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Roman amphorae from South Shields Fort
No full textIdentification of a new form of Roman amphora with a distinctive almond rim, as yet unrecognized from Romano-British sites. Petrological and other evidence suggests a source in Campania, Italy, possibly as the successor to the Dressel 2-4 type. Production seems to have occurred during the third and fourth centuries A.D.</span
Imported Roman pottery from Trethurgy, Cornwall
No full textIdentification of imported amphorae and red slip ware suggesting pre-Roman, Roman and post-Roman occupation on the site. Amongst the amphorae sherds present are the Italian wine carrier Dressel 1, which probably arrived sometime during the first century B.C., and the Spanish olive-oil form Dressel 20, which could have arrived anytime from the Late Iron Age to the 3rd century A.D. There are also some amphorae types which suggest a Late Roman and/or a post-Roman date for the site. These forms are represented by sherds of British B iv, B i and B ii amphorae, all from an Eastern Mediterranean source. A sherd of fine red slip ware may be Phocaean ware (Late Roman C), suggesting a date soon after c. 500 A.D.</span
Romano British pottery from the round at Reawla, Cornwall
No full textPetrological analysis of a range of mostly later Roman pottery suggested the following fabric groups: (1) Dorset BB1 (no sign of a local fabric copying BB1 forms), (2) Gabbroic from the Lizard (including so-called 'micaceous gabbroic' and sherds originally thought to be amphorae) and (3) South Devon Ware (including a hard-fired version).</span
A petrological examination of mediaeval pottery from Launceston Castle, Cornwall
No full textThin sectioning of twenty-five representative sherds of later Mediaeval pottery from dated contexts allowed them to be divided into a number of broad fabric groups based on the range of non-plastic inclusions present. These consisted of: (1) volcanic, possibly from the Exeter district, (2) gabbroic, from the Lizard, (3) chert-tempered, (4) slate-tempered, probably local, (5) North Devon gravel-tempered ware, (6) quartz, (7) ?St. Germains ware from the Tamar Valley, and (8) tourmaline-granite, possibly from the Fowey Valley.</span
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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