1,722,410 research outputs found
[Letter from Wallace L. Jernigan to T. N. Carswell - September 5, 1962]
No full textA letter written to Mr. T. N. Carswell, Abilene, Texas, from Wallace L. Jernigan, Candidate for Congress Eighth District, Homerville City Hall Bldg., dated September 5, 1962. Jernigan expresses his appreciation for the campaign contribution and requests continued help, advice, and suggestions from Carswell
Interview with Wallace L. W. Sargent
Full text linkAn interview in two sessions in July 1991 with Dr. Wallace L. W. Sargent, Ira S. Bowen Professor of Astronomy in the Division of Physics, Mathematics, and Astronomy (PMA). Dr. Sargent received his BS (1956), MS (1957) and PhD in physics (1959) from the University of Manchester, U.K. He became a research fellow at Caltech, working on quasar absorption lines, from 1959 to 1962. In 1966, he joined the Caltech faculty as an assistant professor of astronomy, becoming associate professor two years later, full professor in 1971, and Bowen Professor in 1981. He served as executive officer for astronomy 1975-1981 and 1996-1997 and director of Palomar 1997-2000. In this interview, he discusses his involvement with the origins, in the early 1980s, of the first of the Keck Foundation telescopes on Mauna Kea, known as Keck I.
He recalls the initial plans for a big telescope in partnership either with the Carnegie Institution, the University of Arizona, or the University of California, and the circumstances leading to eventually joining with UC on Keck I; the problematic relationship with Carnegie; and his involvement, along with Rochus Vogt, Gerry Neugebauer, and Edward Stone, in raising money from the Keck Foundation.
He discusses the design competition for the proposed 10-meter telescope; the contributions of Jerry Nelson, then at Lawrence Berkeley Laboratory; and the difficulties encountered in designing and building the telescope. He concludes with an account of the decision to build Keck II
Wallace L. Chandler Fountain Dedication (2006)
No full textThis video titled, "The Wallace L. Chandler Fountain and Plaza," was held on November 1, 2006 in front of the Ernest A. Koury, Sr., Business Center (Martha and Spencer Love School of Business). This raw video began with Leo M. Lambert speaking with a hand held microphone. Lambert stated, "Wallace was a graduate of Elon College, Class of 1949, and Dean of Elon University Board of Trustees. In 1993, Wallace asked Elon College, "What does Elon want to be in the future?" This question, propelled Elon to national distinction. Lambert played compliments to Wallace for his leadership, motivation, and inspiration. Lambert stated, "It is with my pleasure to dedicate this plaza and fountain forever more, "The Wallace L. Chandler Fountain and Plaza"." Lambert asked Wallace"s grandsons (both Elon University students) to turn on the Wallace L. Chandler fountain. Lambert asked, "Where is the easy button?" The grandsons tap the Wallace Fountain switch. The Wallace L. Chandler Fountain was turned on. Applause followed with Mr. Wallace L. Chandler, Mrs. (Juanita H. ""Nita"") Chandler, Leo M. Lambert, and the Wallace two (unknown name) grandsons turning to look at the fountain. The raw video clip ends
Wallace L Blair
No full textSeries 85298 | State Historical Society | World War I service questionnaires | Wallace L BlairThis series contains military service questionnaires and photographs of Utah's World War I veterans compiled by the Utah State Historical Society shortly after the war. The forms were sent to veterans or their families to complete and return
Wallace, L (Lloyd), WX4726
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/423658Surname: WALLACE. Given Name(s) or Initials: L (LLOYD). Military Service Number or Last Known Location: WX4726. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 52085.250173
Item: [2016.0049.55919] "Wallace, L (Lloyd), WX4726
Marriage record of Stephens, Wallace L. and James, Amanda L.
No full textMarriage license for Wallace L. Stephens and Amanda L. James. Scott Bartley was the officiant
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
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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