1,720,968 research outputs found
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
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As the Flesh Moves: Lon Fontaine, Black Dance, and Strategies for Rendering Presence
Get PDFMy project surveys the work of Lon Fontaine, a dancer who performed, taught, and choreographed for many of the twentieth century’s most prominent black American entertainers. Though Fontaine collaborated with several important black social, commercial, and political institutions, his work has been largely overlooked—and was, in his opinion, underappreciated in his own day. I take Fontaine’s anxieties about (a lack of) representation seriously, especially because they resonated with similar concerns within Fontaine’s broader context of the Civil Rights era. To this end, Fontaine’s work helps me ask how the question of representation informed black cultural politics (specifically within the United States) during the Civil Rights movement. I center my investigation around the distinction between ‘body’ and ‘flesh,’ as theorized by black studies scholars like Hortense Spillers, that conditions black ontology in the wake of chattel enslavement. I argue that the former realm is the domain of subjecthood, agency, and representational politics (and a politics of representation), while the latter—which marks black being after chattel enslavement—eludes conventional understandings of these concepts. Importantly, I argue that distinctions between embodiment and enfleshment are not given, but produced through various means of ‘doing’ corporeality—a process I refer to as rendering presence. I therefore investigate the array of practices Fontaine and his peers adopted in the process of learning, making, performing, and teaching dance. Three case studies focus on a specific decade in Fontaine’s career, each asking how he and his projects (Larry’s Steele’s Smart Affairs, the NAACP, and the Temptations, respectively) addressed urgent concerns about sense-making, aesthetic production, sociocultural identity, and (black) being. This project’s core data is drawn from archival research, interviews, and choreographic analysis. My analytic framework is grounded in critical dance studies scholarship and is bolstered by insights from queer/black studies and critical race studies. These lenses expose the stakes of carving out space for oneself as a ‘legitimate’ black choreographer—whether of dance or social movement(s)—in a context where integration, representation, and legibility are not obvious or given political aims, as is commonly presumed in mainstream accounts of the Civil Rights movement. Such legitimacy is tenuous, not least because antiblackness’ operations extend well into the present day. I track more recent manifestations of the phenomenon by reflecting on my own dancing experience. In particular, I revisit my work with choreographer Deborah Hay, asking how her creative practices enact their own strategies for rendering presence. I conclude that, while the body/flesh distinction continues to hamper dancemaking, it also offers antidotes to the antiblackness deeply engrained in conventional doings of embodiment
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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U.S. Dancemakers: A Declaration of Interdependence
Get PDFABSTRACT OF THE DISSERTATIONU.S. Dance Makers:A Declaration of InterdependencebySarah Marie WilburDoctor of Philosophy in Culture and Performance StudiesUniversity of California, Los Angeles, 2016Professor Susan Leigh Foster, Committee ChairWho makes a dance?While no method of studying cultural production can possibly include all the people, practices, and procedures that “make” artistic works possible, dance scholars have yet to centralize dance’s infrastructural politics as a topic of research in its own right. My dissertation project looks at dance “making” -- the resourcing, staging, and legitimization of dance performance -- as the product of multiple agents and agencies. To flesh out how dance is practically produced through a dynamic network of intermediaries, I combine archival accounts of federal arts policy production at the US National Endowment for the Arts (NEA) with ethnographic research and interviews with lifelong dance “makers,” a large group that includes NEA senior leadership, administrators, citizen advisors, and NEA funded dance presenters, managers, booking agents, artists, and organizers. This emphasis on dance’s many authorial agents protests modernist understandings of the choreographer-as-autonomous producer of dance “texts” through a situated review of how people collectively fashion authorizing rhetorics, programs, and procedures at the NEA and in local, NEA supported dance contexts. I trade close interpretive analysis of dance texts for a processual account of infrastructural “norms” and local translations across the agency’s fifty-year lifespan. By studying dance policy and production enactments together in their cultural situatedness, we can start to notice how institutions function as living infrastructures, shaped by people with differential investments in dance practice and performance. Such an embodied epistemology of infrastructure offers a new topic and frontier of research, driven squarely from the domain of dance studies, with implications across dance, arts, humanities and policy discourse. My project is organized across the NEA’s fifty year history of arts resourcing, regulation, and research by way of three infrastructural movements that I define here in italics. Chapter One addresses how early policy “makers” proceeded to negotiate an influx of economic resourcing through an agency-wide strategy of expansion by partition during the NEA’s first fifteen years of policy production (1965-1980). Chapter Two analyzes the agency’s most massive period of regulation and defunding, known in conventional histories as the so-called “Arts Wars” (1980-1996) to detail infrastructural pressures and regulations that instituted a support system rooted in redistribution and artist estrangement. Chapter Three details efforts to champion art and artists as tools for achieving non-arts policy goals from the turn of the 21st century to the present as a hyper-instrumental turn strongly influenced by governmental rationalism and capital development as political endgames of US federal government writ large. In each chapter I also weigh how NEA funded dance grantees negotiate these changes, in practice. What results is a theory of infrastructure as a living social exercise animated by people with differential investments in the production and distribution of dance
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