1,721,026 research outputs found
Walter Graham Moore
No full textPhoto of Walter Graham Moore.
Walter Graham "Bud" Moore (1925-2005) was born in Charleston, WV, but frequent visits to the family homestead in Burgaw, NC, inspired him as an adult to move back to Burgaw and renovate the home in 1980. He worked for DuPont at the Kinston and Cape Fear plants, and served as Town Commissioner of Burgaw from 1991- 1995
James Walter Graham, The Palaces of Crete
No full textDelvoye Charles. James Walter Graham, The Palaces of Crete. In: L'antiquité classique, Tome 31, fasc. 1-2, 1962. pp. 538-540
James Walter Graham, The Palaces of Crete
No full textDelvoye Charles. James Walter Graham, The Palaces of Crete. In: L'antiquité classique, Tome 31, fasc. 1-2, 1962. pp. 538-540
On Campus Video, Featuring Walter Graham
No full textA videorecording of an interview with Walter Graham, Senior Services Superintendent for the City of Abilene, Texas. The interview is conducted by Dr. Gary McCaleb of Abilene Christian University
57. Excavations al Olynthus. Part VIII : the Hellenic house, by David M. Robinson and J. Walter Graham
No full textDugas Charles. 57. Excavations al Olynthus. Part VIII : the Hellenic house, by David M. Robinson and J. Walter Graham. In: Revue des Études Grecques, tome 52, fascicule 246-247, Juillet-septembre 1939. p. 543
The Enigmatic World of Joseph Boshier
No full textA collaborative documentary film project with artists Lesley Hilling (sculptor, screenwriter and creator of the fictional character Joseph Boshier), Ivano Darra and Walter Graham Reed, that explores the interconnections between identity, memory, history and spatial practice through fiction, archive, and film
Blockhouse fort survivors Ira Woodin, Carson D. Boren and Walter Graham, probably at Alki Point, West Seattle neighborhood, Seattle, November 13, 1905
No full textCaption on image: Ira Woodin, Carson D. Boren, Walter Graham, Survivors of Blockhouse Fort. Peiser. 11/13/05. 354.
Peiser 354
PH Coll 282.140To order a reproduction, inquire about permissions, or for information about prices see: http://www.lib.washington.edu/specialcollections/services/reproduction/reproduction Please cite the Order Numbe
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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