1,720,953 research outputs found
Shakespeare from the House of Molière: The Comédie-Française/Pathé Live Roméo et Juliette (2016)
No full textThis is the author accepted manuscript. The final version is available from Bloomsbury via the ISBN in this recordThis chapter analyses the broadcast of Roméo et Juliette (Romeo and Juliet) that launched the Comédie-Française's collaboration with Pathé Live to bring three of the theatre's shows to cinema screens in Francophone regions. I argue that the company's approach to broadcasting is typical of French cultural exceptionalism, as cinema broadcasts in France draw on their own traditions of television broadcasting and their own training methods to produce an experience that is distinctive and in tune with the production's own mixture of traditional declamatory performance styles and performers at ease with direct address to the audience, both in the Salle Richelieu and cinemas
South Bank Shakespeare Goes Global: Broadcasting from Shakespeare’s Globe and the National Theatre
Full text linkThis is the author accepted manuscript. The final version is available from Bloomsbury via the ISBN in this recordThis chapter argues that whereas their authority stems from their historical association with the early modern theatre industry, South Bank Shakespeares are shaped by the distinctive architectures and the types of performer-audience dynamics fostered by the affordances of the National Theatre and Shakespeare's Globe, as interpreted by their successive artistic directors. I show how through paratexts, camerawork, and the triggering of strong affective responses, broadcasts are able to generate atmospheres in which broadcast audiences experience a ‘distributed presence’ that transcends boundaries of time and space. A phenomenology of space and affect grounded in Michel de Certeau’s work allows me to explain how broadcasts generate the experience of spatial inclusion or exclusion, which in turn contributes to the sensation of participation in the event. I argue that strong affects have the capacity to transcend spatial and temporal boundaries, connecting remote audiences with the performance in the here-and-now of their emotional response. The handling of strong affect, combined with a representation of space as transactional, is a catalyst of 'aliveness'. My close analysis of broadcasts from the National Theatre and Shakespeare's Globe since 2003 reveals that the two companies generate distinctive modes of spectatorial engagement which, most recently, have merged to generate a more hybrid style of 'South Bank Shakespeare', with remote spectators responding to prompts within the broadcasts by engaging in digital modes of interaction
Review of Paul Menzer, Shakespeare in the Theatre: The American Shakespeare Center, Bloomsbury Arden Shakespeare, 2017
No full textThis is the author accepted manuscript. The final version is available from Johns Hopkins University Press via the DOI in this record.Shakespeare in the Theatre: The American Shakespeare Center. By Paul Menzer. Bloomsbury, 2017. Pp. xviii+ 252. 24.95 (paper)
Review of "The Winter's Tale", Dir. Declan Donnellan for Cheek by Jowl, Silk Street Theatre, London Barbican, 2017
No full textThis is the author accepted manuscript. The final version is available from Johns Hopkins University Press via the DOI in this record.Review of The Winter’s Tale. Presented by Cheek by Jowl, at the Silk Street Theatre, Barbican, London, UK. April 5-22, 2017. Directed by Declan Donnellan. Designed by Nick Ormerod. Lighting design by Judith Greenwood. Music and sound design by Paddy Cunneen. With Grace Andrews (Emilia/Time), Joseph Black (Cleomenes), David Carr (Camillo), Tom Cawte (Mamillius), Ryan Donaldson (Autolycus), Guy Hughes (Dion), Orlando James (Leontes), Sam McArdle (Young Shepherd), Eleanor McLoughlin (Perdita), Peter Moreton (Old Shepherd/Antigonus), Natalie Radmall-Quirke (Hermione/Dorcas), Joy Richardson (Paulina/Mopsa), Edward Sayer (Polixenes), and Sam Woolf (Florizel)
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
“Yorick’s Skull: Hamlet’s Improper Property.”
No full textThis is the final version of the article. Available from the publisher via the links in this record.No abstrac
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
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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