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The presentation of death in L. N. Tolstoy's prose.
No full textThis study treats in detail one of the significant themes of world literature in the narratives of the Russian writer L. N. Tolstoy. The theme of death, its modalities, motifs and related aspects, occur frequently in all of Tolstoy's artistic and philosophical writings. He presents this theme in connection with other dominant themes such as appearance and reality, falsity and truth, the attempts and failures to materialize individuals' objectives, all in various contexts of life--both private and public, and especially military life. The selection of themes such as sexuality, violence, or the transgression of moral laws, also affects the presentation of the theme of death. Instead of focusing on one pair of dominant semantic fields, Tolstoy (in the majority of his narratives) connects several of them equally. There are very few of his works in which one semantic field dominates. In accordance with Realist poetics, Tolstoy presents the theme of death directly; references to death on an allegorical or symbolic level occur in only a few of his narratives. In his early works, Tolstoy varies not only the fundamental modalities, but also the basic modes of violent and natural death. The presentation of a theme in a narrative differs depending on the length of the narrative. In his shorter prose fiction, Tolstoy concentrates the theme of death into specific passages, while its presentation in the longer narratives is distributed throughout the texts. In presenting the various characters, his narrators reveal their philosophies of life, which are particularly apparent in the borderline situation of death and dying. Members of different social classes display, as a rule, contrasting philosophies in revealing their attitudes and reactions--a trend which is again noticeable both in Tolstoy's major prose and in his late narratives. The author's focus on introspection (although in his early prose members of the lower classes are excluded from this technique) continues to play an important role in his late work as well. The author uses typical narrative devices such as anticipation, retrospection, association and paradox in the depiction of this complex theme as he attempts to 'de-romanticize', 'de-sensationalize' and 'de-dramatize' this topic. Despite the general tendency to omit the actual moment of death, there are a few works in which the horror of violent death shocks the reader. As for artistic development in presenting this theme, Tolstoy continues to employ a basic stock of devices and techniques already manifest in his early works
The presentation of death in L. N. Tolstoy's prose.
No full textThis study treats in detail one of the significant themes of world literature in the narratives of the Russian writer L. N. Tolstoy. The theme of death, its modalities, motifs and related aspects, occur frequently in all of Tolstoy's artistic and philosophical writings. He presents this theme in connection with other dominant themes such as appearance and reality, falsity and truth, the attempts and failures to materialize individuals' objectives, all in various contexts of life--both private and public, and especially military life. The selection of themes such as sexuality, violence, or the transgression of moral laws, also affects the presentation of the theme of death. Instead of focusing on one pair of dominant semantic fields, Tolstoy (in the majority of his narratives) connects several of them equally. There are very few of his works in which one semantic field dominates. In accordance with Realist poetics, Tolstoy presents the theme of death directly; references to death on an allegorical or symbolic level occur in only a few of his narratives. In his early works, Tolstoy varies not only the fundamental modalities, but also the basic modes of violent and natural death. The presentation of a theme in a narrative differs depending on the length of the narrative. In his shorter prose fiction, Tolstoy concentrates the theme of death into specific passages, while its presentation in the longer narratives is distributed throughout the texts. In presenting the various characters, his narrators reveal their philosophies of life, which are particularly apparent in the borderline situation of death and dying. Members of different social classes display, as a rule, contrasting philosophies in revealing their attitudes and reactions--a trend which is again noticeable both in Tolstoy's major prose and in his late narratives. The author's focus on introspection (although in his early prose members of the lower classes are excluded from this technique) continues to play an important role in his late work as well. The author uses typical narrative devices such as anticipation, retrospection, association and paradox in the depiction of this complex theme as he attempts to 'de-romanticize', 'de-sensationalize' and 'de-dramatize' this topic. Despite the general tendency to omit the actual moment of death, there are a few works in which the horror of violent death shocks the reader. As for artistic development in presenting this theme, Tolstoy continues to employ a basic stock of devices and techniques already manifest in his early works
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
Alexey Feofilaktovich Pisemsky as dramatist
No full textIf an artist were to reproduce on canvas Pisemsky's Muse, from the evidence of the scattered "objective detailed"
analyses of his critics, the Muse would definitely be the ugliest thing that any author could choose for his "inspirational" source.
The purpose of this study is to illustrate the unfair
position accorded Pisemsky in Russian dramaturgy and to assign him a proper place in Russian drama by fresh evaluation of his abilities as the dramatist.
The Introduction suggests the possible reasons for which Pisemsky was placed in an oblivion. It also argues that the scepticism, which penetrated some of his works, even if it were somewhat peculiar to him in nature, was definitely aroused by the confusing multi-party Russia of the 1860's and 1870's. Chapter One retraces the more important themes in Russian drama in an attempt to place Pisemsky in the tradition.
Chapter Two is a detailed analysis of the lingering critical attitudes toward Pisemsky which claim that his works lacked the revolutionary zeal for improvement of Russia, and that he was not a playwright but an author of
pamphlets.
In Chapter Three an attempt is made to define the main aspects of Pisemsky's art through his letters and views implicit in his plays. It is also suggested in this Chapter that Pisemsky's plays were revolutionary in their own way, and that they were not directed at the "yawning space", but, to people, directed with harsh rebuke, yet with sincere hope in an eventually brighter future. Chapter Four and the Conclusion are devoted to the analyses of his plays in an effort to show that many of them, in their theme, structure, form and other traditional elements of drama, indeed secure him much better place in Russian dramaturgy than hitherto given him.Arts, Faculty ofCentral, Eastern, and Northern European Studies, Department ofGraduat
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
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