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Indogermanische Religion und Kultur? Eine Analyse des Begriffes indogermanisch
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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
Psychology, philosophy, theology, epistemology: some reflections
No full textThis paper considers the implication of the researcher's own world-view for his research; the relationship between theory and empiri. General questions concerning the formation of knowledge, its epistemological propositions and social functions, so much dis-cussed in the humanities and social sciences, have had little impact upon the history of religion, where the theoretical debate seems to remain more specific, more bound to the discipline. In the polarization between "positivists" vindicating the notion that theories are abstracted from "reality" and "relativists" maintaining that "reality" is selected and formed according to theories, most historians of religion belong in practice to the first camp, and many belong so exclusively that they do not even acknowledge the problem itself. The historian of religion is not concerned with metaphysics, but with faith in its human and cultural manifestations. The researcher' own atheistic or religious commitment has no bearing on the result of the investigation, nota bene provided that he adheres to strictly empirical principles. Is this credo not only a necessary ideal, but also a true description of research? Is an uncomplicated belief in its possible realisation a strength or a hindrance in the pursuit of a relative objectivity that might be attainable outside the predictions of natural sciences? Does the historian of religion have no metaphysical involvement in the material under investigation? Is it without interest whether he is a materialist or a devout religious person, whether he is a believer or non-believer in the physical reality of the gods and spirits he describes, and in the actual efficacy of the sacrifices and other rituals in which he partakes? Statements about human and social reality are mostly true or false from a certain point of view. Objectivity in a deeper sense must be multi-dimensional and complex. Both the object beheld and the beholder must be taken into consideration. Too strong a belief in objectivity, actual or pretended, might produce subjectivity of either a naive or a hypocritical kind
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
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