1,721,073 research outputs found
Catherine Picard et Anne Fournier, Sectes, démocratie et mondialisation
No full textCatherine Picard et Anne Fournier, Sectes, démocratie et mondialisation . In: Agora débats/jeunesses, 29, 2002. Des pratiques artistiques des jeunes. p. 143
Spectra: logica del movimento
No full textIl testo analizza - per la prima volta - la logica di movimento sottesa alla composizione coreografica di Cindy Van Acker. Questo contributo ripercorre analiticamente il processo creativo della coreografa, coprendo le produzioni che vanno da "Lanx" (2008) a "Shadowpieces" (2018-2020) fino a quelle più recenti come "Speechless Voices" (2018) e "Without References" (2021). Il testo si concentra dunque sulla particolare logica di movimento che ne sta alla base. Essa si basa su un'inversione di prospettiva: non sono i corpi che producono movimento, ma è il movimento che muove i corpi. Il movimento diventa così un'intensità che attraversa lo spazio, una forza che i corpi modificano ma che allo stesso tempo agisce su di essi, sia che si tratti di entità anatomiche, sonore o cromatiche. In questo modo emerge un “rhythmós”, concepito come la traccia visibile di qualcosa che scorre e si diffonde, fonte di ogni movimento che dimora “indipendente” dai corpi, ma che tutti li attraversa e connette.Taking a bird’s-eye view of Cindy Van Acker’s compositional processes – starting with works like Lanx (2008),
then moving on to Shadowpieces (2018–2020) and culminating with the recent Speechless Voices (2018) and Without References (2021) – this article places the focus on the particular logic of movement that’s expressed in them. This logic is based on a reversal of perspective and applies not only to the anatomical body, but also to other material presences such as sound and light. It’s not the bodies that produce movement – rather, it’s movement
that propels the bodies. Movement thus appears as a energy diffused in space, a force modified by the bodies yet
also exerting its influence upon them. What ultimately emerges is rhythmós, conceived as a visible trace of something that flows, extends and sets all in motion.Cette contribution revient sur les processus de création de Cindy Van Acker, en parcourant son œuvre de Lanx (2008) à Shadowpieces (2018–2020) et jusqu’aux productions plus récentes, comme Speechless Voices (2018) et Without References (2021). L’article se concentre sur la logique particulière du mouvement qui sous-tend ce travail chorégraphique. Elle repose sur un renversement de perspective et ne concerne pas uniquement le corps au sens anatomique, mais aussi d’autres présences « matérielles », comme le son et la lumière. Ce ne sont pas les corps qui produisent le mouvement, mais c’est bien le mouvement qui meut les corps. Le mouvement devient donc une intensité qui traverse l’espace, une force que les corps modifient, mais qui agit en même temps sur eux. Ainsi, un rhythmós se dégage, conçu comme la trace visible de quelque chose qui coule et se diffuse; et qui est la source de tout mouvement.Der vorliegende Beitrag fokussiert auf die besondere Logik der Bewegung, die sich in Cindy Van Ackers Kompositionsprozessen ausdrückt, vor allem mit Blick auf Werke von Lanx (2008) bis hin zu Shadowpieces (2018–2020) und den jüngsten Speechless Voices (2018) und Without References (2021). Diese Logik gründet auf einer Umkehrung der Perspektive und betrifft nicht nur den anatomischen Körper, sondern auch weitere materielle Präsenzen wie Klang und Licht: Nicht die Körper erzeugen die Bewegung, sondern die Bewegung durchdringt die Körper. Bewegung erscheint demnach als eine im Raum verteilte Kraft, die durch die Körper verändert wird und auf sie einwirkt. Damit tritt ein rhythmós hervor, verstanden als sichtbare Spur von etwas, das fliesst, sich ausdehnt und alles bewegt
Youri Lotman, La structure du texte artistique traduit du russe par Anne Fournier, Bernard Kreise, Eve Malleret et Joëlle Young sous la direction de Henri Meschonnic. Préface de Henri Meschonnic
No full textGuyard Marie-Renée. Youri Lotman, La structure du texte artistique traduit du russe par Anne Fournier, Bernard Kreise, Eve Malleret et Joëlle Young sous la direction de Henri Meschonnic. Préface de Henri Meschonnic. In: Annales. Économies, Sociétés, Civilisations. 31ᵉ année, N. 3, 1976. pp. 598-599
Youri Lotman, La structure du texte artistique traduit du russe par Anne Fournier, Bernard Kreise, Eve Malleret et Joëlle Young sous la direction de Henri Meschonnic. Préface de Henri Meschonnic
No full textGuyard Marie-Renée. Youri Lotman, La structure du texte artistique traduit du russe par Anne Fournier, Bernard Kreise, Eve Malleret et Joëlle Young sous la direction de Henri Meschonnic. Préface de Henri Meschonnic. In: Annales. Économies, Sociétés, Civilisations. 31ᵉ année, N. 3, 1976. pp. 598-599
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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
Get PDFWe 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
Get PDFWe 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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