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El futuro del libro. ¿Esto matará a eso?
Full text linkReseña de "El futuro del libro" de Geoffrey Nunberg, por José Luis Gonzáles Quirós. Ediciones Paidos Ibérica, 1998, 366 págs
From page to screen : placing hypertext fiction in an historical and contemporary context of print and electronic literary experiments
Full text linkOnly recently has our perception of the computer, now a familiar and ubiquitous element of
everyday life, changed from seeing it as a mere tool to regarding it as a medium for creative
expression. Computer technologies such as multimedia and hypertext applications have
sparked an active critical debate not only about the future of the book format, ("the late age
of print" {Bolter} is only one term used to describe the shift away from traditional print
media to new forms of electronic communication) but also about the future of literature.
Hypertext Fiction is the most prominent of proposed electronic literary forms and strong
claims have been made about it: it will radically alter concepts of text, author and reader,
enable forms of non-linear writing closer to the associative working of the mind, and make
possible reader interaction with the text on a level impossible in printed text.
So far the debate that has attempted to put hypertext fiction into a historical perspective
has linked it to two developments. Firstly the developments in computer technology that
made hypertext not only possible but also widely accessible and secondly a tradition of
postmodern theory, where characteristics attributed to hypertext echo concepts of
fragmentation, multiplicity and instability that theorists like Barthes and Derrida have
formulated previously and that have led to the notion of hypertext as an "authentic, yet
functional postmodern form" {Roberts}
A third element that is not generally subject to critical evaluation is the practice of
(post)modern writing in which a number of authors consciously break with the linearity of
print conventions in favour for a more fragmented narrative and presentation as well as
actively inviting the reader's participation in what Barthes calls "writerly" text. There are two
reasons why these "proto-hypertexts" have been widely ignored or dismissed: Hypertext is
still widely define as exclusive to the electronic realm and is furthermore generally
perceived in oppositional pairs in contrast to print, i.e. non-linear vs. linear and interactive
vs. passive, which conceptually does not leave room for a study of an "evolution" out of
existing forms of writing practice.
By examining hypertext fiction in a context of print experiments (Cortazar, Borges, B.S.
Johnson, Andreas Okopenko, Raymond Queneau, Miroslav Pavic, Italo Calvino) and also in
a context of other forms of digital literary experimentation (collaborative projects and
computer-generated writing), this thesis aims to, on a diachronic level, reincorporate
hypertext fiction into an evolutionary (though radical) literary tradition and examines the
manner in which concepts which originated in this tradition have been taken over often
very literally and without much redefinition. On the a-historical, synchronic level, this study
explores some of the possible formats for literature in the new electronic textual media:
hypertext fiction, collaborative writing projects, computer-generated writing and the
different challenges these present to our understanding ofliterature.
After an introduction in Chapter 1, Chapter 2 and 3 discuss two of the keywords of
hypertext theory, its "grand narratives' (non-linearity and interactivity) and the
appropriation of the terminology to hypertext theory and to hypertext fiction. Chapter 4
and 5 will look at alternative, though related, approaches to electronic fiction: Chapter 4 will
examine aspects of collaborative writing in both a print and a digital environment while
computer-generated writing stands at the centre of Chapter 5
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
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe 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
Desarrollo de servicios digitales en las bibliotecas: nuevos retos y nuevos escenarios
Full text linkThe new information and communication technologies had produced many changes in libraries and information professional, redefining their identity and social commitment. This text is an introduction to the great challenges to redefine a new concept of library and new competitions and skills for information professionals
El futuro del libro: ¿Esto matará eso?. Barcelona; Buenos Aires: Paidós, 1998. 314 p. (Multimedia; 8)
Full text linkFil: Silberleib, Laura. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Departamento de Bibliotecología y Ciencia de la Información; Argentina.El futuro del libro : ¿Esto matará eso? / Geoffrey Nunberg, comp.; epílogo deUmberto Eco. Barcelona; Buenos Aires : Paidós, 1998. 314 p.Reseñado por Laura Silberleib
El futuro del libro: ¿Esto matará eso?. Barcelona; Buenos Aires: Paidós, 1998. 314 p. (Multimedia; 8)
Full text linkFil: Silberleib, Laura. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Departamento de Bibliotecología y Ciencia de la Información; Argentina.El futuro del libro : ¿Esto matará eso? / Geoffrey Nunberg, comp.; epílogo deUmberto Eco. Barcelona; Buenos Aires : Paidós, 1998. 314 p.Reseñado por Laura Silberleib
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