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Etnografia e intercultura
No full textStato della ricerca sul rapporto fra etnografia e intercultura a livello nazionale e non
Interlinguistics and Philosophy of Artificial Languages – Interlinguistica e filosofia dei linguaggi artificiali – Interlingvistiko kaj filozofio de artefaritaj lingvoj
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Artificial Languages : Themes in Linguistics and Philosophy
Full text linkThe collection aims at proposing a contribution to the academic discussion of themes related to planned and artificial languages, including both logical-linguistical analyses of morphosyntactical structures and lexicon generation, as well as from a thought-historical perspective, focusing on their underlying epistemological and ontological assumptions. The collection is opened by the mainly philosophical contribution by Paolo Valore. It's a known fact that planning an artificial language means that, also and mainly, in a laboratory for abstract research. In its pseudo-manifesto, Paolo Valore starts from another perspective, completely personal, arguing that abstract research, when it's not only descriptive, consists, also and mainly, in the creation of artificial languages. Valore briefly explains his argument through the example of translating the ordinary language in an artificial logic language fit for ontological research. Wim Jansen gives a slightly update version of his invited talk, which he had the 4th of September 2009 while he became special professor of Interlinguistics and Esperanto Studies at the University of Amsterdam, clarifying the Esperanto project, its spontaneous evolution as a sign of liveness and the meaning of artificiality of this language. Federico Gobbo treats interlinguistics as a science which can be related to the philosophical and scientific research of Leibniz. Gobbo shows how the research direction in mathematization of the linguistic knowledge has an important cognitive value which became explicit through the formalism of adpositional grammars. Following Alan Reed Libert, it is possible to classify artificial and natural languages under three types, depending on the form of comparative adjectives. Artificial languages can form comparatives using only synthetic forms, only analytic forms, or both depending on cases. Artificial languages which use only synthetic strategies can be further classified by the rules for choosing one or the other strategy. There is some evidence of the fact that mostly artificial languages have both analytic and synthetic comparatives, as some natural languages. The formation of comparatives is an interesting area of morphology, in which it is possible to choose, even in the case of artificial languages
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
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