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Tears in a Bottle
No full textThe process of writing Tears in a Bottle has been both a labor of love and a struggle. I first began writing this story—a story of compounded trauma, grief, morality, and faith- during my first year in Exhaustion. I started writing this story because I was frustrated with the books I was reading, where characters deal with insurmountable traumas and still manage to come away with a happy ending. Sometimes, people don’t get a break from trauma. It builds and builds until the person has a breakthrough or a breakdown. That is Leah Young. The thing she wants most is withheld from her in a cruel way. She simultaneously believes God will give her the children she wants while also believing God is punishing her with the multiple miscarriages she’s experienced.
The beginning of this story has undergone multiple iterations, primarily focused on a change in point of view. I was trying to find the best voice to establish a solid foundation for why Leah’s losses sent her into a complete mental breakdown and set the stage for her fight with God. I want to discuss the possibility of changing this to a first-person narrative. It’s the only other point of view I think would fit with this story, but I wonder if it’s too close. I did try using the third person, present tense, but it didn’t feel right for the story as I wrote it. I kept changing between the 1st and 3rd person, using the past tense.
Admittedly, I spent most of the time—until this month—on the buildup. I chose to show Leah’s miscarriages through memory. She is the only character I have written that goes back into a clear memory. And I want the memories to end once Leah breaks down and attempts to fix God’s mistakes. I don’t think I have successfully done this yet. I still feel like the memories are taking up most of the story, and I would like to focus on this during the defense. Miscarriage is such a sensitive topic, and I am trying to be respectful and careful in my handling of it. How can I do that without it taking up most of the story? I know I need to edit down the first half, but I’m struggling with it.
I’ve also added the idea of a garden to this last version. I’d also like to focus on this aspect because, in the next revision, I envision the garden building on the magical and spiritual aspects of it. I think I did well with introducing the garden, but I think it fell off halfway through the novel. The garden represents both life and death, as seen in Leah and the environment. When she first got the garden, it was dead or nearing death (the apple trees), and she took time and care to nurture it back to life. The spiritual and magical aspects are tied to her memorial garden. I’m trying to find a way to make that clear with her putting the fetuses of her children in the soil of that earth. I also want to illustrate how the garden withers when Leah’s faith withers. I don’t think I did that successfully, and I would like feedback on that.
While writing this, I noticed something here that is nodding at generational traumas, focusing on the women in Leah’s life. I want them to be a focal point of the story, but I’m unsure how to incorporate them without detracting from the narrative. How do you read this? Do you have any ideas on how I can successfully write about the maternal women in Leah’s life? Should Caleb’s relationships with his paternal side also be showcased?
My original idea for this story was to have Leah and Caleb have a loving and faithful relationship, but I needed a way for Leah to help the women commit suicide and not have Caleb around to find out what she’s doing. I am not satisfied with the aspect of the baby being born out of wedlock that I’ve written, and I would like to find a way to change it.
I would also like to focus on Leah’s faith in this story. Does it seem like she loves God before she breaks down? Or a better question: does her faith seem genuine or superficial? I’m trying to show her dedication to her religion, but I’m unsure how that’s coming off. It must be obvious to make her re-engagement with God as his adversary believable.
When you read this, you will notice that the first half is more polished than the latter. When we get to Leah and helping others with suicide, it is not as built out as the first part. I found the beginning the most difficult because it’s almost the most essential part. I needed to get into Leah's psyche. But I still focused too much on this. I want feedback on what parts aren’t necessary for you, knowing that the heart of the story is Leah’s mental decline into becoming an adversary of God and the Angel of Death for mothers like her. I’m wondering if I should begin the novel at this point and weave Leah’s memories of her miscarriages throughout her interactions with the women she’s chatting with and “helping.”
I would also like feedback on Caleb. What do you think of him? How is his character working or not working for the story? Does he need scenes with his parents? Is the case he’s working on taking over the story? What can I do better with the subplot and Caleb’s character?
Finally, thanks for reading this. I welcome any feedback you may have that I haven’t addressed in this abstract. I’ve chosen you all as my committee because I’ve had classes with you and respect your opinions and knowledge in the area I am writing about. Please feel free to focus on the aspects of this story that matter most to you.REAL Fellowship
Delaney FellowshipMaster of Fine Arts (M.F.A.)2030-05-1
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
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
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
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