1,720,978 research outputs found
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
À la recherche des figures disparues : les portraits de Vladimir Nabokov
No full textInternational audienc
Vladimir Nabokov's art of portraiture
No full textLa passion académique pour Vladimir Nabokov et son œuvre fictionnelle ne faiblit pas et pourtant son art du portrait demeure un sujet inexploré par la critique contemporaine dédiée à ce romancier de renom mondial. Bien que Gavriel Shapiro et Gerard de Vries ont fourni une remarquable recherche ces dernières décennies sur le rôle des arts visuels dans ses romans, il paraît que ce manque de recherche soit le fait d'un désintérêt pour le portrait en littérature en tant que sujet en soi. Défini selon Gérard Genette tout au plus comme une description ou du moins, sa partie la plus attachante, le portrait semble devenir désuet alors qu'au cours du même siècle Nabokov s'affirme en tant que romancier de renom mondial qui brosse à contre-courant, page après page, sa vaste galerie de portraits. Les fait que les courants artistiques ont une si grande influence sur le portrait littéraire depuis l'Antiquité peut être l'une des raisons de ce décalage. Nous savons que Nabokov n'était pas amateur des mouvements et des idéologies, et selon notre hypothèse, la raison pour cela peut être le fait qu'il a été témoin de l'émergence de l'art abstrait russe qui allait de pair avec la Révolution de 1917. Comme nous le savons, le portrait dans l'art abstractionniste et révolutionnaire disparaît du premier plan et du paysage artistique russe à l'aune de la Révolution Russe, qui coïncide avec l'exil de Nabokov. Plus précisément, c'est la figure qui n'est plus représentée en peinture et celle-ci inclut la figure du portrait, son sujet et son objet, l'individu. Par conséquent, les personnes qui étaient d'ordinaire les modèles des portraits, à savoir les riches aristocrates, comme c'était le cas de la famille Nabokov, se sont retrouvées exclues de leur patrie et de leurs traditions artistiques au début de 1917. À cause de l'art abstrait et du nouveau régime, les représentations des personnes comme Nabokov se sont retrouvées éliminées de l'art. Étant donné que le portrait a endossé de nombreuses fonctions depuis l'Antiquité, connues d'une personne cultivée comme Nabokov, notre but était de montrer que les réflexions de Nabokov au sujet du portrait, ainsi que l'exploration de celui-ci, sont tissées dans son approche artistique globale et étroitement liées à sa vision du vingtième siècle. Ainsi, le portrait ne saurait être réduit à un simple ornement de sa prose ou à un outil littéraire dont l'unique but serait de s'adonner au plaisir de décrire de belles jeunes filles. Par conséquent, notre travail continue sur les traces de Gavriel Shapiro et de Gerard de Vries qui ont donné un aperçu de l'éducation précoce de Nabokov en matière de l'art. Afin d'étayer nos arguments, notre corpus est composé de l'intégralité de ses dix-neuf romans publiés à ce jour. L'originalité de notre approche se trouve dans notre emploi des outils rhétoriques empruntés à la fois à la littérature et aux arts visuels qui vont nous permettre de conceptualiser son art du portrait à l'intersection de plusieurs formes artistiques en nous appuyant notamment sur les travaux de Georges Didi-Huberman, Jean-Luc Nancy, Gérard Genette, et Aristote, entre autres. En plus, les portraits nabokoviens qui détonnent au vingtième siècle pourront nous fournir une meilleure vision et une possible solution quant à la classification de son œuvre qui est toujours fréquemment discutée.The academic passion triggered by Vladimir Nabokov and his fictional oeuvre is not receding although his art of portraiture remains vastly unexplored in contemporary critical studies devoted to such a popular global novelist. Even though Gavriel Shapiro and Gerard De Vries have accomplished some tremendous research over the past decades on the role of the visual arts in his novels, it seems that the lack of research in Nabokov's art of portraiture is mostly due to some reluctance to explore portraits as an academic literary subject. Defined merely as a description, the most endearing type of narrative according to Gérard Genette, the portrait seems to fall out of use in the course of the same century when Nabokov asserts himself as a worldwide renowned author constituting his vast gallery of portraits against the tide, page after page.The fact that artistic movements have such a big influence on the art of portraiture - furthermore acknowledged since the Antiquity - may be one of the reasons for that discrepancy. We know that Nabokov was not fond of movements and ideologies and according to our hypothesis it might be because he witnessed the emergence of Russian abstractionist art movement that went hand in hand with the Russian Revolution. As we know, the portrait in Russian abstractionist and revolutionary art disappears from the forefront of Russian landscape in the wake of the Russian Revolution that coincides with Nabokov's exile. More precisely, it is the figure that is no longer represented in painting and that includes the figure of a portrait, its subject and object, the individual. Therefore, the people who previously used to sit to have their portraits drawn like wealthy aristocrats, as was the case with Nabokov's relatives found themselves both alienated from their home country and its artistic traditions in early 1917. As the result of both the abstractionist painting and the new regime, the representations of people like Nabokov were cleansed from art. Considering that the portrait has assumed so many functions ever since the Antiquity which a well-educated person like Nabokov must have known, our aim is to show that Nabokov's reflections on portraits and his explorations of them are woven in his global artistic approach, tightly related to his insights on the 20th century, and cannot be regarded as a mere ornament to his prose or some erotic literary device to give way to the pleasure of depicting beautiful young girls. Therefore, our work continues in the footsteps of Gavriel Shapiro and Gerard De Vries who both gave us the overview of Nabokov's early education in art and his interest for it.In order to buttress our arguments, our corpus is composed of all of his nineteen novels published to this day. The originality of our approach is that it combines the rhetorical devices borrowed from literature and the visual arts at the same time, which will allow us to conceptualize the art of portraiture at the crossroads of various art forms with the help of Georges Didi-Huberman, Jean-Luc Nancy, Gérard Genette, and Aristotle among others. In addition, Nabokov's incongruous twenty-century portraits may provide a further insight and a possible solution for the generic classification of his work, which is still frequently discussed
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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