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Journal articles on the topic 'Frank, Robert'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Debuse, D. C. "Frank Robert Coffin." British Dental Journal 196, no. 10 (2004): 655. http://dx.doi.org/10.1038/sj.bdj.4811287.

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2

Panzer, Mary. "Robert Frank: Moving out. Sarah Greenough , Philip Brookman , Robert Frank." Archives of American Art Journal 33, no. 4 (1993): 22–24. http://dx.doi.org/10.1086/aaa.33.4.1557528.

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3

Dulphy, Anne, and Christine Manigand. "Entretien avec Robert Frank." Histoire@Politique 19, no. 1 (2013): 216. http://dx.doi.org/10.3917/hp.019.0015.

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4

Moreli, Alexandre. "Entrevista com robert frank." Estudos Históricos (Rio de Janeiro) 30, no. 60 (2017): 273–300. http://dx.doi.org/10.1590/s2178-14942017000100015.

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5

Manning, C. J. F. "Frank Robert Cassels Manning." BMJ 338, jun12 2 (2009): b2446. http://dx.doi.org/10.1136/bmj.b2446.

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6

Horler, R. "Frank Robert Geoffrey Mellor." BMJ 326, no. 7394 (2003): 885f—885. http://dx.doi.org/10.1136/bmj.326.7394.885/f.

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7

Bertrand, Anne. "Robert Frank, après Les Américains." Vacarme 42, no. 1 (2008): 69. http://dx.doi.org/10.3917/vaca.042.0069.

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8

Perry, Weena. "Robert Frank and Two Babies." Afterimage 37, no. 5 (2010): 2–5. http://dx.doi.org/10.1525/aft.2010.37.5.2.

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9

Fresnault-Deruelle, Pierre. "Les Américains de Robert Frank." Revue Française d'Etudes Américaines 39, no. 1 (1989): 63–70. http://dx.doi.org/10.3406/rfea.1989.1352.

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10

Gintis, Herbert. "An implausible model and evolutionary explanation of the revenge motive." Behavioral and Brain Sciences 36, no. 1 (2012): 21–22. http://dx.doi.org/10.1017/s0140525x12000386.

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AbstractMcCullough et al.'s target article is a psychological version of the reputation models pioneered by biologist Robert Trivers (1971) and economist Robert Frank (1988). The authors, like Trivers and Frank, offer an implausible explanation of the fact that revenge is common even when there are no possible reputational effects. I sketch a more plausible model based on recent research.

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11

Kniesner, Thomas J. "Luxury Fever by Robert H. Frank." National Tax Journal 54, no. 2 (2001): 425–26. http://dx.doi.org/10.17310/ntj.2001.2.12.

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12

Sass, Ann. "Robert Frank and the filmic photograph." History of Photography 22, no. 3 (1998): 247–53. http://dx.doi.org/10.1080/03087298.1998.10443885.

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13

Wechsler, Judith, Gérard Pécorari, and Patricia-Laure Thivat. "Robert Frank : migrations entre photographie et cinéma." Ligeia N° 97-100, no. 1 (2010): 169. http://dx.doi.org/10.3917/lige.097.0169.

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14

Gomart, Thomas. "Pour l'histoire des relations internationales, Robert Frank (dir.)." Politique étrangère Eté, no. 2 (2013): 182. http://dx.doi.org/10.3917/pe.132.0182.

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15

Davis, Robert Murray. "Frank Chin: An Interview with Robert Murray Davis." Amerasia Journal 14, no. 2 (1988): 81–95. http://dx.doi.org/10.17953/amer.14.2.h36057k18g353457.

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16

Kwakernaak, Huibert. "Robert Bitmead succeeds retiring Editor Frank L. Lewis." Automatica 38, no. 1 (2002): 1. http://dx.doi.org/10.1016/s0005-1098(01)00205-9.

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17

Haas, Karen E. "On The Congressional: Robert Frank and Walker Evans." Bulletin of the Detroit Institute of Arts 84, no. 1-4 (2010): 24–31. http://dx.doi.org/10.1086/dia23183245.

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18

Cherem, Rosângela, and Ana Emilia Jung. "Dizer e ver uma série fotográfica de Robert Frank." DAPesquisa 3, no. 5 (2008): 39–49. http://dx.doi.org/10.5965/1808372903052008039.

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19

Cleary, Richard. "Review: Frank Lloyd Wright by Robert McCarter; The Architecture of Frank Lloyd Wright by Neil Levine." Journal of the Society of Architectural Historians 58, no. 2 (1999): 213–14. http://dx.doi.org/10.2307/991491.

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20

Bendix, John. "Nazi Crimes and their Lingering Impact." German Politics and Society 30, no. 3 (2012): 103–9. http://dx.doi.org/10.3167/gps.2012.300304.

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Alexander von Plato, Almut Leh and Christopher Thonfeld, eds., Hitler’sSlaves: Life Stories of Forced Labourers in Nazi-Occupied Europe (New York:Berghahn Books, 2010)Frank Biess and Robert Moeller, eds., Histories of the Aftermath: The Legaciesof the Second World War in Europe (New York: Berghahn Books, 2010)

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21

Moulton, Amber D. "“Times Change”: Frank J. Webb Addresses Robert Morris on the Promise of Reconstruction." New England Quarterly 85, no. 1 (2012): 137–44. http://dx.doi.org/10.1162/tneq_a_00159.

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In 1869, African American author Frank J. Webb returned to Washington, D.C., to become a “Carpetbagger” in the Reconstruction South. In a letter to black Bostonian Robert Morris, Webb illustrated the richness of antebellum African American reform networks and portrayed one man’s boundless optimism for race relations in postbellum America.

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22

Hamel, Mary, and Jeanne Krochalis. "Robert Worth Frank, Jr.: April 8, 1914-January 26, 2003." Chaucer Review 37, no. 3 (2003): 195. http://dx.doi.org/10.1353/cr.2003.0003.

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23

Cohn, Robert L. "The Literary Guide to the Bible. Robert Alter , Frank Kermode." Journal of Religion 69, no. 1 (1989): 99–100. http://dx.doi.org/10.1086/487995.

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24

Rocha, Alexandre Luis Moreli. "Robert Frank e a História das Relações Internacionais. Balanço e manifesto." Tempo 19, no. 35 (2013): 255–60. http://dx.doi.org/10.5533/tem-1980-542x-2013173515.

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25

Lakatos, Andras. "Announcement: Adi Abileah, Frank Rochow, and Robert Patterson New Associate Editors." Journal of the Society for Information Display 18, no. 5 (2010): i. http://dx.doi.org/10.1889/jsid18.5.i.

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26

Takata, Ken. "Towards an Elegance of Movement-Walker Evans and Robert Frank Revisited." Journal of American Culture 12, no. 1 (1989): 55–64. http://dx.doi.org/10.1111/j.1542-734x.1989.1201_55.x.

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27

Moura, Fernanda Korovsky. "Dion Boucicault’s Robert Emmet?: the question of authorship and the season premiere at the McVicker's Theatre, Chicago, on November 5, 1884." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 73, no. 2 (2020): 127–36. http://dx.doi.org/10.5007/2175-8026.2020v73n2p127.

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The Irish playwright Dion Boucicault (1820-1890) spent most of his career in the United States, where he established himself, adapting crucial moments of Irish history to the stage. Robert Emmet (1884), a play produced at the end of his career, arouses questioning surrounding its authorship. The dramatic text was arguably written by the playwright Frank Marshall (1840-1889) at the request of the actor Henry Irving (1838-1905). This paper explores the question of Robert Emmet’s authorship and investigates the reception of the production in its unsuccessful opening season at the McVicker’s Theatre in Chicago in November, 1884, and Boucicault’s part in it.

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28

Santos, Guilherme Moreira. "A MINIMAL ART COMO PROJETO POLÍTICO: O CASO DA 8ª BIENAL DE SÃO PAULO / Minimal Art as a political project: the case of the 8th São Paulo Biennial." arte e ensaios 26, no. 40 (2020): 233–45. http://dx.doi.org/10.37235/ae.n40.16.

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Este trabalho apresenta a dimensão política da Minimal Art estadunidense a partir da presença de obras preambulares deste movimento artístico na 8ª Bienal Internacional de São Paulo. Deste modo, o presente artigo analisa o projeto político em que consistiu a vinda de obras de Donald Judd, Frank Stella, Robert Irwin e Larry Bell para a 8ª Bienal, em 1965, considerado a estratégia estadunidense de Diplomacia Cultural, cujo escopo ensejou a presença de obras abstratas no certame brasileiro, no contexto da Guerra Fria.Palavras-chave: Minimal Art; 8ª Bienal Internacional de São Paulo; Diplomacia cultural; Anos 1960.AbstractThis paper discusses the political dimension of the Minimal Art movement from the presence of preambular minimalist artworks in the 8th International São Paulo Biennial, in 1965. Thus, the following paper analises the political project that constituted the arrival of artworks of artists such as Donald Judd, Frank Stella, Robert Irwin and Larry Bell to the 8th Biennial, 1965, considering US’ politics of Cultural Diplomacy whose scope gave rise to the presence of abstract artworks at the Brazilian event within the context of the Cold War.Keywords: Minimal Art; 8th International São Paulo Biennial; Cultural diplomacy; 1960’s.

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29

Vromen, Jack. "Robert H. Frank, The Darwin Economy: Liberty, Competition, and the Common Good." OEconomia, no. 2-3 (September 1, 2012): 402–8. http://dx.doi.org/10.4000/oeconomia.1369.

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30

Leonard, Thomas C. "Robert H. Frank, Falling behind: how rising inequality harms the middle class." Constitutional Political Economy 19, no. 2 (2008): 158–64. http://dx.doi.org/10.1007/s10602-007-9033-1.

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31

Chatterji, Aaron. "Robert H. Frank: The Darwin Economy: Liberty, Competition, and the Common Good." Administrative Science Quarterly 58, no. 2 (2013): 296–99. http://dx.doi.org/10.1177/0001839213481577.

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32

Karl, Frederick R. "Contemporary Biographers of Nineteenth-Century Novelists." Victorian Literature and Culture 25, no. 1 (1997): 191–201. http://dx.doi.org/10.1017/s1060150300004708.

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A sudden scholarly interest in Robert Louis Stevenson has resulted in a good many publications — his collected letters, a brief life by Ian Bell, a more authoritative life by Frank McLynn, and a very full biography of Fanny Stevenson, the American woman who lived with the writer for the last twenty years of his life. Besides informing us about the Stevensons, this outpouring says a good deal about where biography is now, in the mid-1990s.

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33

Backhouse, Roger E. "Economic theory in an imperfect world: Frank Hahn, general equilibrium, and Keynesian economics." Oxford Economic Papers 72, no. 4 (2020): 1091–107. http://dx.doi.org/10.1093/oep/gpaa005.

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Abstract Frank Hahn was both a Keynesian economist, active in policy debates, and an economic theorist. Placing his work in the context of attempts to make theoretical sense of Keynesian economics, this article explores the way Hahn used abstract general equilibrium theory to draw conclusions relevant to policy in an ‘imperfect’ world that does not conform to the assumptions made in the theory. Hahn’s rigorous approach to theorizing as the route to understanding is assessed in relation to the different approaches of Robert Lucas, Milton Friedman, Paul Samuelson and Axel Leijonhufvud.

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34

Morse, Ruth. "Robert R. Edwards, ed., Art and Context in Late Medieval Narrative: Essays in Honor of Robert Worth Frank, Jr." Yearbook of Langland Studies 10 (January 1996): 191–94. http://dx.doi.org/10.1484/j.yls.2.302808.

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35

O'Hare, Michael. ""The Darwin Economy: Liberty, Competition, and the Common Good," by Robert H. Frank." Business Ethics Quarterly 24, no. 2 (2014): 281–83. http://dx.doi.org/10.5840/beq201424210.

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36

Kafka, Folke. "Robert H. Frank. Success and Luck: Good Fortune and the Myth of Meritocracy." Apuntes: Revista de Ciencias Sociales 45, no. 83 (2018): 216–18. http://dx.doi.org/10.21678/apuntes.83.925.

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37

Rosner, Peter. "Frank, Robert H.: Success and luck: good fortune and the myth of meritocracy." Journal of Economics 120, no. 1 (2016): 89–90. http://dx.doi.org/10.1007/s00712-016-0509-1.

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38

Burnham, Terry. "The Darwin Economy: Liberty, Competition, and the Common Good, by Robert H. Frank." Quantitative Finance 12, no. 6 (2012): 849–51. http://dx.doi.org/10.1080/14697688.2012.657020.

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39

Griffen-Foley, Bridget. "The Press Proprietor and the Politician: Sir Frank Packer and Sir Robert Menzies." Media International Australia 99, no. 1 (2001): 23–34. http://dx.doi.org/10.1177/1329878x0109900106.

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This article surveys the relationship between Australian's longest serving prime minister. Sir Robert Menzies, and the controversial media proprietor Sir Frank Packer. It begins by briefly discussing the progressive liberalism that characterised the Daily and Sunday Telegraphs in the 1930s and 1940s. It then considers Packer's flirtations with the affairs of the United Australia Party and the Liberal Party in the 1940s, and the way in which Menzies, as leader of the opposition, viewed the press proprietor. The main part of the article explores the value that the prime minister and the Liberal Party placed on the support of the Packer media outlets, and the form that this support took. The article goes some way to describing how media tycoons and political correspondents interacted with politicians in the days before press releases and professional lobbyists became highly sophisticated news management devices.

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40

Strain, Christopher. "Reviews of Books:Deacons for Defense Bill Duke, Robert Rehme, Richard Wesley, Frank Military." American Historical Review 108, no. 5 (2003): 1574–75. http://dx.doi.org/10.1086/530143.

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41

Kirsch, David A. "Robert H. Frank: Success and Luck: Good Fortune and the Myth of Meritocracy." Administrative Science Quarterly 62, no. 2 (2017): NP12—NP14. http://dx.doi.org/10.1177/0001839217691734.

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42

Méaux, Danièle. "Dispositif livresque et spécificité de la photographie dans les ‘Voyages de photographe’ de la fin du vingtième siècle." Recherches sémiotiques 28, no. 1-2 (2010): 107–23. http://dx.doi.org/10.7202/044591ar.

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À partir de la fin des années cinquante, avec les oeuvres de Robert Frank, Bernard Plossu, Max Pam et bien d’autres, se développe un genre neuf: celui du ‘Voyage de photographe’. Paraissent alors des livres réunissant des photographies et des mots qui fonctionnent comme des ensembles cohérents et qui, tout en montrant des images du monde, renvoient à l’expérience itinérante de leur auteur. Ces ouvrages conjuguent les possibilités du dispositif livresque et les spécificités de la photographie pour évoquer avec une puissance particulière le parcours du territoire.

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43

Lister, Rodney. "Johnston, Bresnick, Eastman, Gann." Tempo 60, no. 238 (2006): 37–40. http://dx.doi.org/10.1017/s0040298206230316.

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BEN JOHNSTON: String Quartets Nos. 2, 3, 4, and 9. The Kepler Quartet. New World Records 80637–2.MARTIN BRESNICK: My Twentieth Century. Robert Van Slice, Kunihiko Komori, Izumi Sinfonietta Osaka c. Norichika Iimori; Taimur Sullivan, Maya Beiser, Steven Schick, Povera Players. New World 80635–2.JULIUS EASTMAN: Unjust Malaise. The Creative Associates at SUNY Buffalo, New Music America, Julius Eastman, Frank Ferko, Janet Kattas, Patricia Martin. New World 80638-2 (3-CD set).KYLE GANN: Long Night. Sarah Cahill (pnos). Cold Blue CB0019.

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44

Sokol, David M. "Review: Unity Temple: Frank Lloyd Wright and Architecture for Liberal Religion by Joseph M. Siry; Unity Temple: Frank Lloyd Wright by Robert McCarter; Frank Lloyd Wright's Dana House by Donald Hoffmann, Frank Lloyd Wright." Journal of the Society of Architectural Historians 56, no. 4 (1997): 525–27. http://dx.doi.org/10.2307/991335.

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45

Edwards, Owen Dudley. ""Dreams of Exile. Robert Louis Stevenson: A Biography," by Ian Bell; and "Robert Louis Stevenson: A Biography," by Frank McLynn." Chesterton Review 20, no. 2 (1994): 317–30. http://dx.doi.org/10.5840/chesterton1994202/3100.

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46

SULLIVAN, JOHN M., and FRANK MORGAN. "OPEN PROBLEMS IN SOAP BUBBLE GEOMETRY." International Journal of Mathematics 07, no. 06 (1996): 833–42. http://dx.doi.org/10.1142/s0129167x9600044x.

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The Burlington Mathfest in August 1995 included an AMS Special Session on Soap Bubble Geometry, organized by Frank Morgan. At the end of the session, participants were asked to pose open problems related to bubble geometry. We have collected those problems here, adding a few introductory comments. Participants in the special session included the following: Fred Almgren, Princeton U. Megan Barber, Williams C. Ken Brakke, Susquehanna U. John Cahn, NIST Joel Foisy, Duke U. Christopher French, U.Chicago Scott Greenleaf, SUNY Stony Brook Karsten Groeß-Brauckmann, Bonn Joel Hass, UC Davis Aladár Heppes, Budapest Michael Hutchings, Harvard U. Jenny Kelley, Rutgers U. Andy Kraynik, Sandia Rob Kusner, U.Massachusetts Rafael Lopez, Granada Joe Masters, U.Texas Helen Moore, Bowdoin C. Frank Morgan, Williams C. Ivars Peterson, Science News Robert Phelan, Dublin Joel Shore, McGill U. John Sullivan, U.Minnesota Italo Tamanini, Trento Jean Taylor, Rutgers U. Jennifer Tice, Williams C. Brian Wecht, Williams C. Henry Wente, U.Toledo Brian White, Stanford U.

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47

Chamarette, Jenny. "Flesh, Folds and Texturality: Thinking Visual Ellipsis via Merleau-Ponty, Hélène Cixous and Robert Frank." Paragraph 30, no. 2 (2007): 34–49. http://dx.doi.org/10.3366/prg.2007.0018.

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Certain forms of art privilege the ellipsis. For example, in poetry, one has only to think of Mallarmé's Un Coup de dés for ellipsis to mark its peculiar trace upon the processes of meaning. Nonetheless, because ellipsis situates itself so curiously between meaning and signification, a formal definition may seem too categorical in explaining what ellipsis can do in its between-state, flanked by visuality, semiotics and signification. This article examines how Merleau- Ponty, Derrida and Deleuze, employ textual-visual and ontological-perceptual strategies for making sense of this slippery signifier. These strategies allow us to think through examples of ellipsis in the writing of Hélène Cixous and in the photographs of Robert Frank, in terms of semantic, affective, aesthetic and material qualities.

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48

BLINDER, CAROLINE, and CHRISTOPHER LLOYD. "US Topographics: Imaging National Landscapes." Journal of American Studies 54, no. 3 (2020): 461–69. http://dx.doi.org/10.1017/s0021875819000987.

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In 1975, the New Topographics: Photographs of a Man-Altered Landscape exhibition, organized by William Jenkins, at George Eastman House, changed the scope and aesthetics of American landscape photography. Ostensibly pared-back and banal, these black-and-white images formally presented the United States as a series of streets, suburban new builds, industrial sites and warehouses. None bigger than eleven inches by four or thirteen by thirteen, the photographs were also small and unassuming, refusing the grandness and potential sublimity of previous evocations of the US landscape. Rather than present the United States as a series of locations marked by regional and economic differences, photographers such as Robert Adams, Frank Gohlke, Lewis Baltz and Bernd and Hilla Becher now focussed on an increasing homogeneity across terrains, terrains often indeterminable in terms of actual locations, and, more often than not, eerily devoid of human presence. In Neil Campbell's words, the images were “unemotional, flat and appeared everyday, aspiring to ‘neutrality’ with a ‘disembodied eye.’” The New Topographics – according to such readings – differed from earlier depictions of the United States, moving away from the documentary focus on agrarian poverty and urban slums as seen during the Depression, as well as the humanist vision of postwar photographers such as Robert Frank. As William Jenkins put it in the original introduction to the exhibition, New Topographics was a study more “anthropological than critical,” one that would recentre everyday lived experience – not as a collection of individualized narratives, but as a cultural landscape marked by commercial interests above all.

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49

Clerc, Louis. "Rauchhaus, Robert W. (dir.), Explaining nato Enlargement, London, Portland, Frank Cass, 2001, 232 p." Études internationales 34, no. 3 (2003): 495. http://dx.doi.org/10.7202/038672ar.

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50

Ballard, Chris. "Photography, Early Cinema and Colonial Modernity: Frank Hurley's synchronized lecture entertainments. By Robert Dixon." Journal of Pacific History 47, no. 4 (2012): 527–28. http://dx.doi.org/10.1080/00223344.2012.726768.

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