1,720,954 research outputs found
PETRARCA: DE HOMBRE A NOMBRE
No full textThis article aims to criticize the traditional historical-biographical approach in the exegesis of the work of Francesco Petrarca, to propose, instead, the application of some properly poetic analysis tools, thus emphasizing the need for a reading that pays more attention to this type of function, rather than to the referential one, cause of many misunderstandings and an important loss of meaning that affects the entire Petrarchan message. To do this, the article will focus on proper names, a very common constituent element in the works of the poet of Arezzo, and knots of a semantic structure that is connotative, rather than denotative. An approach, that is, that disagrees with most interpretations, always oriented towards the consideration of them as mere referents of historical identities. Among these names, the poet\u27s own name takes a special value, as it should, which far from being the simple referential identification between writer, author, narrator, and protagonist, turns out to be rather the seed of a vast and articulated mythopoetic construction, precise vehicle of an important part of the poetic message that the author bequeaths to posterity and that holds to virtue and ethical and moral improvement.El presente artículo quiere criticar el tradicional enfoque histórico-biográfico en la exégesis de la obra de Francesco Petrarca, para proponer, en cambio, la aplicación de unas herramientas de análisis propiamente poéticas, enfatizando así la exigencia de una lectura que atienda más a este tipo de función, en lugar de la referencial, causa de muchos malentendidos y de una importante pérdida de significado que afecta todo el mensaje petrarquesco. Para ello, el artículo se centrará en los nombres propios, elemento constitutivo muy frecuente en las obras del poeta de Arezzo y nudos de un entramado semántico que es connotativo, más que denotativo. Un planteamiento, esto es, que discrepa de la gran mayoría de las interpretaciones, siempre orientadas hacia la consideración de ellos como meros referentes de identidades históricas. Entre estos nombres toma especial valor, como es debido, el propio nombre del poeta, que lejos de ser la simple identificación referencial entre escritor, autor, narrador y protagonista, resulta ser más bien la semilla de una construcción mitopoética vasta y articulada, vehículo preciso de una parte importante del mensaje poético que el autor legó a la posteridad y que atiene a la virtud y a la mejora ética y moral
Petrarca: De hombre a nombre
No full textThis article aims to criticize the traditional historical-biographical approach in the exegesis of the work of Francesco Petrarca, to propose, instead, the application of some properly poetic analysis tools, thus emphasizing the need for a reading that pays more attention to this type of function, rather than to the referential one, cause of many misunderstandings and an important loss of meaning that affects the entire Petrarchan message. To do this, the article will focus on proper names, a very common constituent element in the works of the poet of Arezzo, and knots of a semantic structure that is connotative, rather than denotative. An approach, that is, that disagrees with most interpretations, always oriented towards the consideration of them as mere referents of historical identities. Among these names, the poet's own name takes a special value, as it should, which far from being the simple referential identification between writer, author, narrator, and protagonist, turns out to be rather the seed of a vast and articulated mythopoetic construction, precise vehicle of an important part of the poetic message that the author bequeaths to posterity and that holds to virtue and ethical and moral improvement.El presente artículo quiere criticar el tradicional enfoque histórico-biográfico en la exégesis de la obra de Francesco Petrarca, para proponer, en cambio, la aplicación de unas herramientas de análisis propiamente poéticas, enfatizando así la exigencia de una lectura que atienda más a este tipo de función, en lugar de la referencial, causa de muchos malentendidos y de una importante pérdida de significado que afecta todo el mensaje petrarquesco. Para ello, el artículo se centrará en los nombres propios, elemento constitutivo muy frecuente en las obras del poeta de Arezzo y nudos de un entramado semántico que es connotativo, más que denotativo. Un planteamiento, esto es, que discrepa de la gran mayoría de las interpretaciones, siempre orientadas hacia la consideración de ellos como meros referentes de identidades históricas. Entre estos nombres toma especial valor, como es debido, el propio nombre del poeta, que lejos de ser la simple identificación referencial entre escritor, autor, narrador y protagonista, resulta ser más bien la semilla de una construcción mitopoética vasta y articulada, vehículo preciso de una parte importante del mensaje poético que el autor legó a la posteridad y que atiene a la virtud y a la mejora ética y moral
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
Francesco Petrarca: a work, a novel
Full text linkThis article aims to propose the need to approach Francesco Petrarca's Opera Omnia as a single text, fragmented into different individual works. I will demonstrate that its unity is not in extratextual, historical or biographical elements, but in the same poetic form, since the coherence that governs the structure is above all artistic. Moreover, such a form has to be read and considered as a novel. To define this text and justify the proposed choice, I will resort to the teaching of some renowned theorists and critics of contemporary literature because it is the poet himself who allows to refer to his work from an ever-new present. If it is true that Petrarca is a classical author, since he places himself in that rhetorical and poetic tradition, from there he addresses not only his contemporaries, but also ad posteros, which makes it possible to consider him ancient as well as contemporary, and as such it is possible to analyze him. In addition, if it is true that a classic is an author whose work never finishes saying what it has to say, the passage of time cannot be a penalty, but a resource with which his word lives in a constant present and that is why it is possible to read under a current hermeneutic lens.El presente artículo quiere proponer la necesidad de enfocar la Opera Omnia de Francesco Petrarca como un texto único, fragmentado en diferentes obras individuales. Demostraré que su unidad no demora en elementos extratextuales, históricos o biográficos, sino en la misma forma poética, ya que la coherencia que rige la estructura no es, sino artística. Más aún, que dicha forma tiene que ser leída y considerada como una novela. Para definir este texto y justificar la elección propuesta, recurriré a la enseñanza de unos renombrados teóricos y críticos de la literatura de la contemporaneidad porque es el mismo poeta quien permite referirse a su obra desde un presente siempre nuevo. Si es cierto que Petrarca es un autor clásico, ya que se coloca en aquella tradición retórica y poética, de allí se dirige no solo a sus contemporáneos, sino también ad posteros, y esto significa que es posible considerarlo antiguo a la vez que contemporáneo, y como tal es posible analizarlo. Además, si es cierto que clásico es aquel autor cuya obra nunca acaba de decir lo que tiene que decir, el paso del tiempo no puede ser una penalización, sino un recurso con el que su palabra vive en un presente constante y que por ello es posible leer bajo una óptica hermenéutica actual
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
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