1,720,982 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
The Experiments of the “Collective Improvisation” in the Early Creative Period of Stanley Lai: The Case of Bach Variations
No full text「集體即興創作」原為一九六○至七○年代歐美前衛劇場甚為風行的一種新
穎創作方式，在一九八○年代臺灣歸國學人移植引進之後，許多實驗劇場紛紛嘗
試以此為創發新劇的叩門磚。其中賴聲川的「表演工作坊」自創立以來，完全以
「集體即興創作」起家，至今已是國內首屈一指的職業劇團，而賴聲川本人儼然
已成為集體即興在臺灣的代表性人物。
縱觀賴聲川剛回國的前三年，他所採取的是相當自由、放任的即興創作。以
《我們都是這樣長大的》、《摘星》與《變奏巴哈》這三齣戲為例，在前段作
業時刻意不訂下明確結構，亦不預設任何戲劇形式和立場，單純地從一個概念
(concept)或主題(theme)出發，讓參與者共同腦力激盪，在排練場一同逐步
建構表演文本，再由導演針對即興出來的素材逐步進行刪減、拼貼、組合等精
緻化作業，最終完成精彩的作品。賴氏早期這樣的工作方式原非他個人獨創，
這套模式可溯源自約瑟夫．柴金(Joseph Chaikin)所領導的「開放劇場」(The
Open Theater)和深受其影響的雪雲．史卓克(Shireen Strooker)所屬的荷蘭
「阿姆斯特丹工作劇團」(Amsterdam Werkteater)。而在賴聲川早期的創作生
涯中，《變奏巴哈》(1985)被視為其最具實驗性，也是極富藝術性的作品。
本文的研究重心有二：(一)分析賴聲川是如何以「巴哈賦格」的作曲概念
為創作起始點，為《變奏巴哈》創造出一個「非敘事性」(non-narrative)、音樂性
濃厚的新型戲劇文體，挖掘集體創作的模式異於傳統編劇的特殊之處；(二)本
劇主題探討生命是一首變奏的巴哈，無常的人生是無法如數學般、理性工整的巴
哈音樂所能比擬的，而賴聲川又是如何尋覓一個演出形式來將此主題概念具象化
呢？上述問題皆反映了導演在創發《變奏巴哈》這一類抽象、隱晦的集體即興作
品時，所面臨的最大挑戰，也是本文的研究焦點所在。“Collective improvisation,” a collaborative method from the 1960-1970’s
western avant-garde theaters, was implanted to Taiwan in the 1980’s by those who
had studied abroad, and then utilized by numerous theaters in experimental new
productions. The “Performance Workshop Theatre,” directed by Stan Lai, which
applied these methods in productions, is now a leading theater company, with Lai the
method’s most representative figure in Taiwan.
Soon after returning from abroad, Lai adopted a relatively open, permissive,
improvisational method. In three productions from his first creative period, The
Days We Were, Reaching for the Stars, and Bach Variations, he avoided preconceptualized
structure or theatrical form, and sprang simply from a single concept
or theme, allowing all participants to contribute to build up the performance text.
Afterwards, with the abundant performing segments generated from collaboration
and improvisation, the director gradually either cut, collaged or combined them with
brilliant results in the completed piece. This production method is not Lai’s own
creation, however, as it can be traced back to “The Open Theater” led by Joseph
Chaikin and his direct follower, Shireen Strooker, with whom Lai collaborated, from
“Amsterdam Werkteater.” Bach Variations (1985), has long been regarded the most
experimental and artistic production among all of Lai’s early works.
The core research issue lies in these points: First, how Lai utilizes the
composition concept of Bach’s Fugue as a starting point to create a non-narrative,
extremely musical style of performance text for this play. Secondly, how the director
searched for this concept’s ideal performing style, to objectify the theme: full of
impermanence, life resembles variations of Bach’s Fugue, but is unlike Bach’s
mathematical, rational and neat music. These serious challenges for the director of
creations like Bach Variations, inspired by this kind of abstract and obscure method of
improvisation, stand as the main focus of this paper
The Frame-within-the-Frame: The Meta-cinematic Strategies of Filming Al Pacino's "Looking for Richard"
No full text莎士比亞為西方戲劇巨擘，其劇作從不刻意隱藏「扮戲」的觀念，名劇如《哈姆雷特》、《暴風雨》、《仲夏夜之夢》等更經常包含兩個以上的戲劇框架。雖然在其時代尚未出現「後設戲劇」的概念，但莎翁的原著常出現早期精彩的「後設人物」(角色多重扮演／角色假扮)、劇中劇、劇場生態與真實人生互文對照等。這些特質正好為二十世紀導演運用「後設電影」手法搬演莎劇舖了路。由於莎翁經常將「戲如人生」、「世界原是一舞台」的劇場概念攙入其劇本之中，莎劇搬上大螢幕遂自然有很大的後設潛力。一九四○年至二○○○年全球累積的莎劇改編電影不下千部，其中艾爾．帕西諾(Al Pacino)於一九九六年執導的《尋找理查》(Looking for Richard)創造出前所未見的新穎莎片類型；導演將莎劇的後設特徵局部放大變成整部電影的演出形式，完全解構莎劇原著文本，文本甚至變成浮光掠影般可有可無的框架，語言也被大幅刪減、層層解構，利用各種手法提醒觀眾現在正在觀看一部人工刻意打造的、虛擬的莎劇電影，最後留下隙縫處處的開放結局讓觀眾自由探索。本文的目的是探討艾爾．帕西諾獨特的莎片導演手法，挖掘他是如何激烈改寫莎翁原著，並運用中斷敘事、岔題、破碎剪接等手段來製造觀影閱讀障礙和防止觀眾入情，以及如何運用框中框的各式後設技巧，造成兩種或多種藝術形式並陳衝擊，衍生交相指涉的趣味，從而創造出「電影中的電影」之後設符碼功能。Shakespeare, the master of Western drama, never seems to care to conceal the idea of "playing" in his theatrical works. In Shakespeare's most well-known plays such as "Hamlet", "The Tempest", and "A Midsummer Night's Dream", two or more dramatic frames are often seen to be contained within one single play. Although the concept of "meta-drama" had not taken shape in Shakespeare's times, spectacular "metacharacter" (multiple role-playing), play-within-a-play, and intertextual juxtaposition of the theatrical circle and real life were already seen in his early original scripts. Those mentioned qualities pioneered the techniques of "meta-cinema" rendition of Shakespearean drama employed by directors in the twentieth century.Shakespeare often incorporates the concepts "life is like a play" and "the world is a stage" into his works, which endow Shakespearean screen plays with a tremendous potential for meta-cinema. During the 1940s to 2000s, there were over a thousand cinematic adaptations of Shakespeare's plays around the globe, among which "Looking for Richard", directed by Al Pacino in 1996, created a trailblazing category of Shakespearean cinema. Pacino expanded the partial meta-cinematic features of this play into the whole film, totally deconstructing the original text of Shakespeare, and turning it into a fleeting, next-to-nothing framework; the language was also extensively slashed and deconstructed layer by layer-ways to remind the audience that they are watching an artificially forged, made-up Shakespearean film. The cracks of the open ending leave the audience to unlimited exploration.The purpose of this paper is to analyze Al Pacino's outstanding directing techniques in this Shakespearean film: how he radically adapted Shakespeare's play from a "meta-" point of view, and how approaches like interrupted narration, diverging, and fragmentary editing were exercised to create obstacles for the audience in the viewing process and to prevent empathy. Moreover, the various meta-cinematic techniques like "frame-within-a-frame" in the film will be introduced in terms of how they produced a parallel and clash of two or more art forms to create an interesting inter-referencing effect, and yielded the function of meta-signifiers that reflexively allude to cinematic production itself
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
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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