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Concha LOMBA SERRANO. Bajo el eclipse. Pintoras en España, 1880-1939
No full textEs reseña de:
Bajo el eclipse. Pintoras en España, 1880-1939.
Concha Lomba Serrano
Madrid : CSIC, 2019Universidad Pablo de Olavid
Marisa Roësset, en la frontera (1924-1939)
No full textLa misoginia que caracterizó la España del primer tercio del siglo XX y las graves dificultades que las artistas debieron sortear durante esos años definen el contexto en el que se inserta nuestra investigación, cuyo objetivo esencial es analizar la trayectoria artística de Marisa Rosset y Velasco desde que en 1924 se dio a conocer en la Exposición Nacional hasta 1939, fecha en la que concluyó la guerra civil y acabó la etapa esencial de su producción. Durante este período la artista no solo practicó una moderna figuración sino que alcanzó un elevado grado de profesionalización, hechos estos que hicieron de ella una de las pintoras de mayor calidad y más avanzadas de su época y sobre los que este trabajo centra la atención con el propósito de paliar una inmerecida laguna historiográfica.</jats:p
Anime bestiole. Esistenze futuriste e surrealiste delle artiste italiane attorno a Wanda Wulz
No full textSe, come scrive Roger Fry trattando delle immagini di Julia Margareth Cameron, fotografa pittorialista che fu ava di Virginia Woolf, “il ruolo della fotografia è incerto e scomodo”, evocando la viva discussione che al tempo si spendeva sul suo status di arte, la questione ambigua che si pone relativamente all’aura di fotografa futurista assunta da Wulz, in quanto inserita in quel milieu del gruppo giuliano capeggiato dal poeta Bruno Giordano Sanzin, riguarda la possibilità di estendere tale designazione, dando merito alle sperimentazioni di questa pioniera
Carol Rama e Louise Bourgeois tra anni Trenta e Quaranta, un confronto possibile, in Le donne nell’ecosistema europeo delle arti (1800-1945), a cura di Concha Lomba Serrano, Rafael Gil Salinas, Cristina Costanzo
No full textIl contributo indaga le coincidenze e le differenze nella produzione artistica di Carol Rama e Louise Bourgeois in virtù della loro costante attenzione al corpo, al trauma e all’autobiografia e si concentra sulla loro produzione degli anni Trenta e Quaranta del Novecento che, a lungo, è rimasta all’ombra della loro più nota ricerca maturata dagli anni Sessanta in poi, quando si assiste a un cambiamento profondo del ruolo dell’artista-donna.
Questo intervento include, tuttavia, un’incursione negli anni compresi tra il 1979 e il 1982, che si rende necessaria ai fini di una più ampia comprensione della loro produzione giovanile, grazie a importanti riscoperte.
Le risonanze tra le ricerche anticonformiste e libere di Carol Rama
e Louise Bourgeois, configuratesi come tali già negli anni Quaranta e sempre
orientate al dialogo con le ricerche successive, e in particolare con quelle sviluppate tra gli anni Settanta e Ottanta del Novecento, infatti, sono state interessate da una continua rilettura, grazie anche alla nuova attenzione riservata alle ricerche femminili da grandi protagoniste della critica d’arte quali Lea Vergine e Lucy Lippard in un prolifico e vitale ecosistema delle arti.The contribution investigates the coincidences and differences in the artistic production of Carol Rama and Louise Bourgeois, who share a constant attention to the body, trauma and autobiography. It focuses on their production from the 1930s and 1940s which, for a long time, remained in the shadow of their more famous research developed from the 1960s onwards, when there was a profound change in the role of the female artist.
This article includes, however, a foray into the years between 1979 and 1982, for the purposes of a broader understanding of their youthful production.
The resonances between Louise Bourgeois and Carol Rama's nonconformist research, already established in the 1940s and always open to dialogue with the research developed between the 1970s and 1980s, have in fact been affected by continuous reinterpretation, due to the new attention paid to female research by great art critics such as Lea Vergine and Lucy Lippard in a prolific and vital ecosystem of the arts
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
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
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