1,720,953 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
Something in the "Middle": Writing Longing as a Form of Prolonged Closure
No full text71 leaves.Includes bibliographical references (leave 65-71).Writers siphon complicated emotions surrounding longing into numerous forms. Poetry and screenwriting poignantly narrate the concept of longing in their own respective manners. These formats allow for strong mimetic connections between audience and writing. Screenwriting involves mimesis in a structural sense, imitating qualities of life in a formulaic way. Poetry, on the other hand, abstracts these reality-based occurrences in a way that provides a looser formation of written, often unconscious, thought. With this fluidity, writers can release their innermost desires and falsified realities. There is an implicit relationship between longing as a form of prolonged closure and the writers’ exploitation of this emotion. Despite the formatting differences, there are many connections between poetry and screenwriting, and that directly plays a part in the ties to the formats’ mimetic reading. These poets and screenwriters write about prolonged closure to fulfill their own longing that can never be fulfilled within reality. In tandem with this reading on closure, I will also present my personal writings on the topic. I combined the structure conventions of poetry and screenwriting, mixing these genres in such a way to express this longing as a form of prolonged closure, because these forms flow together naturally for me. The script's third-person narration helps me view personal areas within my life from an omniscient perspective.
Looking deeper into this concept of a lack of fulfillment, the structure and format of the coinciding genres will be formative into my research. I will also be looking into the utilization of the hypothetical and toying with reality, the fragmented ambiguity within both genres, the form of longing itself, and closure’s circular narrative, all of which directly shape a readers’ interpretation of both poetry and screenwriting and the capabilities of defining both. I will look at poetry such as The Surrender Theory, a collection of poems that deals with this incredibly personal relationship with closure and how to find it, dealing with love and loss and how to cope with both. I will look at scripts for the films Eternal Sunshine of the Spotless Mind and (500) Days of Summer, both screenplays that agonize over the struggle of closure surrounding a relationship and portray vastly different ways to handle said processing. Finally, I will also extricate analytical pieces regarding the writing of closure and mimesis as a whole, from McConnell, Riffaterre, Hamburger, Meyer, Maran, Longenbach, and Carlson. These analyses can help articulate my own personal writing's deeper consciousness, the context within the piece, the idea of the “middle” – an ambiguous, ever-present feeling of floating between the start and end of something – and acknowledge how my writing falls within the previously stated structural premises' intertwining of the poetry and screenwriting genres to best exemplify longing’s prolonged closure.
Poetry often explores the dynamic between very personal, private thought and the transference of that to a more public, communal form of expression. Screenwriting, however, tends to lend itself to the visual – film, the use of actors, the culmination of music and cinematography – in a way that poetry does not. Poetry therefore becomes a much more private and individualistic medium whereas screenwriting is often meant to be broadcasted, which therefore creates a clashing dynamic when combined. However, I believe that both forms tend to pull on each other’s qualities more often than not. Poetry, although it may seem incredibly personal and private, tricks readers into the belief that it is in the rawest, most pure form of writing when, really, it is often a caricature based on reality. Screenwriting typically does the opposite. Scripts utilize these hypothetically fictional or overblown characters to hide behind the imaginative when exploiting reality. Many view screenwriting solely as pure falsity created from scratch, when typically, it sprouts from a pre-existing, private understanding of a truth based within reality. Together, this mixture of poetry and screenwriting merge private and public, persona versus personal, and create a highly ambiguous understanding of what reality the writer presents to those who read.
For my own personal writing, romance tends to creep into every piece. The romantic experiences that I found myself speaking on were open-ended, lacked closure, and generally left me feeling confused, isolated, and on a mountain of high highs and low lows. Poetry, and eventually screenwriting, allowed for me to process these feelings into words and scenes, using different characters and contexts to rewrite and relive my reality. Poetry delves into the very personal details, the crumbs, of a situation, whereas screenwriting stretches the subject in a way that feels much more closed-off due to the nature of a three-act structure. Having the elongated subject matter combined with the present, more intense moments provides a space where the "middle" gets convoluted. Breaks in this three-act structure creates confusion, disrupting what typically appears to be the "middle" to question the very nature of a "middle" at all. In doing so, writing these experiences in a hypothetical way, in a stream of consciousness, and sometimes even in intoxicated-esque manners allowed me to understand and work through how I felt about the situations presented before me in an unrestricted sense. Encapsulating my own personal frustration with the "middle" became an advantage, creating a narrative that blurs the lines between this reality and fantasy. Things such as playing out situations, overblowing supposedly mundane moments, and relating time to these scenarios became a common theme throughout my piece, especially regarding the poetic lines.
Poetry and screenwriting typically do not correlate. The forms clash, screenwriting normally a tightly structured format that heavily focuses on characters, dialogue, and plot, whereas poetry focuses on the abstract, a more imagery-based reimagining. Together, these forms push and pull at concepts like character, plot, detail, style, format, language, and overall general interpretation. Combining these differing facets within one piece was a challenge; balancing dialogue with imagery or symbolism with plot becomes a tricky line to walk. I experimented with visual media such as color (in using red as a way to express an unconscious aftermath of thoughts), the mixing of formats, and different symbol and character usage. I took traditional formats within screenplays and poetry and intertwined the two to create a nearly unrecognizable format to best relay my inner emotions and desires. Through combining the forms, it allowed me to best comprehend concepts of love, loss, closure, alcohol, addiction, physical and emotional intimacy, wishes and doubts, hypotheticals, fantasies, overthinking, and every other potential thought process present while in a relationship that never quite started or ended.THE CRITICAL ESSAY||INTRODUCTION||STRUCTURE AND FORMAT||THE HYPOTHETICAL AND STRETCHING REALITY||CONFUSING AND AMBIGUOUS WRITING||PROLONGED LONGING AND CLOSURE’S CIRCULAR, NON-LINEAR CONSISTENCY||THE “END”||REFLECTION||SOMETHING IN THE MIDDLE||WORKS CITED||ANNOTATED BIBLIOGRAPH
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
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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