1,720,988 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
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
Antropologia e iconologia
No full textLa presenza iconica indica la presenza come immagine o per mezzo di un’immagine.
Il termine denota il contrasto con la presenza reale o fisica. Da tempo mi sono interessato
alla presenza e all’assenza come condizioni per la produzione di immagini, e spero
di posizionare la nozione di presenza iconica nel contesto di una generale teoria delle
immagini che intendo proporre con il termine di iconologia. Ho introdotto l’antropologia
nel campo delle immagini – intendendo con essa la pratica umana del creare e
prestare attenzione alle immagini – prendendo altresì esempi dalla sfera religiosa.
Spero di offrire una visione più concreta di questi assunti teorici attraverso diversi
esempi che discuterò nel mio articolo.Iconic presence means presence as image or by images. The term denotes the contrast
to real presence or physical presence. For a long time I have been interested in presence
and absence as conditions for the production of images and I hope to place the notion
of iconic presence in the context of a general theory of images which I intend to propose
with the term iconology. I have introduced anthropology – meaning the human
practice of fabricating images and using images as items of attention – into the realm
of images, and my examples are also taken from the sphere of religion. I hope to give
a more concrete view of these theoretical concerns through a number of examples
which I will discuss in my paper
Queer Tidalectics: Sea-change in Giovanni’s Room by James Baldwin
No full textNel suo secondo romanzo Giovanni’s Room (1956), spesso menzionato tra i testi che
ricostruiscono una genealogia queer, lo scrittore afroamericano James Baldwin presenta
gli effetti disastrosi di ciò che Jafari S. Allan ha definito come l’‘eteropatriarcato razzializzato
e classista occidentale’ (Allan 2012).
Sulla base della feconda combinazione di due paradigmi teorici – il concetto di ‘tidalectics’
di Edward Kamau Brathwaite e la produzione teorica intorno alle temporalità
queer (in particolare Halberstan 2005; Muñoz 2009; Freeman 2010) – questo articolo
intende esplorare il modo in cui, attraverso l’utilizzo dell’immaginario acquatico come
solvente di confini e categorie, Baldwin cerca un linguaggio adatto ad esprimere un’alternativa
a questo sistema normativo ed oppressivo. La ‘tidalectics’ (una dialettica delle
maree) di Brathwaite, infatti, nel suo ispirarsi al moto delle maree per esprimere una
temporalità ciclica che resiste qualsiasi chiusura, si pone in parallelo alla resistenza
che le temporalità queer oppongono alla ‘crononormatività’, ossia allo strutturarsi della
vita degli individui secondo i ritmi della nascita, dell’accumulazione di capitale, della
riproduzione e della morte.
Nel romanzo di Baldwin, che si struttura intorno al triangolo amoroso che vede il
protagonista (David) coinvolto in una relazione con la sua fidanzata (Hella) e con l’italiano
Giovanni, è soprattutto la camera che David condivide con Giovanni che finisce
per assumere connotazioni acquatiche. La stanza, dunque, attraverso il paradigma teorico
offerto dalla ‘queer tidalectics’ (dialettica delle maree queer), sarà letta come luogo
di trasformazione continua che permette a Baldwin di trovare una modalità di espressione
e riconoscimento del desiderio queer, scardinando al contempo la linearità della
storiografia occidentale e dell’essenzialismo di genere.In his second novel Giovanni’s Room (1956), often quoted among the texts reconstructing a queer genealogy, the African American writer James Baldwin presented the damaging effects of what Jafari S. Allan has termed Western classed and ‘racialized heteropatriarchy’ (Allen 2012). Drawing on the fruitful conflation of two theoretical paradigms – namely Edward Kamau Brathwaite’s concept of ‘tidalectics’ and the work on queer temporalities (Halberstan 2005; Muñoz 2009; Freeman 2010) – this paper aims at exploring how, through the use of aquatic imagery as a dissolvent of borders and categories, Baldwin tries to find a language to express an alternative to this normative and oppressive system. Brathwaite’s ‘tidalectics’ (a ‘tidal dialectic’), that draws on the back and forth movement of the tides to express a cyclical temporality which resists closure, parallels the resistance of queer temporalities to ‘chrononormativity’, that is the structuring of individuals’ lifetime according to the rhythms of birth, accumulation of wealth, reproduction, and death. In Baldwin’s novel, shaped around the ménage à trois which sees the male protagonist (David) involved with his American fiancée (Hella) and his Italian secret lover (Giovanni), it is especially the room that David shares with Giovanni which assumes aquatic connotations. The room then, through the paradigm offered by the ‘queer tidalectics’, will be read as an ever-changing place of transformation that enables Baldwin to find a site for the expression and recognition of queer desire, while disrupting the linearity of Western historiography and gender essentialism
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