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Novalis, Nietzsche, and the Rhetoric of Enchantment
No full textThis work reopens the question of Nietzsche’s relationship to Early German Romanticism through critical readings of moments of enchantment in the writings of Novalis. It unveils the seemingly conciliatory gestures of enchantment as moments of discord between subject and figure, self and world. These readings attend to the tropes, ironic registers, and performative dimensions of texts that occlude rather than facilitate a strict demarcation between Novalis and Nietzsche. That the thinkers in question are shown to anticipate their critical reception is consonant with the present work, which, in foregrounding both the entanglement between self and language and the materiality of reading, attunes itself to enchantment as the manifestation of compulsion, imposition, and ecstasy.
The principle of continuity that allows Nietzsche and Novalis to be read and to read each other is asceticism. Its secret ally, following Nietzsche, is the absolute will to truth. In its function of assigning an aim to the aimless, asceticism provides for both truth and its incessant undermining, for form as well as flight. It engenders a mode of expression that is only as true as it is provisional. Through a reading of Nietzsche’s Apollonian and Dionysian as the collision of epistemological anxiety and its anthropological stopgap, this work advocates an operation of double-reading that views the conceptual sphere itself as palliative and the nonconceptual as the possibility of an ascetic flight from ossification. In setting such double-reading into motion, this work traces the subterranean relations between Novalis and Nietzsche that allow the proto-Modernism of the former to interrogate the residual Romanticism of the latter.
An erudite study that combines problems of representation with discussions of the theater, painting, and music, this dissertation seeks to reenchant questions of interpretation and reading that constantly threaten to petrify into all-too-self-evident truths
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
To be Pitied or Condemned: The Role of the Self in Oedipus Rex and Disgrace
No full text47 pagesThis thesis analyzes the texts of Disgrace and Oedipus Rex to compare the protagonists and the message conveyed to audiences through the downfalls of each. To compare the two pieces of literature, I utilize terms from Greek Tragedies as well as their contemporary counterparts. Both Greek tragedies and postcolonial novels endeavor to educate their audiences through stories. When discussing Oedipus Rex I analyze the evil acts Oedipus commits that anger the gods (hubris), as well as his fatal flaw of character that leads to him committing these acts (hamartia). In my analysis of Disgrace, I discuss how David’s arrogant personality coupled with his ignorant views that linger from apartheid contribute to his fall from grace. Oedipus is a character who suffers misfortune due to no fault of his own. His suffering evokes pity from the audience since he is a righteous individual whose human error has led to his fall from grace. Where Oedipus embodies the Aristotelian tragic hero, David is the antithesis of it. David’s actions are guided by his unconscious stereotypes towards the role of women and blacks in post-apartheid South Africa. While his downfall may display many similarities to the fall of Oedipus in Oedipus Rex, his suffering reveals the dangers of maintaining attitudes that were widespread across white communities in South Africa during apartheid
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
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
Of Non-vital Interest: Art, Mimicry, and the Phenomenon of Life
Get PDF21 pagesMy aim in this essay is to explore certain parallels—concerning anthropomorphism—in the work of Roger Caillois, Hans Jonas, Theodor Adorno and Sigmund Freud. Both Caillois (a thinker closely connected to French Surrealism and an important source for Jacques Lacan) and Jonas (philosopher and one-time student of Heidegger) take issue with the ban on anthropomorphism—an anathema that is the legacy of Western science. Part of the thesis in Jonas’ major work, The Phenomenon of Life, is that freedom is not exclusively a human quality but a potential within the simplest organic forms, even within inorganic matter. Anthropomorphism may be the legacy of a primitive stage in human development in which the whole of creation was endowed with a soul, but this attitude, Jonas argues, is the more natural one. Whereas in the early phases of humanity death was the stranger in a world that was fundamentally alive, modern thinking made life the riddle within a world of neutral matter and mechanistic principles. Freud’s own theory of the death-drive (“an urge inherent in organic life to restore an earlier state of things which the living entity has been obliged to abandon under the pressure of external disturbing forces”) seems quite consistent with the primacy of death over life instituted by modern thought. I have a general interest in comparing Freud’s theory of the death drive, the aim of which is the restoration of an original equilibrium, with music, whose traditional structure (via the cadence) is to relieve tonal tension through a restoration of the keynote (Grundton). This bears upon the problem of anthropomorphism in that “classical” music since the seventeenth century has cast expression in terms of simulated human emotions: we hear music and perceive love, longing or fear, not to mention (in the case of pastorale) the “cheer” of birdsong or the “rage” of a thunderstorm. Adorno’s critique of this tradition, in which true expression is replaced by mere images of expression, theorizes what he calls a “tendency of the material,” extolling the composer whose sheer mastery of technique enables the material to go where it “wants” to go. What Adorno means by “material” is not merely the inventory of sounds available to the musician but the historical experience sedimented within musical convention. Nonetheless, I would like to attempt an argument whose parameters are Adorno’s “tendency of the material” and Jonas’ idea that freedom must be conceived as a “genuine potency” within physical substance
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