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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
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
Oral History Interview with Philip Firmano, January 9, 1991
No full textPhilip Firmano emigrated from Milazzo, Sicily. He first came to New York with his father and mother in the early 1900’s. However the family returned to Sicily in 1908 because of his father’s failing health. Philip later returned to America, to work for his uncle in Waukegan, Illinois after Mussolini came to power in 1922. In the interview he largely describes his years in Sicily, reasons for leaving Sicily, and his journey to Milwaukee. He also discusses how he and other Italians made a life in Milwaukee and the role of various Italian societies to which he belonged.AN ORAL HISTORY
OF
THE ITALIANS IN MILWAUKEE
May, 19 91
Subject: Philip Firmano
LAWRENCE BALDASSARO
DIANE VECCHIO
Department of French and Italian
College of Letters and Science
University of Wisconsin-Milwaukee
Funded in part by the Wisconsin Humanities Committee
and
The State of Wisconsin
The narrator is Philip Firmano. The interview is taking
place in Mr. Firmano's home on North Hackett Avenue on
January 9, 1991. The interviewer is Diane Vecchio.
Interviewer.
Narrator.
Phil lives on North Hackett Avenue in Milwaukee,
Wisconsin. Phil, tell me a little bit about your
background. Tell me where your father and mother
were born.
They were born in Milazzo, Sicily.
I. Was your mother also born in Milazzo?
N. Yes, my mother was born in Milazzo too, yes.
I. What did they do in Milazzo?
[Lost some of the taping ... Phil was then discussing his
family's early years in New York.]
N. [Their residence in New York] 98 Union Street. I went to
school there. I was only about seven or eight years old
when I went to school there. Then my father got sick. We
went to a specialist in New York. There wasn't a cure for
it. In those days there were so many doctors, so they told
my family, my mother and my father to go back to Italy
probably to find, to cure him. Instead, when he got there
he got worse. He was working in New York, in Brooklyn. He
had about, those days, a couple of hundred dollars. As soon
as he got there he opened up a store. He says in case
anything happens to me then my wife and my son, they have a
business. In the meantime, when I was in Brooklyn, New
York, in 1904 was born a girl. My mother had a girl and
then she died. In 1907 another girl was born. She is still
living. Then, like I said, we went to Milazzo, opened up
the store and my mother supported us. Then my mother had
another boy and then another girl. We were two girls and
two boys.
I. And then you, your mother and your brothers and sisters
returned to Milazzo.
N. No. See, my brother and one sister were born in Milazzo.
They already were born there. Then in 1908, like I said,
there was no cure for my father. Then we went back in
Sicily and they opened up a store.
I. So, in 1908 you returned to Sicily.
N. That's right.
I. What was the business that your father had in Milazzo?
N. Bread, beans, stuff like that.
I. Groceries?
N. Groceries. Like a grocery store.
I. How long did your father live after that?
I. Then my father, 1914 landed in the hospital and then he died
there, and my mother supported us with the store.
I. So did your mother work in the store herself?
N. Sure. See, in those days most of our business was bread.
She made the bread by hand in those days. They owned no
machinery. The scale to weigh them and then make the loaf
by hand. See, that's how my mother supported us.
2
I. That's wonderful. So, there was you and four brothers and
sisters.
N. We were four together, two girls and two boys.
I. How old were you then, Phil, when all of this was going on?
How old a child were you while your mother was working in
the store to support you?
N. That's right. See, it's a long story. Anyway, when the
government called you for the Army, for the Navy, what it
is, see. The Navy, you got to have a book, it was at least
one month on a boat to be in the Marines. Otherwise you go
in infantry. So, I went one month. My mother has five
brothers and these five brothers were all engineers, the
boat. And one of my uncles, Francisco Riolis , says, Phil,
once you come with me one month or so you can get the book
for the Marines. So I went to my uncle. In the meantime
there was a passenger boat from Milazzo that go in the
islands. All around Milazzo we have seven islands. I bet
you know the islands?
I. I know some of them, yes.
N. Yes. See, the capital, Lipari.
I. Right.
N. Volcano, Stromboli, Panarea, Alicudi, Filicudi, Santa
Marina. Seven islands. So the engineer for the boat there,
was to pick up and deliver mail to those islands. So the
engineer knows my uncle and says, you've got your nephew
here with you. He says, yes, for a month because he's got
3
to have the book for going in the Marines in case they have
to go in the service. So the engineer of the boat there,
told my uncle to ask me if I want to go with him. See, they
have a job with them. That's why I went there with them
after I got my book. Then it was in 1919, then 1922
Mussolini took over Italy.
I. Ok now, Phil, how old were you?
N. In 1922 I was 21, because I was born in 1901. I'm 89 years
old now.
I. That's wonderful.
N. Thank you.
I. You look wonderful.
N. Thank you. So then, Mussolini took over Italy. All those
working on the boats, see we have a union, and this union
usually they are Communists or they are Fascists or they are
Socialists.
I. Right.
N. See, so we were on the boat Socialists. See, the Fascists,
they don't like the idea Socialists work with the
government.
I. Now, were you a Socialist, Phil?
N. Well, because I belonged to the union I was no Socialist, I
don't know what was Socialist, because I belonged to the
union and those that belong to the union must be Socialists.
I. In other words, the Fascists believed that anyone who
belonged to a union was a Socialist.
4
N. That's right. They want to give a chance to, those are
Fascists. So, they cut the wages. We were working on
Saturday. We called sabato inglese, Saturday English,
because it came from the United States. So they cut the
wages and then I got disgusted. I had an uncle in Waukegan
who has a daughter in Sicily yet who went through Ellis
Island. She can go through with the mother and brothers.
So, then my uncle came over there, was an American citizen,
pick up his own daughter. In the meantime he said to me, he
said, Philip, nephew, if in case you want to come to the
United States don't forget to come by me.
I. Phil, how did you feel about Mussolini coming to power? Do
you remember your own reaction?
N. Oh, yes, one way it was ok but the other way too much
domineers. See, that's why I was like 18, 19, 20 years old,
nobody liked that domineer to come, somebody in the house
who says you gotta do this, you gotta do that. See, I don't
like the idea. That's why, my uncle says anytime you want
to come to the United States don't forget, come by me. Then
I was an artist, because I used to paint pictures. See,
I've got a lot of pictures here, then you can see it. so,
when I came to the United States I stopped in Brooklyn, New
York. I had a cousin that was a brick layer and build
buildings. He says, my God, with the art you got, see why
don't you stay here in New York and you get introduced to be
5
interior decorator. I says no, I promised uncle Tony, Tony
Palazzo.
I. That's funny, because I have an uncle named Tony Palazzo
too.
N. Yeah? So, it was Tony Palazzo. In fact, I tell how it
happened. My cousin in New York they put on a train to come
in Waukegan. We call Waukegan to meet me to the station in
Chicago. See, because transfer in Chicago to change the
train. So, my two cousins there went in Chicago to pick me
up but the train delayed and they went home and they left me
there.
I. So no one was there to greet you when you came in?
N. So, they left me there. I don't know which train I gotta
get, where I gotta get them. I was going nuts. I was going
around and around until I found somebody who talked a little
bit Italian. He says, listen, I take you downstairs there
to pick up the train to go to Waukegan. Ok, then he put me
on the train. I don't know where I should stop. I know
Waukegan. I have my book, I had everything, all my things
written on a piece of paper, where I should stop, Waukegan,
Illinois. So on the train every station I was getting up
from that seat to go by the conductor. I says, Waukegan?
He says, no, no, no. Well anyway, the conductor says sit
down, I'll call you when it's Waukegan. In the meantime
there was a man on the train. He got up, he says, "mister
what do you want?" He talked to me in Italian though. I
6
says "I gotta stop by my uncle in Waukegan that left me in
Chicago. I don't know where I gotta go." He says, "well,
listen," he says, "I live close by your uncle . I'll take
you there." So finally this man took me by my uncle.
I. That was lucky.
N. So, when I got there and saw the house there. The house was
on one side, junkyard was next door, lot of colored people
were there. So, really I started crying. Well anyway, my
cousins, one was working the electrical light, one worked in
the tannery where they stretched the leather. It was not
bad, it was a clean job at least. So, see, my idea as an
artist I was supposed to get a good job, a better job than
this one here. But anyway, I can't get a chance. I worked
there close to two years. In July 1925 the company closed
up for inventory.
I. Now, what was the name of the company, Phil?
N. I couldn't remember the name of the company. They closed up
for inventory. In that month, in July, I was looking around
for a job.
I. Now are you living at your uncle's home at this time?
N. Oh, yes. I lived there until the last minute. I just, I
want to get a future for my profession I have. See I
couldn't get it there. So, then in that month I have some
money I want to send to my mother. I went to the bank. But
anyway, Waukegan used to get the water from, Waukegan north
of Chicago they have no water. They have well water. See
7
they want to get the main line, the water, from Waukegan
north of Chicago. So the company, the contractor was from
Chicago and the workers were from Chicago too. And they
were talking Italian so I was happy, heard Italian tongue
again. I says, my God, that's the only future I have here
now. So I was standing up there watching. The contractor,
it was early in the morning, around 10 o'clock. The
contractor talked to me in American. He says, mister, you
know any garage around here, because my car don't run good.
It was running because from Chicago he was coming to
Waukegan by car. So I told him, I know a little bit about a
car, because in the meantime when I was waiting for my
passport to come to the United States, see I have a cousin
in Italy was working in a garage.
I. So you learned from him?
N. He says, Phil, in the meantime while you wait for your
passport, why don't you come in the garage and learn
something? It passes your time at least. So I went there
and learned a little bit. So I told, when the contractor
got through talking American, I says, pardon me, I couldn't
understand what you say. I says, why don't you talk to me
in Italian. So he told me, he says my car don't run. He
says once in a while it stops. I says, listen, I know a
little bit about a car. If you give me the key I'll try it.
So anyway, he gave me the key. It was a model T Ford. So I
tried to give it gas. It doesn't get any gas. I says, my
8
God, this is something in the carburetor. So anyway, that
time there was a T on the bottom in the carburetor. I
pulled the bottom down and there was a screen in there.
That screen was all filthy dirt. That's why it wasn't
getting enough gas. So anyway I start the car and says
here's the car. The man wants to pay me any amount of
money. I says, "no sir, I don't want no money, I want a
job." I says, "I don't know how to handle a wheelbarrow, I
don't know how to handle a shovel, I don't know how to
handle a pig but for my necessity nowadays I'll do anything
you want."
I. Anything to earn money.
N. Anything for money, see. So, no, not only that, to get out
of town, because I used to make good money at the tannery
too. But to get out of the town and for my future.
I. Where did you want to go? Did you want to get out of
Waukegan and go someplace else?
N. Anyplace. See I wanted to go anyplace so I'd get out of
that town. In the meantime, like I said, those boys, one
was a boy of 23 years old. I was 24. The 24-year-old was
from Milwaukee. To tell the story of how I got here. For
me it don't make no difference, so I was looking for my
future, so I could get a better job in some other place.
So, his name was Joe Ardolini. His wife is still living.
He's dead a long time ago. So, I said, Joe, I says, any
9
chance when we get through this job here, come with you to
Milwaukee? He says, "Phil, I'm going to call my sister. If
we got room for you, you come with me." Finally he called
his sister. She says everything is good, bring him over. So
that's how I got to Milwaukee. 1923. On tenth of July 1924
I got my citizen paper.
I. Very good.
N. So then I looked for a job. I couldn't talk good English so
I couldn't get what I want.
I. Phil, when you moved to Milwaukee and were living with your
friend and his sister, what was the address? Do you
remember?
N. Yes. 1418 North Franklin Place.
I. What part of Milwaukee was that located in?
N. on the East Side, near Ogden Avenue. Ogden Avenue and
Brady.
I. Do you know what ward that ...
N. Where the Boy's Club is now. There's a Boy's Club there
now.
I. What ward was that, do you know?
N. Fourth Ward.
I. First?
N. No, Third Ward.
I. So, it was the old Third Ward.
N. Now it's the First Ward.
10
I. Right, now because they've changed it.
N. They changed it.
I. Right.
N. So, then, like I says, I looked around, I couldn't find
nothing. But anyway I went and worked at a tannery.
I. So you worked at a tannery.
N. Again, my job which I used to pull skin, stretch the skin
and nail them all the way around. At night they put the
heat on and the skin dried. Then in the morning you take it
off, scrape it off. See, the nail, you just pinch them, the
nail, it doesn't go all the way through. You just pinch
them to hold the skin, stretch it. We stretch it, we apply
a nail, stretch it and nail them all the way around.
I. Where was the tannery located?
N. On Fourth Street between National Avenue and Greenfield.
I. And how did you get to work? Was it close enough to walk?
N. With a streetcar. In those days there was a streetcar,
there was no buses. We're talking now 1924, 1925.
I. The neighborhood that you lived in when you first moved to
Milwaukee, this was more or less in the heart of the Italian
district, right?
N. No, the heart of the Italian district was the Third Ward.
Down by the Gas Light Company. On Menomonee Street and
Chicago, where the Italian house is now. That was the Third
Ward.
I. Did you have Italian neighbors near you?
11
N. No, I wasn't living there. The sister lived up here on the
East Side. The East Side had been, like I said, Ogden
Avenue and Brady. And between Farwell Avenue and Franklin.
I. So, your earliest years in Milwaukee were on the East Side
of Milwaukee.
N. 1925. Then the Boy's Club bought our house where we used to
live and they built a Boy's Club there now. And then we
went and moved on Brady Street, where the Holton Bridge is
now. It was one house right on the corner, northwest side
on Brady Street and north Water. There was one house only
there. When the city bought those houses there they built a
bridge, it is Holton bridge today. So Joe, this Joe here my
friend, has a girlfriend who used to live on 53rd in West
Allis, on National Avenue, 53rd and National Avenue. So his
girlfriend's mother, the husband died, so they have the
upstairs empty. It was a duplex. So then we moved to West
Allis, 53rd and National Avenue. We moved there.
I. You moved there with Joe, your friend?
N. Yes, yes. No, no, I don't live there with him. I lived
with him because he was a good boy and was a good friend. I
had the opportunity to come here.
I. That's right.
N. So in the meantime I used to pass my time making pictures.
Some I sold, some I couldn't sell, you know how it is. The
artist gets rich when he's dead.
I. You paint?
12
N. Yeah. See, the artist gets rich when he's dead. So I sold
some pictures, some I don't. In the meantime when I was
living there three houses on 53rd, two men were painters.
Those painters were exterior painters. They don't know
nothing about interior decorator. See they told me once you
come with us one year and then we get an interior decorator
for you and we get exterior. So I said it's ok, sure I
said, that's my opportunity now. So I got work with them
one year. In 1927 I says, "boys, I like to go on my own. I
thank you very much. You gave me the opportunity to get
what I want, but don't forget Philip is your brother.
Anytime you need me I'm with you, still get exterior and
interior." They says, "ok Phil." In the meantime they were
getting exterior for them, interior for me. I used to get
so much, a percentage of every job they used to give to me.
Then I meet a lot of friends from my home town again,
because they have a society here. Milazzese Society.
I. And you joined it?
N. Yes. So anyway I meet a lot of friends. On Sunday I used
to help my friend paint interior, exterior for them free,
just to advertise my name. Then in 1927 I went on my own.
I. You started your own business?
N. I started my own business. I bought a truck. No, in fact
there was no truck, no pick-up truck in those days. I
bought a 1922 Ford coupe. It was 1927, it was about five
years old the car. So there was two rumble seats in the
13
back. I took off those two rumble seats and made boxes to
carry my paint and my stepladders.
I. And your supplies?
N. That's how I got introduced. Then in 1928 in July there was
a friend of mine, Marchese brothers, they have a home in
Bayview. They were bankrupt, so I have 500. I didn't
pay so much a month. It was a duplex. Empty lot on the
side. 250 those days. See anyone would die from the
society, we'd give the funeral, we went there.
I. Help the widows and then shelter ...
N. Help the widows, yes. We'd give $250 besides. That's what
the society was for benefits, that's what it was there.
I. Did you also have social events where you did things with
other people like dances, things like that?
N. Oh, yes. We'd have a dance. Every year we have a dance, a
picnic. We'd have a picnic and we'd have a dance.
Sometimes some club from the United States here too,
15
sometimes invite us, so we invite them. We were about 500-
600 sometimes at a picnic.
I. And where would you go for a picnic? Right in Milwaukee?
N. Old Heidelberg. Old Heidelberg was the first one. Old
Heidelberg on Port Washington Road. We had all of the
picnics there because they have a lot of land there.
I. Right.
N. Like I says, I was belonging to a lot of clubs and
societies.
I. Did you go to church? Did you belong to a church?
N. Yes, in fact, st. Rita Church on Cass Street. In 1925 we
went house to house to collect money. Twenty-five cents to
fifty cents in those days we used to get. I was the first
one when we built a basement I donated all my paint for the
church.
Then in 1925 we built a church. I painted that church three
times, interior decorator, I painted that church three
times.
I. Now what church was this, Phil?
N. st. Rita, down on Cass Street.
I. Alright.
N. Cass and Pleasant.
I. So you were one of the founding fathers of the church?
16
N. Oh yes. We went house to house to collect the money.
Because I was well-known then in Milwaukee. I was the first
one Italian painter.
I. Is that right?
N. Sure, 1927. There were very few Italians here. And mostly
it was all fishermen, that's why they're farmers. Very few
were from the city. Because they had the opportunity to
come here. You see how it is? They come from Porticello.
The fishermen town. One called the other one. You see, the
whole town.
I. They brought others along with them.
N. That's right. That's how it happened. I was the first one
to come from a city, from Milazzo. You see, I was alone
here. We have a few paesani here but not many, though.
Probably ten paesani, married with a family. My wife's
father was from my home town too.
I. Did you attend any Americanization classes when
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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