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The manuscript
No full textPart of the introduction to a critical edition of Lucy Hutchinson's translation of Lucretius' De rerum natura. The edition takes its text from a manuscript written out by Hutchinson and a scribe (British Library Additional MS 19333). This section of the introduction describes and analyses the manuscript's physical features--watermarks, gatherings and hand-writing--in an attempt to reconstruct the stages through which Hutchinson and her scribe went in putting the manuscript together
The works of Lucy Hutchinson. Vol. I. Translation of Lucretius
No full textThis edition offers a corrected text of the translation with extended annotations and provides the latin front text. The Latin text is reconstructed by Maria Cristina Zerbino and reproduces Daniel Pareus 1631's edition of De rerum Natura which Lucy Hutchinson used as original for her translation
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
Pagan fictions: literature and false religion in England, 1550-1650
Get PDFThis dissertation represents an effort to rethink one of the defining problems of the European Renaissance: the revival of pagan culture. It was very common for Renaissance Christians, from Giovanni Boccaccio to John Calvin, to argue that pagan religions were false because they were based on myths created by poets and politicians. But the Reformation project of distinguishing true from false versions of Christian religion blurred the boundaries between ancient and more recent versions of false religion. The hinge of this reorientation of religious values was the argument that certain religions were merely poetic fables, artificial fictions created by humans. And while some scholars have discussed the changing meaning of religion in the seventeenth century, no one has seen that literary language provided the terms for this change. My project corrects this by juxtaposing the religious imagery of the poetry of Robert Herrick, John Milton, and many others with contemporary debates about the poetic nature of religious imagery. In this way, my project makes a unique contribution to Renaissance studies by demonstrating not only that literary categories are fundamental to an understanding of religion, but also that the religious revolution of the Reformation produced lasting changes in how literary texts create meaning.Doctor of Philosoph
A Little World Made Cunningly: The Formation of John Donne in the Civil War Period
Get PDFJohn Donne’s life in print began with his death in 1631, when the first printed canon emerged from the body of manuscripts left by the late Dean of St. Paul’s. Though the process of canon formation overlapped with the politically volatile years of the English Civil War, Interregnum, and Restoration, scholarship on Donne has tended to focus on the author’s own biography and the events that exerted an influence at the time he was writing, ignoring the influence wrought by the circumstances in which the canon that codified “John Donne” took shape. This paper extends literary scholars’ existing historicism to the three decades after Donne’s death. Scrutinizing print editions published between 1631 and 1661, this study tracks editors’ chief motivations to preserve the canon, memorialize Donne, and invoke his works in topical arguments. I argue that the events of the Civil War period left a discernible impression on the version of “John Donne” crafted and handed down from the mid-seventeenth century. Though Donne’s works predate the Civil War period, what “Donne” had to say crystallized through texts that reflect the circumstances of publication. By shedding light on the contextuality of Donne’s first canon, this study opens a new angle for approaching Donne, one that accounts for the figures and events in the thirty years after Donne’s death and their role in shaping the “John Donne” read in the present.Bachelor of Art
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