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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
Nachbarsprache niederländisch: nn ; Beiträge zur Sprache, Literatur und Kultur der Niederlande und Flanderns
No full textThe Making of a Founding Father. Willem Jonckbloet in Search of Manuscripts and a Reputation
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The purity of ignorance? (Pseudo-)naivety in Jacob van Lennep's dagboek van mijne reis (1823)
No full textStaging conscience: Johannes Nomsz's morality play Iemant en Niemant (1768) and the enlightened zinnespel in the eighteenth century
No full textThrough an in-depth analysis of Johannes Nomsz’s play Iemant en Niemant (1768), this article explores how the seemingly anachronistic genre of zinnespel (morality play) could serve to negotiate key issues of eighteenth-century aesthetical discourse. The combination of abstract ideas and sensual images ingrained into this genre made it an ideal vehicle with which to approach one of the primary problems of the period, namely the mediation between reason and the senses. Nomsz’s play deals with this rationalist/empiricist divide concerning the moral philosophical question of whether reason or feelings guide human ethical behaviour. Through empathy with the allegorical character of Nobody, Nomsz draws his audience into the teeth of a moral dilemma through emotion rather than teaching them a moral lesson. At the same time, he connects moral sentiments to a rational procedure of moral self-judgement by staging conscience as an inner court. I call this way of applying the late medieval genre of morality play to the key questions of eighteenth-century aesthetics and philosophy ‘Enlightened zinnespel’. Turning to the zinnespel with its special capacity to merge mind and senses indicates that at this time, the role of art changed. Art was no longer seen as a medium of knowledge transference, but as a medium that could generate knowledge in a unique way because of its ability to combine cognitive, affective, and sensual dimensions
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