1,721,000 research outputs found
Percale Thrip
No full text‘The Nabokov Paper: An experiment in novel reading’
Publication.
Contributors: Graham Allen, James Arnett, Abraham Asfaw, Anne Attali, Katarzyna Bazarnik, Derek Beaulieu, Paul Becker, Christian Bök, Shanna Bosley, Stephen Bury, Chloe Briggs, Kate Briggs, Maurice Carlin, Jennifer Carr, Guillaume Constantin, Jamie Crewe, Véronique Devoldère, Lucia della Paolera, Craig Dworkin, Zenon Fajfer, Helen Frank, Céline Guyot, John Hamilton, Sharon Kivland, Gianni Lavacchini, Anna-Louise Milne, Forbes Morlock, Simon Morris, Amy Pettifer, Lucrezia Russo, Olivia Sautreuil, Nick Thurston, Jane Topping, Madeleine Walton, Patrick Wildgust, Robert Williams and Jack Aylward-Williams, Sarah Wood, Gillian Wylde.
There is nothing like The Nabokov Paper. Now more than ever we need critical writing that provokes and excites. The responses here included do that and more. They are answers that question, and that offer ‘an invitation, or incitation’ to read and to respond in kind. The Nabokov Paper brings the news. Read all about it.”
–Stephen Benson, University of East Anglia and co-author of Creative Criticism: An Anthology and Guide
Pages: 82 and 83
& Exhibition at Shandy Hall (Coxwold) October 26 - November 31, 2013
Percale Thrip was a video work made for the exhibition.
Stills from the video were printed in the publication, ‘The Nabokov Paper: An experiment in novel reading’, together with a written text '27. inflow, influerre'.
The project interprets Vladimir Nabokov’s famous class taught at Cornell University, New York State, ‘Literature 311-312: Masters of European Fiction’. Wylde focused on Nabokov’s pedagogic approach to Franz Kafka’s The Metamorphosis.
The video work highlighted Wylde’s exploratory approaches to ‘processes of performative assemblage(s)’, Wylde’s term articulating super-disciplinary foci including linguistics, philosophies, gender studies, social theories and art practices. Such approaches draw attention to accumulation, arrangement, movement, and that which is improvisatory, multi-modal or otherwise unpredictable., The work includes live actions for the camera and ‘recycling’ of image, text and audio data through methods of appropriative processes., Following two of Nabokov's questions on Kafka’s work, the project deconstructs, bothers and re-positions any hermetic hermeneutic by appropriating material from Wikipedia factualities and Google image searches. These online operations were disrupted with inappropriate of grammatically incorrect text input generative of aberrant juxtapositions, imagery and sound effects. The machine translation service, Google Translate, was used to dislocate text from one language into another. These ‘incorrect’ activities privilege modes of contingency, multiplicity and overlap to recover online image, sound and text data used to hybridise postproduction filters, transitions & generators. These ‘performative assemblages’ of ""things"" or pieces of ""things"" parallel ideas of non-linear historiographies, otherings and the hauntological queer of literature, performance art and film
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
Outside Bleak House: a transcript of sorts
No full textJane Topping was one of several artists who contributed to the exhibition 'The Nabokov Paper: an experiment in novel-reading'. The exhibition took as its starting point a now famous class taught during the 1950s by Vladimir Nabokov at Cornell University, New York State, entitled Literature 311-312: Masters of European Fiction. Nabokov’s approach to teaching literary reading was notoriously idiosyncratic. Convinced that one must teach the books themselves, not ideas or generalities, Nabokov would make diagrams of the floor plans of fictional buildings, map the routes taken by characters through the spaces of the novel, and draw items of clothing or furniture; he would also propose to track the course of a single letter, offer a visual representation of a stylistic device, and uncover what he called the mysteries of literary structures. In April 2012, ten artists, eight writers, six university professors, three translators, two architects, a librarian, a curator, a graphic designer, an illustrator and a computer engineer each selected a question on one of seven course texts: Jane Austen’s Mansfield Park, Charles Dickens’s Bleak House, Gustave Flaubert’s Madame Bovary, Robert Louis Stevenson’s Dr Jekyll and Mr. Hyde, Franz Kafka’s “The Metamorphosis”, Marcel Proust’s Swann’s Way, and James Joyce’s Ulysses. The responses they turned in take the form of writing, drawing, painting, film, graphs, indexes, lists, maps, newly designed editions, objects, scale-models, a lecture and a reading game. Contributors include: Graham Allen, James Arnett, Abraham Asfaw, Anne Attali, Katarzyna Bazarnik, Derek Beaulieu, Paul Becker, Christian Bök, Shanna Bosley, Stephen Bury, Chloe Briggs, Kate Briggs, Maurice Carlin, Jennifer Carr, Guillaume Constantin, Jamie Crewe, Véronique Devoldère, Lucia della Paolera, Craig Dworkin, Zenon Fajfer, Helen Frank, Céline Guyot, John Hamilton, Sharon Kivland, Gianni Lavacchini, Anna-Louise Milne, Forbes Morlock, Simon Morris, Amy Pettifer, Lucrezia Russo, Olivia Sautreuil, Nick Thurston, Jane Topping, Madeleine Walton, Patrick Wildgust, Robert Williams and Jack Aylward-Williams, Sarah Wood, Gillian Wylde
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
Translation With No Common Measure
No full textI am used to writing texts, but nothing prepared me for writing an original. In 2012, François Félix was putting together a publication for the Chinese Academy of Social Sciences of China on “the field of aesthetics in Switzerland today and contemporary Swiss research into aesthetics.” He invited me to write an article on the aesthetics of translation, an article publish in Chinese in a volume titled 瑞士当代美学和诗学研究. The first publication of this text was therefore its translation; it was only later that it appeared in its original French (François Félix [éd.], Xi Dong – Voies esthétiques, L’Âge d’homme, Lausanne, 2015). It was this non-coincidence between the language of my writing and the language of the publication that, for me, initiated the singular experience of writing an original: not one of the words I was writing would be read by the person I was addressing; by the same token, the text that they would be reading would for me remain unreadable. Writing words to be translated that would not be read, making sense of translated signs that one did not write. This strangeness is nothing more than the ordinary event that translation makes happen. I think of it as its most beautiful miracle: that by releasing something between languages, taking something away from both you and me, in a place between there and here, there can be an encounter. Now, thanks to Kate Briggs, the text has found a new writing and a new language; it has been returned to its initial mystery. Once again, its words have been detached from their inscription; they are floating now, incomparably. Listen there, look: other fish are keeping silent, other worms are making their homes in other apples, other voyagers are registering the depths of other nights and, between us, are singing again
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