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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
Musical Identities: Life-stories of musicians and bands of the Greek independent rock scene.
No full textA. In general The aim of this research (conducted in Athens between 1990 and 1993) is to investigate the meaning and function, at a mainly psychosocial level, of musical activity in the context of the Greek independent rock scene. Musical activity is defined as the creation and formation of a music group in order to publicize this music and achieve social recognition by the micro-environment of musicians and, if possible, by a wider audience. As for the independent stage, it is a psychological, social and evaluative space: the various participants (musicians, audiences, room owners, record producers, concert organizers, etc.) are recognized as members of this category without necessarily knowing each other and have various common customs, rituals and references. Among the latter, the capital position is occupied by self-positioning outside the major mass cultural currents (mainly rock) and the (more or less "militarized") rejection of these currents. B. Theoretical and methodological conditions I wanted to look for the meaning of musical activity in the articulation of the mental and social factors that led individuals to it. Musical activity is produced by a specific course in which elements are intertwined mentally, family, culturally and socially. The method used in collecting the material is life storytelling. This method favors the emergence of all the aforementioned aspects of human reality, as it is placed at the level of individual-society interaction and allows the expression of the (subjective) conception of social reality. The eighteen people who told me their story are not representative of a population that is described with statistical clarity. What stands out here is the relief presentation of the psychosocial dynamics that determine their path. The latter has two aspects: (a) a production aspect of the subjects (causal mental, cultural, social order) and (b) a "feedback" aspect, energy on the system, (less or more creative) self-production of the subjects. C. Overall presentation - Findings The first chapter presents an overview of the literature on the issue of both rock music (history, sociological approaches) and other areas that are either directly related to it (mass and youth culture and vendettas, margin and active minorities), or can enrich its understanding (mainly anthropological dimensions and perspectives). The second chapter presents some information regarding rock music in Greece (penetration, installation and treatment of this type of music), as well as regarding the independent scene itself (demarcation, description of its main "institutions": musicians and bands, places and concert modes, record companies, special independent press). This chapter also attempts to regard the independent scene as a "tribe" (according to Maffesoli's theoretical model), that is, as a sociability or "existential network". The third chapter presents in general the position of the biographical approach in the social sciences and its main principles. The issue of mediation groups (which allow the individual to experience his / her individuality and to register in the social environment) and the contribution to the psychosocial perspective are also discussed. Finally, the methodological and "practical" peculiarities in the conduct of this research are presented. Regarding now the major axes that emerge from the analysis of the narratives: The fourth chapter is dedicated to musical models and their use by the listener - first - and then musician. This use is dual and complementary: - on the one hand, the musical references (musical preferences) play a primary role in the formation of the musical-social identity of the listener (they lay the foundation for the further development of his musical identity), - on the other hand, this listener, answering the call of the music creation, goes beyond both the capacity of the listener (level of identity), as well as these references themselves (stylistic level). The result is the formation of the music-social identity of the musician-creator (incomparable, unique, according to the principles of the theory of social originality) with his own personal style of music creation (based on musical references and at the same time exceeds them). The fifth chapter describes the way in which musicians negotiate the issue of the possibility of completely spontaneous self-expression (undiminished core of "rock ideology") through the use of the music code (which largely refers to the ability to play the band's music and guarantees its social survival). Music creation,like music production and activity in general, they appear here as a symbolic meeting place of the two former. In fact, the goal of the musician is to put the code in the service of spontaneity, so that the musical activity is not experienced as a enslavement of desire by the rule. The sixth chapter describes the social combinations (musical-social experimentation that begin at the level of the company with criteria not necessarily of a musical nature) which end in the consolidation of the specific group-group, "we". The latter is described as an entity that transcends the individuals that make it up by allowing them to identify with each other (love relationship), identify with it (the band is power) and refer to it as an organism, whose existence and formation imply organization, interactions and group experiences. The seventh chapter presents the issues related to the notification of music and the social existence of the band in general. The musicians here project their most important ideal: to be placed outside of commercial criteria and at the same time to experience the absolute exchange with their audience. The audience, especially at the time of the concert, is a place of collective identification and a mirror in which the band imagines the ultimate reflection of its every movement and creative act, culminating in the merging and abolition of the roles of musician and listener. However, there is a desire to "control" this somewhat chaotic communication, which refers to a willingness to negotiate with the reality and the problems of (each) social contract. The eighth chapter proposes a broader model of understanding music activity as an attempt to take our subjects out of the world of Others (where they existed as children and as music consumers): enrolling in society through the clothing of the musician's identity is a revision of re-formulation (with possible repetition) of the relationship between the generations, a will to integrate into reality in general - even if the relationship with it is defined somewhat contradictory and / or negative, ie through the will to maintain self-sufficiency and belief that the present identity of the subject is eternal. In conclusion, this research attempts to describe aspects of the psychological, cultural and social dynamics that identify a series of psychosocial processes that lead our subjects from a position of hetero-defined listener-consumer to a position of independent and self-determined creator. The formation of a band, the social existence within the independent scene, the musical identity in short, is not just a "professional" goal, but the principle that governs the organization of the narration of the personal (but also group) history of the subjects and gives coherence to the (on mental, symbolic and social) level "adventures" of their existence. The history of this musical identity is the expression of a simultaneous effort - autonomy in relation to the redefinition and dependence experienced at the mental and family level (child, adolescent) and socio-cultural (listener, passive recipient), - and registration in a new, "socialized", space of existence (albeit relatively "protected" and "protective"), the independent scene, which (supposedly) allows the realization of dreams and, above all, integration into reality
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
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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