1,720,974 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
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
Alice in Localizationland: An English-French Translation and Transmedia Study of Disney Characters' Speech in Films and Video Games.
Full text linkpeer reviewedThe Disney studio has been known worldwide for its animated works for decades. In the mid-1990s, the studio adopted a transmedia approach to present its products to a diverse audience and has been an integral part of the video game landscape since 1981 (Madej and Lee 2020: 2). At the same time, the video game localisation sector is booming and studios are using it to maximise their return on investment (Mangiron, 2018: 123). It was in these conditions that the Gameloft studio released the game Disney Dreamlight Valley (Gameloft 2023), which was localised in several languages, including French.
This localisation into French is the subject of our communication, which is a transmedia and translation analysis (EN-FR) of Disney Dreamlight Valley (Gameloft, 2023) and the films The Lion King (1994), Frozen (2013) and Moana (2016). The aim of this qualitative and quantitative research is twofold. The first is to analyse the discourse of three character duos (Nala-Scar; Anna-Kristoff; Moana-Maui) in the films and to determine whether certain characteristics are incorporated into the video game. The second aims to highlight localisation strategies to see if the characters' style and references have indeed been rendered.
From a methodological point of view, we did not analyse the subtitles, but the audio versions of the films, which we analysed according to a series of criteria partially based on Lakoff (1975). We took several parameters into account: the presence of polite or insulting language, intensification, modality, types of adjective (Dixon, 1982), type-token ratios, sentence type and the presence of an imperative. I also analysed the references to films that were present in the game.
This study revealed that the speech of the characters in the game did not mirror the style of the characters in the film and tended towards homogeneity in that all the characters used more intensifiers and modal markers. However, the video games did try to incorporate elements specific to the films. These references have often not been translated appropriately, i.e. using the film's dubbing, and show a certain literalness on some occasions, suggesting a potential post-editing phenomenon. Because of these untranslated references to the original works, French-speaking gamers may not be able to fully enjoy the videogame experience, which directly raises the question of accessibility.
References :
ALLERS, Roger, Minkoff, Rob (1994): The Lion King. Walt Disney Pictures.
BUCK, Chris and LEE, Jennifer (2013): Frozen. Walt Disney Animation Studios.
CLEMENTS, Jon and MUSKER, John (2016): Moana. Walt Disney Animation Studios.
DIXON, Malcolm Ward (1982): Where have all the adjectives gone? And other essays in semantics and syntax. Berlin/New York/Amsterdam: Mouton Publishers.
GAMELOFT (2023): Disney Dreamlight Valley. (Version: PC) [Video Game]. Montreal: Gameloft Montreal Studio.
MADEJ, Krystina and NEWTON, Lee (2020): Disney Stories: Getting to Digital. Cham: Springer Nature Switzerland AG.
MANGIRON, Carme (2018): Game on! Burning issues in game localisation. Journal of Audiovisual Translation. 1(1):122-138.
LAKOFF, Robin (1975/2004): Language and Woman’s Place. New York: Harper and Row
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
Transmédialité, jeux vidéo et irrealia : Vers l’infini et un étoffement typologique
Full text linkpeer reviewedTransmédialité, jeux vidéo et irrealia : Vers l’infini et un étoffement typologique
La traduction de contenus propres à un univers fictionnel, que Loponen (2008) qualifie d’irrealia, constitue une tâche particulièrement ardue dans un contexte de localisation (traduction) vidéoludique (Copet, sous presse). Lesdits éléments ont donné lieu à plusieurs classifications, aussi bien par rapport à leur nature (Loponen, 2008 ; Pettini, 2022) qu’à leurs stratégies de traduction (Pettini, 2022). Cependant, les corpus utilisés pour élaborer ces typologies sont relativement restreints, que ce soit en termes de taille ou de genres vidéoludiques, de par la difficulté de composer lesdits corpus. Ainsi, les typologies existantes se sont révélées insuffisantes quand appliquées à d'autres jeux. C’est pourquoi, dans le cadre d’une première étude (Copet & Ray, en cours), nous avons proposé une nouvelle typologie d'irrealia établie sur base d’un corpus de 18 jeux intégrant divers genres narratifs (science-fiction et fantasy) et différents types de gameplay, à savoir les jeux de rôle, de stratégie et d’action-aventure. Cette première étude se concentrait sur des jeux vidéo ne s’inscrivant pas, à l’origine, dans un univers transmédia (monde étendu sur plusieurs médias). Dans le cadre de la présente recherche, nous souhaitons comparer nos précédents résultats concernant le traitement traductif des irrealia, selon plusieurs paramètres (morphosyntaxe, sémantique, réception et conservation de la référentialité), et tester notre typologie sur des jeux qui s'inscrivent explicitement dans un univers transmédia. En effet, cette étude de corpus se propose d’examiner les différences liées aux irrealia (types, fréquences et traductions) dans six jeux ancrés dans des univers transmédia de fantasy ou de science-fiction et présentant des gameplay divers (cf. supra). Après randomisation des segments, 100 irrealia seront analysées selon la typologie que nous avons précédemment établie. Les jeux retenus sont les suivants : The Witcher 3 (2015), Middle-earth: Shadow of War (2017), Total War: Warhammer III (2022) en fantasy, et Star Wars: Knights of the Old Republic II (2004), Alien: Isolation (2014), Stargate: Timekeepers (2024) en science-fiction.
Bibliographie :
Arsenault, D. (2011). Des typologies mécaniques à l’expérience esthétique : Fonctions et mutations du genre dans le jeu vidéo. Thèse de doctorat supervisée par Bernard Perron. Université de Montréal.
Bernal-Merino, M. Á. (2015). Translation and Localisation in Video Games. New York : Routledge.
Copet, S. (sous presse). Une évaluation humaine de la traduction et de la post-édition de Baldur's Gate III. Des mots aux Actes, 14.
Loponen, M. (2009). Translating Irrealia – Creating a Semiotic Framework for the Translation of Fictional Cultures. Chinese Semiotic Studies, 2(1), 165–175.
Mangiron, C. (2016). Games without borders: The cultural dimension of game localisation. Hermeneus: Revista de La Facultad de Traducción e Interpretación de Soria, 18, 187–208.
Pettini, S. (2022). The Translation of Realia and Irrealia in Game Localization. New York : Routledge.
Ludographie :
Alien: Isolation. (2014). Creative Assembly.
The Witcher 3: Wild Hunt. (2015). CD Projekt Red.
Middle-earth: Shadow of War. (2017). Monolith Productions.
Stargate: Timekeepers. (2024). Slitherine Poland.
Star Wars: Knights of the Old Republic II. (2004). Obsidian Entertainment.
Total War: Warhammer III. (2022). Creative Assembly
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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