1,720,964 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
Un'inedita commedia fiorentina : La Girandola di Agnolo da Querela, edizione critica e commento
No full textThis thesis deals with the critical edition of a hitherto unknown text from the theatrical scene of the second half of the 16th century: Agnolo da Querela's Girandola. Composed in Florence between 1569 and 1575, this comedy is characterized by the interweaving of different plots and is particularly important for the active features of its tradition, which are able to highlight particularly well the way in which a theatrical text of this period was treated in order to adapt it to different performances and, consequently, to different audiences. Moreover, the emergence of this text has made it possible to detect how an important playwright of the period, Giambattista della Porta, rewrote it, adapting it to his own dramaturgical aesthetic. This discovery thus provides important clues to the circulation of dramaturgical texts in the Italian peninsula, and opens up new avenues of research into the crossover of these works.The thesis is divided into three chapters, the critical edition of the text, three appendices and a bibliography. The first chapter presents the main features of the play, its relationship with other earlier and contemporary texts, and some of the "representational" differences between the two witnesses to the text. The second chapter will explore the relationship with Giambattista della Porta's Fantesca, closely comparing the two texts to show where and how the Neapolitan playwright worked to render his own comedy. The third chapter is devoted to the note to the text of the edition, presenting the witnesses and the results of the collation work, in order to restore a philologically plausible representation of the historical movements. After the note to the text, the critical texts of the two editions are presented, followed by some working materials in the appendix (syntax map of the play and collation tables).Ce travail de thèse porte sur l'édition critique d'un texte jusqu'à présent inconnu de la scène théâtrale de la seconde moitié du XVIe siècle : la Girandola d'Agnolo da Querela. Il s'agit d'une comédie composée à Florence entre 1569 et 1575, caractérisée par l'entrelacement de différentes intrigues et particulièrement importante pour les caractéristiques actives de sa tradition, qui sont en mesure de mettre particulièrement bien en évidence la façon dont un texte théâtral de cette période a été traité afin de l'adapter à différentes représentations et, par conséquent, à différents publics. En outre, l'émergence de ce texte a permis de détecter comment un dramaturge important de cette période, Giambattista della Porta, l'a réécrit en l'adaptant à sa propre esthétique dramaturgique. Cette découverte fournit ainsi des indices importants sur la circulation des textes dramaturgiques dans la péninsule italienne et ouvre de nouvelles perspectives de recherche sur les croisements de ces œuvres.La thèse est divisée en trois chapitres, l'édition critique du texte, trois annexes et une bibliographie. Le premier chapitre présente les principales caractéristiques de la pièce, sa relation avec d'autres textes antérieurs et contemporains, ainsi que certaines différences "de représentation" entre les deux témoins du texte. Le deuxième chapitre explorera la relation avec la Fantesca de Giambattista della Porta, en comparant étroitement les deux textes, afin de montrer où et comment le dramaturge napolitain a travaillé pour rendre sa propre comédie. Le troisième chapitre est consacré à la note au texte de l'édition, avec la présentation des témoins et des résultats du travail de collation, afin de restituer une représentation philologiquement plausible des mouvements historiques. Après la note au texte, les textes critiques des deux éditions sont présentés, suivis de quelques matériaux de travail en annexe (carte syntaxique de la pièce et tableaux de collationnement)
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
Un'inedita commedia fiorentina : La Girandola di Agnolo da Querela, edizione critica e commento
No full textThis thesis deals with the critical edition of a hitherto unknown text from the theatrical scene of the second half of the 16th century: Agnolo da Querela's Girandola. Composed in Florence between 1569 and 1575, this comedy is characterized by the interweaving of different plots and is particularly important for the active features of its tradition, which are able to highlight particularly well the way in which a theatrical text of this period was treated in order to adapt it to different performances and, consequently, to different audiences. Moreover, the emergence of this text has made it possible to detect how an important playwright of the period, Giambattista della Porta, rewrote it, adapting it to his own dramaturgical aesthetic. This discovery thus provides important clues to the circulation of dramaturgical texts in the Italian peninsula, and opens up new avenues of research into the crossover of these works.The thesis is divided into three chapters, the critical edition of the text, three appendices and a bibliography. The first chapter presents the main features of the play, its relationship with other earlier and contemporary texts, and some of the "representational" differences between the two witnesses to the text. The second chapter will explore the relationship with Giambattista della Porta's Fantesca, closely comparing the two texts to show where and how the Neapolitan playwright worked to render his own comedy. The third chapter is devoted to the note to the text of the edition, presenting the witnesses and the results of the collation work, in order to restore a philologically plausible representation of the historical movements. After the note to the text, the critical texts of the two editions are presented, followed by some working materials in the appendix (syntax map of the play and collation tables).Ce travail de thèse porte sur l'édition critique d'un texte jusqu'à présent inconnu de la scène théâtrale de la seconde moitié du XVIe siècle : la Girandola d'Agnolo da Querela. Il s'agit d'une comédie composée à Florence entre 1569 et 1575, caractérisée par l'entrelacement de différentes intrigues et particulièrement importante pour les caractéristiques actives de sa tradition, qui sont en mesure de mettre particulièrement bien en évidence la façon dont un texte théâtral de cette période a été traité afin de l'adapter à différentes représentations et, par conséquent, à différents publics. En outre, l'émergence de ce texte a permis de détecter comment un dramaturge important de cette période, Giambattista della Porta, l'a réécrit en l'adaptant à sa propre esthétique dramaturgique. Cette découverte fournit ainsi des indices importants sur la circulation des textes dramaturgiques dans la péninsule italienne et ouvre de nouvelles perspectives de recherche sur les croisements de ces œuvres.La thèse est divisée en trois chapitres, l'édition critique du texte, trois annexes et une bibliographie. Le premier chapitre présente les principales caractéristiques de la pièce, sa relation avec d'autres textes antérieurs et contemporains, ainsi que certaines différences "de représentation" entre les deux témoins du texte. Le deuxième chapitre explorera la relation avec la Fantesca de Giambattista della Porta, en comparant étroitement les deux textes, afin de montrer où et comment le dramaturge napolitain a travaillé pour rendre sa propre comédie. Le troisième chapitre est consacré à la note au texte de l'édition, avec la présentation des témoins et des résultats du travail de collation, afin de restituer une représentation philologiquement plausible des mouvements historiques. Après la note au texte, les textes critiques des deux éditions sont présentés, suivis de quelques matériaux de travail en annexe (carte syntaxique de la pièce et tableaux de collationnement)
Chapter La bisbetica domata: proposta di lettura di Decameron IX 9 attraverso i proverbi e i novellieri toscani tra Tre e Quattrocento
No full textThe essay focuses on the analysis and the use made by G. Boccaccio of a proverb inside Decameron IX.9. After a brief overview of the use of proverbs and auctoritates in the medieval rhetorical treatise and a summary of the studies over Boccaccio's utilization of proverbs, it will be tried to give an interpretation over the proverb in Decameron IX.9. Then it will be analyzed the comment over this proverb made by Raimondo d’Amaretto Mannelli and some rewriting of this novella by Franco Sacchetti, Giovanni Fiorentino and inside the Motti e Facezie del Piovano Arlotto
Un'inedita commedia fiorentina : La Girandola di Agnolo da Querela, edizione critica e commento
No full textThis thesis deals with the critical edition of a hitherto unknown text from the theatrical scene of the second half of the 16th century: Agnolo da Querela's Girandola. Composed in Florence between 1569 and 1575, this comedy is characterized by the interweaving of different plots and is particularly important for the active features of its tradition, which are able to highlight particularly well the way in which a theatrical text of this period was treated in order to adapt it to different performances and, consequently, to different audiences. Moreover, the emergence of this text has made it possible to detect how an important playwright of the period, Giambattista della Porta, rewrote it, adapting it to his own dramaturgical aesthetic. This discovery thus provides important clues to the circulation of dramaturgical texts in the Italian peninsula, and opens up new avenues of research into the crossover of these works.The thesis is divided into three chapters, the critical edition of the text, three appendices and a bibliography. The first chapter presents the main features of the play, its relationship with other earlier and contemporary texts, and some of the "representational" differences between the two witnesses to the text. The second chapter will explore the relationship with Giambattista della Porta's Fantesca, closely comparing the two texts to show where and how the Neapolitan playwright worked to render his own comedy. The third chapter is devoted to the note to the text of the edition, presenting the witnesses and the results of the collation work, in order to restore a philologically plausible representation of the historical movements. After the note to the text, the critical texts of the two editions are presented, followed by some working materials in the appendix (syntax map of the play and collation tables).Ce travail de thèse porte sur l'édition critique d'un texte jusqu'à présent inconnu de la scène théâtrale de la seconde moitié du XVIe siècle : la Girandola d'Agnolo da Querela. Il s'agit d'une comédie composée à Florence entre 1569 et 1575, caractérisée par l'entrelacement de différentes intrigues et particulièrement importante pour les caractéristiques actives de sa tradition, qui sont en mesure de mettre particulièrement bien en évidence la façon dont un texte théâtral de cette période a été traité afin de l'adapter à différentes représentations et, par conséquent, à différents publics. En outre, l'émergence de ce texte a permis de détecter comment un dramaturge important de cette période, Giambattista della Porta, l'a réécrit en l'adaptant à sa propre esthétique dramaturgique. Cette découverte fournit ainsi des indices importants sur la circulation des textes dramaturgiques dans la péninsule italienne et ouvre de nouvelles perspectives de recherche sur les croisements de ces œuvres.La thèse est divisée en trois chapitres, l'édition critique du texte, trois annexes et une bibliographie. Le premier chapitre présente les principales caractéristiques de la pièce, sa relation avec d'autres textes antérieurs et contemporains, ainsi que certaines différences "de représentation" entre les deux témoins du texte. Le deuxième chapitre explorera la relation avec la Fantesca de Giambattista della Porta, en comparant étroitement les deux textes, afin de montrer où et comment le dramaturge napolitain a travaillé pour rendre sa propre comédie. Le troisième chapitre est consacré à la note au texte de l'édition, avec la présentation des témoins et des résultats du travail de collation, afin de restituer une représentation philologiquement plausible des mouvements historiques. Après la note au texte, les textes critiques des deux éditions sont présentés, suivis de quelques matériaux de travail en annexe (carte syntaxique de la pièce et tableaux de collationnement)
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