Relationship Designators (RDA)

Total Page：16

File Type：pdf, Size：1020Kb

Relationship designators (RDA) http://id.loc.gov/vocabulary/relators.html Below is a list of the most common relationship designators. Looks like: Willems, Mo,|eauthor. You can use more than one separated by a comma. Willems, Mo,|eauthor,|eillustrator. Creator level Architect Artist Book artist Calligrapher Sculptor Author Librettist Lyricist Rapporteur Screenwriter Cartographer Choreographer Compiler Composer Designer Filmmaker Interviewee Interviewer Inventor Photographer Programmer Associated with work level: Casting director Commissioning body Consultant Director Film director Radio director Television director Director of photography (Previously was cinematographer) Editorial director Host institution Issuing body Medium Organizer Producer Audio producer Film producer Radio producer Television producer Production company Sponsoring body Contributor level: Abridger Animator Arranger of music Art director Audio engineer Mixing engineer Recording engineer Cartographer (expression) Choreographer (expression) Colourist Composer (expression) Costume designer Dubbing director Editor Editor of moving image work Illustrator Letterer Photographer (expression) Interviewee (expression) Interviewer (expression) Lighting designer Make-up director Musical director Performer Actor Voice actor Commentator Conductor Dancer Host Instrumentalist Moderator Narrator On-screen presenter Panelist Puppeteer Singer Speaker Storyteller Instructor Presenter Production designer Recording engineer Recordist Sound designer Special effects provider Stage director Surveyor Transcriber Translator Visual effects provider Writer of supplementary textual content Writer of added commentary Writer of added text Writer of added lyrics Writer of afterword Writer of foreword Writer of introduction Writer of postface Writer of preface .

Copy Link

Recommended publications

Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility.
[Show full text]
Thesis & Dissertation Style Guide
University of Maryland, Baltimore Electronic Dissertation and Thesis Style Guide INTRODUCTION This Electronic Dissertation and Thesis Style Guide is intended to assist you in the preparation of your Doctoral Dissertation or Master’s Thesis, the final requirement for your degree. The Graduate School at the University of Maryland, Baltimore (UMB) maintains specific requirements as to the format and appearance of its dissertations and theses; such requirements assure a standard of uniformity and aesthetic consistency commensurate with the rigorous academic principles of the University. In previous years, these formatting requirements were determined primarily by the restrictions associated with the process of printing and binding the documents for publication. Dissertations and theses completed in accredited Doctoral programs are published by ProQuest through an exclusive arrangement with the Library of Congress. These documents also may be published electronically by the UMB Digital Archive. The flexibility of electronic publishing—fast becoming the standard for dissertations and theses—enables the Graduate School to determine its own standards, independent of the printing process. This guide will assist you in creating a dissertation or thesis that conforms to those standards. Through an arrangement with ProQuest, the University of Maryland, Baltimore accepts dissertations and theses in electronic format. Under this arrangement, students submit an electronic version of their dissertation or thesis directly to ProQuest / UMI via the World Wide Web. Officials from the Graduate School then review the document online and request revisions by e-mail, if necessary. BEFORE YOU PREPARE YOUR DRAFT 1. Understand the Formatting Requirements in this document, the UMB Electronic Dissertation and Thesis Style Guide.
[Show full text]
WRITING YOUR FAMILY HISTORY a Guideline for Your Project
WRITING YOUR FAMILY HISTORY A Guideline for Your Project Old Buncombe County Genealogical Society P.O. Box 2122, Asheville, NC 28802 •828-253-1894 •www.obcgs.com If you are interested in genealogy and have conducted even the shortest of searches for a relative, you might have thought about how to organize the results into a useful format. One could write a report, an article for a journal or even set up a notebook to share with others, but a book might seem daunting. Many genealogists dream about writing a book on their family research, but do not know where to start. In 2012, OBCGS organized a working group to explore the steps needed to write a family history book. The group was able to organize their findings and put them all in one place to share with our members. The result is this guideline, a summary of the steps necessary to get your research ready for printing. I. THE ORGANIZING PROCESS – success is easier when you do some planning up front. a. Choose the Format – cookbook, photo album, genealogy narrative, etc. b. Choose the Scope – one family line descending from a distant ancestor; the grandparent’s story; the military service of a Revolutionary War soldier in the family including his family genealogy; etc. c. Choose a Plot or Theme – one way to make the book more interesting to a broader audience is to use a plot or theme throughout. Suggestions might be their immigration story; life after slavery; survival during the Great Depression; etc. d. Research the Time and Place – this provides more narrative for the reader and rounds out the family members’ experience so the reader understands what they went through to raise their family and survive.
[Show full text]
Iii Foreword V Preface Vii Acknowledgements Viii Introduction
Table of Contents Foreword v Preface vii Acknowledgements viii Introduction to the Teacher’s Module ix Introduction 3 (with teacher’s notes on pp. 1–2) Teacher’s Notes for Investigation #1: Did You Wash Your Hands? 6 Investigation #1: Did You Wash Your Hands? 10 Section I: Observational Studies 19 (with teacher’s notes on pp. 16–18) Teacher’s Notes for Investigation #2: Get Your Hot Dogs Here! 23 Investigation #2: Get Your Hot Dogs Here! 31 Teacher’s Notes for Investigation #3: What’s in a Name? 46 Investigation #3: What’s in a Name? 48 Teacher’s Notes for Investigation #4: If the Shoe Fits … 52 Investigation #4: If the Shoe Fits … 56 Teacher’s Notes for Investigation #5: Buckle Up 60 Investigation #5: Buckle Up 64 Teacher’s Notes for Investigation #6: It’s Golden (and It’s Not Silence) 68 Investigation #6: It’s Golden (and It’s Not Silence) 71 Section II: Surveys 76 (with teacher’s notes on pp. 74–75) Teacher’s Notes for Investigation #7: Welcome to Oostburg! 78 Investigation #7: Welcome to Oostburg! 82 Teacher’s Notes for Investigation #8: Student Participation in Sports 87 Investigation #8: Student Participation in Sports 89 Teacher’s Notes for Investigation #9: Planning and Conducting a Survey 93 Investigation #9: Planning and Conducting a Survey 95 iii Section III: Experiments 106 (with teacher’s notes on pp. 102–105) Teacher’s Notes for Investigation #10: Do Diets Work? 111 Investigation #10: Do Diets Work? 116 Teacher’s Notes for Investigation #11: Distracted Learning 121 Investigation #11: Distracted Learning 127 Teacher’s Notes for Investigation #12: Would You Drink Blue Soda? 135 Investigation #12: Would You Drink Blue Soda? 138 Section IV: Drawing Conclusions 145 (with teacher’s notes on pp.
[Show full text]
Entertainment 87 ENTERTAINMENT
Enroll at uclaextension.edu or call (800) 825-9971 Entertainment 87 ENTERTAINMENT Sneak Preview See the most highly anticipated new films prior to public release, specially selected for our Sneak Preview audience. Our seasoned moderators lead engaging Q&As with actors, directors, writers, and producers, giving you an inside look at the making of each film. Sneak Preview starts January 29 and presents 10 new films. Page 87. Past films and guests have included 87 FILM & TV MUSIC Marriage Story with director Ford v Ferrari with director 88 Business & Management 95 Film Scoring Noah Baumbach James Mangold of Entertainment 96 Music Business If Beale Street Could Talk with director Dolemite Is My Name with screenwriters Barry Jenkins Scott Alexander and Larry Karaszewski 89 Entertainment Project 97 Music Production Management A Hidden Life with actor Valerie Pachner Diane with actor Mary Kay Place 90 Acting Above: Q&A with (left to right) moderator Pete Hammond and director Robert Kenner at Sneak Preview. 91 Cinematography For weekly updates, visit entertainment.uclaextension.edu/sneak-preview. 91 Directing 92 Film & TV Development FILM TV UL 700 Film & TV Free Networking Opportunities 93 Producing For more information call (310) 825-9064, email for Entertainment Studies [email protected], or visit Certificate Students 95 Post-Production entertainment.uclaextension.edu. Does your project need a director, cinematographer, screenwriter, actor, producer, composer, or other crew FILM TV 804.2 member? Would you like to meet other like-minded Sneak Preview: students who have the same business or career goals Contemporary Films and Filmmakers as you? This is the perfect opportunity to meet your 2.0 CEUs fellow certificate students and make important connec- For more information call (310) 825-9064.
[Show full text]
Nine Lives of Neoliberalism
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Plehwe, Dieter (Ed.); Slobodian, Quinn (Ed.); Mirowski, Philip (Ed.) Book — Published Version Nine Lives of Neoliberalism Provided in Cooperation with: WZB Berlin Social Science Center Suggested Citation: Plehwe, Dieter (Ed.); Slobodian, Quinn (Ed.); Mirowski, Philip (Ed.) (2020) : Nine Lives of Neoliberalism, ISBN 978-1-78873-255-0, Verso, London, New York, NY, https://www.versobooks.com/books/3075-nine-lives-of-neoliberalism This Version is available at: http://hdl.handle.net/10419/215796 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative
[Show full text]
Foreword to the Book, Citation Indexing by Robert K. Merton
Foreword I like to read some general significance into Eugene Garfield’s having offered me the privilege of introducing the reader to this book, which sets out the history, method, and implications of his distinctive contribution to the advancement of science: the first multidisciplinary citation index to the scientific literature. My being a close friend cannot account for his having done so. Gene has many good friends more knowing than I about information science and the methodology of citation analysis. I suspect that the significance of his choice lies precisely there: in his having reached out for a sociologist of science rather than an information scientist. For one of the remarkable things about Eugene Garfield is that along with the imagination, pragmatic judgment, and immense energy required to invent, produce, and develop a useful tool for a seemingly routine but fundamental task in science-searching the literature- he has a deep intuitive sense of the social, cultural, and cognitive struc- tures latent in the practice of science. This found expression in his seeing, from the very start, that his invention of the Science Citation Index would develop into a powerful tool for the historical and sociological study of science. I imagine that he wanted to have the subject of the book set squarely within this broader framework rather than the primary but narrower one of information science alone. I accept the inferred assignment with pleasure-and understandable misgivings. This book is long overdue. Its most immediate didactic value resides in helping the reader to understand the concept and workings of the citation index as a device for making the search of the literature much more comprehensive and far less arduous than was previously possible.
[Show full text]
The Lion, the Rooster, and the Union: National Identity in the Belgian Clandestine Press, 1914-1918
THE LION, THE ROOSTER, AND THE UNION: NATIONAL IDENTITY IN THE BELGIAN CLANDESTINE PRESS, 1914-1918 by MATTHEW R. DUNN Submitted to the Department of History of the University of Kansas in partial fulfillment of the requirements for departmental honors Approved by: _________________________ Dr. Andrew Denning _________________________ Dr. Nathan Wood _________________________ Dr. Erik Scott _________________________ Date Abstract Significant research has been conducted on the trials and tribulations of Belgium during the First World War. While amateur historians can often summarize the “Rape of Belgium” and cite nationalism as a cause of the war, few people are aware of the substantial contributions of the Belgian people to the war effort and their significance, especially in the historical context of Belgian nationalism. Relatively few works have been written about the underground press in Belgium during the war, and even fewer of those works are scholarly. The Belgian underground press attempted to unite the country's two major national identities, Flemings and Walloons, using the German occupation as the catalyst to do so. Belgian nationalists were able to momentarily unite the Belgian people to resist their German occupiers by publishing pro-Belgian newspapers and articles. They relied on three pillars of identity—Catholic heritage, loyalty to the Belgian Crown, and anti-German sentiment. While this expansion of Belgian identity dissipated to an extent after WWI, the efforts of the clandestine press still serve as an important framework for the development of national identity today. By examining how the clandestine press convinced members of two separate nations, Flanders and Wallonia, to re-imagine their community to the nation of Belgium, historians can analyze the successful expansion of a nation in a war-time context.
[Show full text]
Conforming to Heaven Organizational Principles of the Shuō Wén Jiě Zì
Conforming to Heaven Organizational Principles of the Shuō wén jiě zì Rickard Gustavsson S1581066 [email protected] Supervisor: Dr. P. van Els MA Thesis Asian Studies: Chinese Studies Faculty of Humanities Leiden University Word count: 14,879 (excluding appendices) 14 July 2016 1 Table of contents 1. INTRODUCTION .......................................................................................................................... 3 1.1 RESEARCH TOPIC ........................................................................................................................ 3 1.2 LITERATURE REVIEW ................................................................................................................... 4 1.3 METHODOLOGY AND OBJECTIVES ............................................................................................... 10 2. THE 一 YĪ SECTION ................................................................................................................... 12 2.1 THE 一 YĪ RADICAL .................................................................................................................... 12 2.2 元 YUÁN ................................................................................................................................... 14 2.3 天 TIĀN ..................................................................................................................................... 15 2.4 丕 PĪ .......................................................................................................................................
[Show full text]
STANDARD PAGE ORDER for a BOOK These Are Guidelines, Not Rules, but Are Useful in Making Your Book Look Professional
STANDARD PAGE ORDER FOR A BOOK These are guidelines, not rules, but are useful in making your book look professional. More extensive descriptions are available in the “Chicago Manual of Style”. (Note: CMS uses the classic terms recto for right handed and verso for left handed pages.) FRONT MATTER PRE PAGES: are usually numbered with lower case roman numerals Blank A blank page is often needed to force the first page of the book to fall on a right hand page. Half title page (contains only the title) - OPTIONAL Introduction (OPTIONAL) A blank page is often Blank page (back of title page) needed to force the first page of the book to fall on a right hand page. Title page title author, illustrator where appropriate Copyright page (back of the Title page): Usually BODY OF THE BOOK contains Copyright information, ISBN, LCCN if using, Text pages are usually numbered with normal fonts. design credits, disclaimers about fictional characters, permission granted to use information or illustrations TEXT: from another source Chapter One: In a “classic book” all chapter heads start on the right hand page. In novels where continuity Dedication is important, chapters may start on the right or left but the first chapter should always start on the right. Blank PARTS: Epigraph (quote pertinent to the book) OPTIONAL Book One or Section One: In large books it is May be used instead of, or after a Dedication. common for the book to be divided into Parts or Units. Some Section pages carry their own titles. These are Blank styled like title pages and are always on the right hand page, usually followed by a blank.
[Show full text]
Annual Report
18 ANNUAL REPORT 19 MISSION VISION • We will educate enterprising artists, thinkers, innovators, leaders, and globally conscious citizens who transform The Theatre School trains students communities across DePaul, Chicago, the nation, and the world. • We will support an expert, passionate faculty and staff to the highest level of professional committed to advancing the vibrancy of live theatre and performance while continually adapting to a broadening skill and artistry in an inclusive and changing profession. • We will become a model of diversity and inclusion for the University and the field. and diverse conservatory setting. • We will produce public programs and performances that challenge, entertain, and stimulate the imagination. • We will foster cross-disciplinary collaboration to further student understanding and appreciation of every aspect of theatre work. VALUES EDUCATION We advance intellectual development and ethical consciousness. We foster moral, spiritual, social, political, and artistic growth. We promote participation in civic life. RESPECT We inspire respect for self, for others, for the profession, and for humanity. We embrace the Vincentian model of service. FREEDOM We build a community founded on the principles of creativity and freedom of expression. We value initiative, innovation, exploration, and risk-taking. IMAGINATION We celebrate the primacy of imagination in our work. SPIRITUALITY We believe theatre is a place for reflection, awakening, and the development of moral awareness. Welcome to The Theatre School’s 2018-19 Annual Report. This year we auditioned and admitted students in our new Comedy Arts and Projection Design majors. We also received approval for a new BFA degree in Wig and Makeup Design & Technology, which will greet its first class in Fall 2020.
[Show full text]
Print Books on Demand Formatting Guide
Barnes & Noble® Print Books on Demand Formatting Guide barnesandnoble.com llc, 76 Ninth Avenue, New York, NY 10011 USA. © 2014 barnesandnoble.com llc. All rights reserved. Barnes & Noble®, NOOK®, NOOK Book®, NOOK Press®, PubIt!®, and the NOOK logos are trademarks of barnesandnoble.com llc or its affiliates. Patent Pending. Content shown may vary from actual available content, which may change without notice. All trademarks or registered trademarks that are not the property of barnesandnoble.com llc or its affiliates are the property of their respective owners. TABLE OF CONTENTS Getting Started ....................................................................................................... 6 Book File Requirements ......................................................................................... 7 What is a Print-Ready PDF? ....................................................................................................................................... 7 Pre-Press Manuscript.............................................................................................. 8 Proofread and Spell-Check ......................................................................................................................................... 8 Spacing and Text Placement ....................................................................................................................................... 8 Using Hard Returns ....................................................................................................................................................................
[Show full text]