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Ronald G. Asch (Hrsg.), Hannover, Großbritannien und Europa. Erfahrungsraum Personalunion 1714–1837. (Veröffentlichungen der Historischen Kommission für Niedersachsen und Bremen, Bd. 277.) Göttingen, Wallstein 2014
No full textKommunikation und Verwaltung in der Personalunion Großbritannien – Kurhannover 1714–1760
Full text linkSoftcover, 17x24Die Deutsche Kanzlei in London war zwischen 1714 und 1837 die zentrale Verwaltungseinrichtung der Kurfürsten von Braunschweig-Lüneburg, ab 1814 Könige von Hannover während ihrer Zeit als britische Könige zur Organisation ihrer Herrschaft in Abwesenheit. Solche Personalunionen waren im Europa der Frühen Neuzeit weit verbreitet. Als maßgebliche Institution der Personalunion Großbritannien-Kurhannover steht die Deutsche Kanzlei in diesem Buch nun erstmals und paradigmatisch im Zentrum des Interesses.
Betrachtet wird der Kommunikationsraum Personalunion und das Funktionieren einer zusammengesetzten Herrschaft unter Georg I. und Georg II. von 1714 bis 1760. Im Fokus stehen dabei die Kommunikationsprozesse zwischen den Regierungszentralen sowie ihre infrastrukturellen, sozialen und rechtlichen Kontexte. Als Vergleichsebene wird die sogenannte English Chancery in Hannover herangezogen, die die britische Politik und Verwaltung im Gegenzug während der zahlreichen ausgedehnten Reisen der Könige in ihre Stammlande etablierten.Between 1714 and 1837, the German Chancellery in London was the central administrative institution of the Electors of Brunswick-Lüneburg, and from 1814 Kings of Hanover during their time as British kings to organise their rule in absentia. Such personal unions were widespread in early modern Europe. This book is the first to focus paradigmatically on this most important institution of the personal union between Great Britain and the Electorate of Hanover. It examines the personal union as a space of communication and the functioning of a composite state under George I and George II from 1714 to 1760, focusing on the communication processes between the centres of government as well as their infrastructural, social and legal contexts. The so-called English Chancery in Hanover, which British politics and administration established in return during the kings' numerous extended journeys to their ancestral lands, is used as a level of comparison
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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