1,721,007 research outputs found
Cuando la ficción nos hace promesas : una aproximación teórica a los vínculos entre el relato histórico y la literatura utópica
Full text linkFil: Del Percio, Daniel. Universidad Católica Argentina; Universidad de Palermo; Universidad del Salvador
El orillero en el laberinto : el problema del mal en las poéticas de Jorge Luis Borges, Mario Luzi y Roberto Arlt
No full textResumen: El problema del mal, tan fascinante, actual y urgente como indefinido, arcano e inconmensurable, constituye uno de los ejes, acaso uno de los más significativos, en la obra del poeta italiano Mario Luzi. En su famoso ensayo El Infierno y el Limbo, de 1945, explora cómo este problema se ve reflejado en las poéticas de distintos autores europeos. Sin embargo, como gran ensayista y conocedor de la literatura latinoamericana, escribió distintos artículos sobre la obra de Roberto Arlt y de Jorge Luis Borges que, a la luz del pensamiento luziano, nos permiten comprender las poéticas de estos dos grandes autores rioplatenses desde la singular perspectiva del mal y del infinito. Perspectiva que se vuelve, ella también, una visión de la cultura argentina y de sus dramáticas, pero también literariamente fructíferas contradicciones.Abstract: The problem of evil, as fascinating, present and urgent as indefinite, arcane and immeasurable, is one of the most significant axes in the work of the Italian poet Mario Luzi. In his famous essay «Hell and Limbo», of 1945, he explores how this problem is reflected in the poetics of different European authors. However, as a great essayist and connoisseur of Latin American literature, he wrote several articles on the work of Roberto Arlt and Jorge Luis Borges, who, in the light of his thought, allow us to understand the poetics of these two great authors of the River Plate from the singular Perspective of evil and infinity. A perspective that also becomes a vision of Argentine culture and its dramatic but also literarily fruitful contradictions.Fil: Del Percio, Daniel. Universidad Católica Argentina; ArgentinaFil: Del Percio, Daniel. Universidad de Palermo; ArgentinaFil: Del Percio, Daniel. Universidad del Salvador; Argentin
Infernal architectures : dystopias and soviet utopias in the novel Doomed City, by Arcadi and Boris Strugatsky
No full textResumen: La distopía o utopía negativa es un subgénero que ha hecho famoso la literatura inglesa, particularmente desde las obras de George Orwell (1984, de 1948) y Aldous Huxley (Brave New World, de 1932). Sin embargo, suele pasarse por alto que la primera antiutopía moderna pertenece a un autor ruso, Evgueni Zamiátin: la novela Nosotros (My), de 1922, producto de una modernidad tardía. Esta obra estableció los paradigmas que caracterizarían de ahí en más formalmente a la distopía. En 1968, los hermanos Arcadi y Boris Strugatsky, principales referentes de la ciencia ficción soviética en aquellos años, reelaboraron a partir de estas bases una ciudad ya no distópica sino infernal y oscuramente irracional, eje de su novela Ciudad maldita (Grab obrechonni), una distopía ya en clave posmoderna, llevándola a un auténtico (e irresuelto) planteo sobre la naturaleza del mal. A partir de un marco teórico que vincula la evolución de las utopías negativas con la ciencia ficción, nuestra hipótesis implica que esta novela, curiosa síntesis de ciencia, política, esoterismo y literatura, define un nuevo tipo de obra distópica. El paisaje de ruinas que implica, tan caro a la ciencia ficción posterior a la caída del Muro de Berlín, se vuelve un sistema de sinécdoques que representa, desde la estética del fragmento, un profundo nihilismo donde la posmodernidad adquiere la forma de abismo.Abstract: Dystopia or negative utopia is a subgenre that English literature has made famous, particularly since the works of George Orwell (1984, 1948) and Aldous Huxley (Brave New World, 1932). However, it is often overlooked that the first modern anti-utopia belongs to a Russian author, Evgueni Zamiátin: the novel We (My, 1922), a late modernity product. This work established the paradigms that would characterize henceforth dystopia. In 1968, the brothers Arcadi and Boris Strugatsky, leading figures of Soviet science fiction in those years, will rework from these bases a city no longer dystopian but infernal and obscurely irrational, axis of his novel Doomed City (Grab obrechonni), a Dystopia already in postmodern key, taking it to an authentic (and unresolved) statement about the nature of evil. From a theoretical framework that links the evolution of negative utopias with science fiction, our hypothesis implies that this novel, a curious synthesis of science, politics, esotericism and literature, defines a new type of dystopian work. The landscape of ruins that it implies, so valued to science fiction after the fall of the Berlin Wall, becomes a system of synecdoches that represents, from the aesthetics of the fragment, a deep nihilism where postmodernity takes the form of an abyss.Fil: Del Percio, Daniel. Universidad Católica Argentina; ArgentinaFil: Del Percio, Daniel. Universidad de Palermo; ArgentinaFil: Del Percio, Daniel. Universidad del Salvador; Argentin
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
Terra Hispaniae Incognita, the dawn of utopian literature in Spain
No full textResumen: El desarrollo de la literatura utópica en España, al que, como un lugar
común, se considera muy limitado, dio sin embargo frutos tempranos ya en el siglo
XVI, pocos años después de Utopía de Tomás Moro. Alentaba este desarrollo una
paradójica preocupación por el “aquí y ahora” de la política, la conocida actitud realista
española. El rasgo central de estas utopías será, en efecto, una fuerte preocupación por
la realidad más inmediata, frecuentemente teñida de elementos propios de la sátira. Y en
la base de este utopismo surgirá, casi como una constante, un núcleo de pensamiento
cristiano siempre explícito. A través de un corpus de tres obras muy diversas, Omníbona
(Anónima, ca. 1540-1550), el Somnium lunar de Juan Maldonado (compuesta en 1532 y
editada en 1541), y Sinapia (Anónima, ca. 1682 o 1760, según diferentes hipótesis),
trazaremos un esbozo de la evolución de este ideal de estado y sociedad. Que, de este
corpus, las dos obras más significativas sean de autor desconocido no hace más que
remarcar otro hecho: la riqueza creativa del utopismo español contrastará con la
complejidad y peligrosidad de sus ideas ante un “aquí y ahora” que rechazaba
transformarse.Abstract: The development of utopian literature in Spain, which, as a commonplace,
is considered very limited, instead bore early fruits as early as the 16th century, a few
years after Tomás Moro's Utopia. This development was encouraged by a paradoxical
concern about the "here and now" of politics, the well-known Spanish realistic attitude.
The central feature of these utopias will be, in effect, a strong concern for the most
immediate reality, frequently tinged with elements typical of satire. And at the base of
this utopianism will emerge, almost as a constant, a core of Christian thought always
explicit. Through a corpus of three very diverse works, Omníbona (Anonymous, ca.
1550), the Somnium lunar by Juan Maldonado (composed in 1532 and edited in 1541),
and Sinapia (Anonymous, ca. 1682 or 1760, according to different hypotheses), we will
trace an outline of the evolution of this ideal of state and society. That, of this corpus,
the two most significant works are by an unknown author only highlights another fact:
the creative richness of Spanish utopianism will contrast with the complexity and dangerousness of its ideas in the face of a “here and now” that refused to transform
itself
ARQUITECTURAS INFERNALES. DISTOPÍAS Y UTOPÍAS SOVIÉTICAS EN LA NOVELA CIUDAD MALDITA, DE ARCADI Y BORIS STRUGATSKY
Full text linkDystopia or negative utopia is a subgenre that English literature has made famous, particularly since the works of George Orwell (1984, 1948) and Aldous Huxley (Brave New World, 1932). However, it is often overlooked that the first modern anti-utopia belongs to a Russian author, Evgueni Zamiátin: the novel We (My, 1922), a late modernity product. This work established the paradigms that would characterize henceforth dystopia. In 1968, the brothers Arcadi and Boris Strugatsky, leading figures of Soviet science fiction in those years, will rework from these bases a city no longer dystopian but infernal and obscurely irrational, axis of his novel Doomed City (Grab obrechonni), a Dystopia already in postmodern key, taking it to an authentic (and unresolved) statement about the nature of evil. From a theoretical framework that links the evolution of negative utopias with science fiction, our hypothesis implies that this novel, a curious synthesis of science, politics, esotericism and literature, defines a new type of dystopian work. The landscape of ruins that it implies, so valued to science fiction after the fall of the Berlin Wall, becomes a system of synecdoches that represents, from the aesthetics of the fragment, a deep nihilism where postmodernity takes the form of an abyss.La distopía o utopía negativa es un subgénero que ha hecho famoso la literatura inglesa, particularmente desde las obras de George Orwell (1984, de 1948) y Aldous Huxley (Brave New World, de 1932). Sin embargo, suele pasarse por alto que la primera antiutopía moderna pertenece a un autor ruso, Evgueni Zamiátin: la novela Nosotros (My), de 1922, producto de una modernidad tardía. Esta obra estableció los paradigmas que caracterizarían de ahí en más formalmente a la distopía. En 1968, los hermanos Arcadi y Boris Strugatsky, principales referentes de la ciencia ficción soviética en aquellos años, reelaboraron a partir de estas bases una ciudad ya no distópica sino infernal y oscuramente irracional, eje de su novela Ciudad maldita (Grab obrechonni), una distopía ya en clave posmoderna, llevándola a un auténtico (e irresuelto) planteo sobre la naturaleza del mal. A partir de un marco teórico que vincula la evolución de las utopías negativas con la ciencia ficción, nuestra hipótesis implica que esta novela, curiosa síntesis de ciencia, política, esoterismo y literatura, define un nuevo tipo de obra distópica. El paisaje de ruinas que implica, tan caro a la ciencia ficción posterior a la caída del Muro de Berlín, se vuelve un sistema de sinécdoques que representa, desde la estética del fragmento, un profundo nihilismo donde la posmodernidad adquiere la forma de abismo
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
- …
