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Brasilia: entre vanguardia y patrimonio
Get PDFTrabajo presentado en las I jornadas La Ciudad y los Otros. Miradas e Imágenes Urbanas en los Relatos de Viajeros. Ciudad Autónoma de Buenos Aires, Argentina. 2015Fil: Bridoux, Viviana Estela. Universidad Nacional de Córdoba. Facultad de Arquitectura, Urbanismo y Diseño; ArgentinaFil: Destéfanis, Natalia Sofía. Universidad Nacional de Córdoba. Facultad de Arquitectura, Urbanismo y Diseño; ArgentinaFil: Ferrando Ubios, Guillermo A. Universidad Nacional de Córdoba. Facultad de Arquitectura, Urbanismo y Diseño; ArgentinaFil: González Chipont, María Eugenia. Universidad Nacional de Córdoba. Facultad de Arquitectura, Urbanismo y Diseño; ArgentinaLa declaración de Brasilia como patrimonio de la humanidad formulada por la UNESCO expresa: Brasilia es un logro singular artístico, una creación primordial del genio humano, lo que representa, a escala urbana, la expresión viva de los principios e ideales presentados por el Movimiento Moderno y efectivamente incorporados en los Trópicos a través de la planificación urbana y arquitectónica de Lucio Costa y Oscar Niemeyer. La experiencia brasileña se destaca por la grandiosidad del proyecto (?) estrechamente ligada a una estrategia de desarrollo ambiciosa y con un proceso de autoafirmación nacional ante el mundo. Cuando hablamos de patrimonio generalmente imaginamos el pasado y hacemos referencia al tiempo histórico con una visión retrospectiva. Pero existen otras imágenes, las del presente y el futuro, que van construyendo el patrimonio del mañana. Desde nuestra perspectiva de viajeros arquitectos, Brasilia nos produce esa ambigua sensación de encontrarnos entre una utópica vanguardia hecha realidad que a la vez es singular y novedoso patrimonio. Así lo expresaba Niemeyer (2006 citado en Arijón, T., Belloc, B., Rezende, R., 2014)Mi interés fundamental era que esos edificios propusieran algo nuevo y diferente, (?) de modo tal de proporcionar a los futuros visitantes de la Nueva Capital una sensación de sorpresa y emoción que fuera marca de su grandeza y su mayor característica. Recordaba la Plaza de San Marcos en Venecia, con el Palacio de los Dogos, recordaba la Catedral de Chartres, (?) obras que causan un impacto indescriptible por la belleza y la audacia con que fueron realizadas, sin que razones técnicas o funcionales contribuyan a la emoción que suscitan. (p.149) Entonces, según la asociación que hace Niemeyer respecto al patrimonio, nos preguntamos: ¿En la concepción de Brasilia estuvo internalizada la conciencia y la actitud de crear patrimonio desde el hecho nuevo, desde la nueva arquitectura? Quienes la crearon ¿lo hicieron con una intención de construir memoria o pensando en el futuro?Brasilia contrasta con los modelos urbanos tradicionales en aquellos elementos que configuran la ciudad: la calle corredor, las plazas, la fachada continua desaparecen dando lugar a lo que los creadores denominaron la escala monumental, la escala residencial, la escala gregaria y la escala bucólica. Un gran espacio sin los elementos referenciales que tradicionalmente experimentamos. Lo que distingue a otras ciudades es lo que no identifica a Brasilia.La primera impresión al ver la ciudad es la de un museo a cielo abierto, un artefacto inmovilizado en el espacio y en el tiempo donde la arquitectura es la gran protagonista. A medida que recorremos la ciudad vamos tomando real dimensión de la escala monumental, la gran explanada donde los objetos arquitectónicos se encuentran diseminados resulta difícil de aprehender. Brasilia nos transmite también una realidad parcialmente desligada de los factores identitarios y representativos de lo nacional. Decimos parcialmente desligada porque la adopción del proyecto racionalista, expresado en los fundamentos de los CIAM (Congreso Internacional de Arquitectura Moderna), relacionados a la ciudad y la arquitectura, se integra con diversas manifestaciones artísticas, relacionadas a lo originario y autóctono y con la permanente presencia de la singular naturaleza brasileña, dando por resultado un novedoso y particular mensaje plástico, comunicativo y cultural. Aun así la simbiosis de estas variables no permite que las concepciones modernas puedan hilvanarse plenamente con el pasado, la tradición y la memoria.Con lo expuesto ¿La declaración de patrimonio surge desde la necesidad de construir identidad? Si ésta no existiera ¿se hubiese producido una apropiación por parte de los ciudadanos?http://www.iaa.fadu.uba.arFil: Bridoux, Viviana Estela. Universidad Nacional de Córdoba. Facultad de Arquitectura, Urbanismo y Diseño; ArgentinaFil: Destéfanis, Natalia Sofía. Universidad Nacional de Córdoba. Facultad de Arquitectura, Urbanismo y Diseño; ArgentinaFil: Ferrando Ubios, Guillermo A. Universidad Nacional de Córdoba. Facultad de Arquitectura, Urbanismo y Diseño; ArgentinaFil: González Chipont, María Eugenia. Universidad Nacional de Córdoba. Facultad de Arquitectura, Urbanismo y Diseño; ArgentinaIngeniería Arquitectónic
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
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
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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