1,721,214 research outputs found
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
"Comparing Cretan Hieroglyphic and Linear A seal stones: a preliminary assessment of forms, materials, sequences, uses"
No full textDetailed studies by J.-P. Olivier (1999; 2009; 2010) and M. Del Freo (2012; 2017) have identified, to date, four instances of seals written in Linear A (CR Zg 4, KN Zg 55, ARM Zg 1, CR (?) Zg 3). To these, we may tentatively add a few other examples signalled by M. Anastasiadou (2016: 178); in particular, CMS VII no. 31. However, some of these seals are problematic and some authors are cautious about their interpretation. The stylistic dating of most of these seals (CR Zg 4, KN Zg 55, CMS VII no. 31), is MM II or III-III, which is contemporary to the use of administrative seals written in Cretan Hieroglyphic. Conversely, the find context of ARM Zg 1 dates it to LM II-III A2, while the stylistic date suggested is MM I, which means this specimen may have been an heirloom. Finally, no dating is proposed for CR (?) Zg 3.
The marginal use of seals in Linear A for administrative practices is generally contextualised either to highlight the differences between the writing practices proper of this script and those of Cretan Hieroglyphics or, on the contrary and more recently, to minimize the gap between the two (Linear A and Cretan Hieroglyphics were both used on seals!) when arguing about the writing system in use on some seals engraved with the so-called “Arkhanes inscription” (Godart 1999; Anastasiadou 2016), traditionally interpreted as Cretan Hieroglyphic and consequently published in CHIC . There is yet to appear, however, a specific study analysing this mini-corpus of more or less problematic Linear A seals on their own and in comparison with the Cretan Hieroglyphic seal corpus. Despite the extremely poor documentation we have, it would be of interest, though, to analyse all the “contours” of the act of writing on seals in Linear A. We believe that these “contours” are not mere documentary supplements, but rather, they have social and referential aspects that are key factors for our understanding of any writing act in any writing system. Hence, it would be useful to assess the forms of the Linear A seals under examination, the material used for their manufacture, the formatting of the texts, the graphic norms used in their writing, the typology of the signs and sequences appearing on their surfaces, the possible presence of “decorative” signs along with inscriptions, the potential writers and the readers and their possible administrative uses. These results could then be compared with the same elements on the Cretan Hieroglyphic seal corpus, in order to try to understand the roughly contemporary use of seals and their function within the two different administrative systems of Protopalatial Crete.
For the Cretan Hieroglyphic seal corpus, despite the limitations of our documentation and our limited understanding of a number of specific issues, we can plausibly pin down a sort of a “canon” through which Hieroglyphic inscriptions were classified and interpreted during the Protopalatial period; this “canon” seems to be testified by documents covering the whole chronological period that this writing system was in use, from different places on the island and manufactured by different workshops. Above all, it is possible to identify a recurrent correlation between external elements (like seal forms: prismatic and 1- or 2-sided seals – and materials: hard and soft stones), the distribution of different kinds of sign-groups (for instance, “formulae” and non-formulaic sign groups) and their sphragistic use (on crescent-shape nodules and other kinds of nodule) (see Olivier 2000: 141, fig. 1; Poursat 200; Karnava 2000: 192-194, tab. 38-39). As a consequence, we may hypothesize that forms and materials, along with the visual presentation of the script, were significant from a semiological point of view, and were codified and transmitted in specific ideological contexts (see Flouda 2013: 143-144).
The very limited use of Linear A on seals can be, at first sight, tentatively contextualized among a series of “overlaps” in the forms and formats of Cretan Hieroglyphic and Linear A documents. For instance, the use of seals in the Linear A administration could have been residuary as the use of tablets in the Cretan Hieroglyphic. But was the use of Linear A on seals unpredictable and random, casually and inconsistently related to the Hieroglyphic tradition of inscribing seals, or was it codified according some specific and recurrent functions of particular seal forms connected to definite textual contents in a parallel administrative system?
A cursory preliminary scrutiny shows that in many of the semiologically significant aspects we have listed above the Linear A seals we are referring to seem to be quite different from “standard” Cretan Hieroglyphic seals (while some very interesting similarities with a few “nonconventional” Hieroglyphic seals will be reported). With regard to the forms, prisms (the majority in Hieroglyphic corpus with more than 100 out of ca. 150) are not encountered in the Linear A repertoire, and documents with one or two circular inscribed surfaces, in soft materials only, are the rule. As to the formatting of the texts, they are characterized by greater regularity in their general appearance than their Cretan Hieroglyphic counterparts: they tend to develop in a linear configuration even when they are encountered on circular surfaces. As a consequence, both for alignment and for orientation, the visual effect of the inscriptions contrasts with the irregular development of the often “fluctuating” signs of Cretan Hieroglyphic encountered on circular surfaces (and not only on these). The texts themselves, in terms of the general spheres of meaning they belong to, include ideograms as well as hapax (quite exceptional cases in the Hieroglyphic corpus), perhaps a ligature (on ARM Zg 1; Olivier 2010: 291 n. 16) and, in at least one case, a new form of a known word (Perna 2014: 257), attested, with its derivatives, on clay tablets, libation tables and gold artefacts written in Linear A: AB 28-01-01 (i-da-da) on CR Zg 4.a. It is probably a toponym.
Notwithstanding the extremely limited number of these documents, then, we believe it could be of interest to conduct a first preliminary analysis of them, through a systematic comparison of their features with Cretan Hieroglyphic seal traditions, with the aim of shedding more light on our understanding of the administrative practices in different places (in some cases, possibly site-specific) and the contexts of use for the two writing systems of Protopalatial Crete and how this may have led to the creation and use of different document formats
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
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
- …
