1,720,980 research outputs found
Historia de la técnica pianística. Luca Chiantore [reseña de libro]
No full textReseña de: Chiantore, Luca. Historia de la técnica pianística. Madrid: Alianza Música, 200
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
Eugenio montale y la Atlàntida
Full text linkOn the day of its controversial staged premiere at the Teatro alla Scala in Milan, 18 June 1962, Atlàntida was not sung in Catalan as originally intended by the unfinished score left by Falla, but rather in an Italian rhythmic version, whose author was none other than Eugenio Montale, one of the foremost poets of the twentieth century and Nobel Prize in Literature in 1975. This article examines how the limitations imposed by the need to adapt to an already existing composition transform the apparent incompatibility of Verdaguer’s exuberant Catalan and Montale’s measured and incisive Italian into a space of creativity capable of reconfiguring the varied territorial, mythical, and religious references in the libretto, as well as providing new rhetorical and symbolic implications to intervals and harmonic progressions. By overcoming the strong syllabic disparity between the two languages, Montale dilutes the symmetry of the original alexandrines, bringing a plasticity to the melody that aligns more closely with the Italian operatic tradition, while carving out the sound of each word with his characteristic phonetic virtuosity. Although such an initiative might seem unimaginable today, the two different recordings made in 1962 and 1963 of Atlàntida in this Italian version demonstrate the potential for a translation of this calibre to accommodate highly varied renderings of the work. In an era like ours, so open to creatively reinterpreting its own past, this forgotten version may be set for renewed interest.El día de su controvertido estreno en forma escénica en el Teatro alla Scala de Milán, el 18 de junio de 1962, Atlàntida no fue cantada en catalán, según lo previsto por la partitura dejada inacabada por Falla, sino en una versione ritmica italiana cuyo autor es nada menos que Eugenio Montale, uno de los principales poetas del siglo XX y premio Nobel de Literatura en 1975. Este artículo analiza cómo las limitaciones impuestas por la necesidad de adaptarse a una composición ya existente convierten la aparente incompatibilidad del catalán exuberante de Verdaguer y el italiano austero e incisivo de Montale en un espacio de creatividad capaz de reconfigurar las continuas referencias territoriales, míticas y religiosas del libreto, así como de proporcionar nuevas implicaciones retóricas y simbólicas a intervalos y giros armónicos. Sorteando la fuerte disparidad silábica entre ambas lenguas, Montale diluye la simetría de los alejandrinos originales aportando a la melodía una plasticidad más cercana a la tradición operística italiana, a la vez que labra la sonoridad de cada palabra mediante su característico virtuosismo fonético. Aunque hoy una iniciativa semejante parezca inimaginable, las dos distintas grabaciones que se realizaron, en 1962 y 1963, de la Atlàntida en esta versión italiana son una muestra del potencial que una traducción de este nivel tiene para adaptarse a interpretaciones muy dispares de la obra. En una época como la nuestra, tan abierta a reinterpretar creativamente su propio pasado, su olvido podría estar llegando a su fin
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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