1,721,680 research outputs found
Newspaper Clipping - Highest Achievers 1990 - Cassie Anderson, Daniel Forbes, Jonathan Sprague & Amy Raymond
No full textNewspaper Clipping - Highest Achievers 1990 - Cassie Anderson, Daniel Forbes, Jonathan Sprague & Amy Raymondhttps://digitalmaine.com/stockholm_images/1688/thumbnail.jp
Newspaper Clipping - Highest Achievers 1990 - Cassie Anderson, Daniel Forbes, Jonathan Sprague & Amy Raymond
No full textNewspaper Clipping - Highest Achievers 1990 - Cassie Anderson, Daniel Forbes, Jonathan Sprague & Amy Raymondhttps://digitalmaine.com/stockholm_images/1688/thumbnail.jp
Drama in the classroom:classrooms on stage
Full text linkThis contribution considers interaction between the theatre and the classroom. It begins with Callias' Alphabet Tragedy--a play whose opening section reimagines theatrical space as a class in session. A chorus made up of the letters of the alphabet teaches a cast of females students --and with them the theatre audience--how to spell. The paper goes on to discuss the intersection of theatrical and educational spaces from three angles. (1) Conflations of chorus and schoolroom in the early Classical period are explained in terms of competing notions of education--choral training on the one hand, and literate education on the other. (2) The widespread conceit of the playwright as teacher is found to be at odds with the ubiquitous representation of failed learning within comic plays. (3) The use of dramatic texts as teaching aids is connected to our evidence for theatrical performances within ancient classrooms. Interaction between the spaces of theatre and school appears in our earliest references to literate education in Ancient Greece, and extends well into Late Antiquity
Drama in the classroom:classrooms on stage
Full text linkThis contribution considers interaction between the theatre and the classroom. It begins with Callias' Alphabet Tragedy--a play whose opening section reimagines theatrical space as a class in session. A chorus made up of the letters of the alphabet teaches a cast of females students --and with them the theatre audience--how to spell. The paper goes on to discuss the intersection of theatrical and educational spaces from three angles. (1) Conflations of chorus and schoolroom in the early Classical period are explained in terms of competing notions of education--choral training on the one hand, and literate education on the other. (2) The widespread conceit of the playwright as teacher is found to be at odds with the ubiquitous representation of failed learning within comic plays. (3) The use of dramatic texts as teaching aids is connected to our evidence for theatrical performances within ancient classrooms. Interaction between the spaces of theatre and school appears in our earliest references to literate education in Ancient Greece, and extends well into Late Antiquity
Introduction
Full text linkThere is a funerary stêlê on display at the Museum of Art and History of Geneva showing a certain Ptolemy the Geometer, as indicated on the ancient caption. When the late Raffaella Cribiore and I first came across this image when we overlapped on research stays at the Fondation Hardt in 2018, we thought it was fortuitous. Here unexpectedly was another representation of a classroom — the bearded geometry teacher Ptolemy seated on the chair typical of such representations — and what is more, a table of calculations on the wall, and — apparently — a student! Yet over the course of our Entretiens, it became clear that this image is much more ambiguous than originally thought. The huge table of calculations, in combination with the cithara, confirms that Ptolemy was a teacher, but it is not clear whether these are features of a classroom representation or merely representative symbols of the dead man’s career — his work as a teacher of geometry. Chairs are common elements of funerary iconography, and the boy on the bottom right is surely enslaved, given his short chitôn, lack of footwear, and marginal position on the image. Part of the issue with interpretation has to do with the material conditions of production: the figures here are likely copied from models in the workshop. On the other hand, suspended objects in Greek imagery usually serve to define space, and the seated Ptolemy points with his right hand, now partly lost, to the multiplication table, as though in the middle of a lesson. More generally, funerary stêlê commonly depict scenes from life, rather than some liminal space between life and death. The image is thus deeply ambiguous; it is hard to imagine a teaching scene where an enslaved boy is present and there is no student, but the representation nevertheless harks back to the teaching space in which Ptolemy spent his working life
Introduction
Full text linkThere is a funerary stêlê on display at the Museum of Art and History of Geneva showing a certain Ptolemy the Geometer, as indicated on the ancient caption. When the late Raffaella Cribiore and I first came across this image when we overlapped on research stays at the Fondation Hardt in 2018, we thought it was fortuitous. Here unexpectedly was another representation of a classroom — the bearded geometry teacher Ptolemy seated on the chair typical of such representations — and what is more, a table of calculations on the wall, and — apparently — a student! Yet over the course of our Entretiens, it became clear that this image is much more ambiguous than originally thought. The huge table of calculations, in combination with the cithara, confirms that Ptolemy was a teacher, but it is not clear whether these are features of a classroom representation or merely representative symbols of the dead man’s career — his work as a teacher of geometry. Chairs are common elements of funerary iconography, and the boy on the bottom right is surely enslaved, given his short chitôn, lack of footwear, and marginal position on the image. Part of the issue with interpretation has to do with the material conditions of production: the figures here are likely copied from models in the workshop. On the other hand, suspended objects in Greek imagery usually serve to define space, and the seated Ptolemy points with his right hand, now partly lost, to the multiplication table, as though in the middle of a lesson. More generally, funerary stêlê commonly depict scenes from life, rather than some liminal space between life and death. The image is thus deeply ambiguous; it is hard to imagine a teaching scene where an enslaved boy is present and there is no student, but the representation nevertheless harks back to the teaching space in which Ptolemy spent his working life
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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