show. Fort Worth Star-Telegram Morning January 14, 1966.https://mavmatrix.uta.edu/specialcollections_startelegram1960s/5677/thumbnail.jp
O. W. Holmes Commercial Building, architectural drawing, 1917
No full textAn architectural drawing for a commercial building commissioned by Mr. O. W. Holmes and created by George B. Rheinfrank, an architect out of Toledo, Ohio. The drawing is pencil on tissue paper, the commission number for the project is 718, and it was created in 1917. The drawing depicts the floorplan for the first floor. As of 2021 this building has been demolished and is a vacant lot
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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