1,721,224 research outputs found
Claude Millet (éd.), Victor Hugo 5. Autour des «Orientales», La Revue des Lettres modernes
No full textGleizes Delphine. Claude Millet (éd.), Victor Hugo 5. Autour des «Orientales», La Revue des Lettres modernes. In: Romantisme, 2004, n°126. Prisons. pp. 96-98
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
The paleontological imagination at the end of the century : stakes and framework of the representation of prehistory in symbolist and decadent circles
No full textParticulièrement motivé par le rejet de la science, le mouvement de réaction qui préside à la sensibilité fin-de-siècle se voit peu soupçonné d’entretenir avec elle des relations étroites, fussent-elles souterraines. Alors que de nombreuses initiatives et études ont, particulièrement ces dernières années, mesuré et analysé l’ampleur de la diffusion de l’imaginaire préhistorique dans la culture populaire et les avant-gardes, son innutrition par les symbolistes et décadents, comme suspendus dans le vide qui sépare l’art académique et les modernismes, n’a jusqu'ici été abordé que très ponctuellement. Et pour cause, l’exploitation par une culture élitaire d’un matériau populaire car essentiellement décrit et diffusé par la vulgarisation, la peinture salonnière et les récits d’aventure, emprunte nécessairement des voies détournées et doit interpeller. À l’avenant, le rejet affiché de tout discours scientifique par ces tendances a pu décourager la recherche de mener un examen épistémocritique du corpus symboliste et décadent. Pourtant, ces mouvances littéraires et artistiques expriment une préoccupation manifeste pour la thématique des origines, corollairement à l’angoisse eschatologique, dont il convient de cerner les paramètres épistémiques. Prises en compte ou délibérément écartées, les dernières données scientifiques sur la question des origines de l’homme et du vivant, qu’elles émanent de la biologie évolutionniste ou de l’anthropologie préhistorique, ne sauraient être ignorées tant elles circulent dans la culture populaire. Alors actuelle en tant que discipline et primitive par son objet d’investigation, la préhistoire s’impose comme un discours équivoque, entre modernité et impossible nostalgie, qui inspire bien des paradoxes. Le constat du caractère massif de sa diffusion posé et étayé, il convient en effet de se demander ce qui se joue, sur les plans poétique, esthétique et idéologique, dans la reconduction de ce savoir dans une culture anti-scientifique, mais aussi dans le transfert d’un sujet populaire vers les productions élitaires. La décadence, en appariant artificialisme et primitivisme, mais aussi en associant la thématique de la fin du monde ou de la civilisation à celle de l’aube des temps, nous invite à explorer les régimes de temporalités que pensent ces auteurs et artistes. Cet examen du traitement de la thématique préhistorique par les décadents, qu’il repose sur le fantasme d’un âge d’or ou d’un âge farouche, permet donc d’en préciser les contours esthétiques, poétiques et philosophiques. Mais il permet aussi d’en deviner la singularité idéologique, dans la mesure où ces productions mettent systématiquement en crise la temporalité ascensionnelle, progressiste, pourtant déployée dans l’imaginaire préhistorique populaire. Chez les symbolistes, ces spécificités idéologiques sont moins aisément repérables, tant ses protagonistes déplacent leurs aversions politiques vers un réinvestissement du merveilleux, de la mythologie et de la spiritualité. La préhistoire pourvoit alors l’imaginaire en motifs, thèmes et figures qui, accostant ou non un intertexte préexistant, nourrissent une mythologie propre. L’exploitation de ce matériau savant encourage donc paradoxalement l’expression de l’idéalisme, la tension vers la transcendance et la pensée magique, mais aussi à inspirer les rêveries, plus ou moins informées scientifiquement, portant sur l’origine du langage, de la poésie et de toute création. À cet égard, la rupture peut paraître nette entre ces aspirations mystiques et le primitivisme des avant-gardes du début du XXe siècle. Pourtant, le symbolisme n’est pas étranger à ce glissement de l’homme au gourdin vers l’homme au pinceau, de la représentation de l’homme préhistorique à l’imitation de son exemple. Par l’analyse de leur appropriation d’un sujet scientifique, ce travail fait également valoir la perméabilité des frontières entre décadentisme et symbolisme, mais aussi entre ce dernier et les écoles primitivistes.Particularly motivated by the denial of science, the rejection that presides over fin-de-siècle sensibility can’t be fully suspected of maintaining close relations with it, even the most hidden ones. While many surveys and studies have, particularly in recent years, measured and analyzed the extent of the spreading of prehistoric imagination in popular culture and the avant-gardes, its reception by the symbolists and decadents, as if they were suspended in the blank space that separates academic art and modernisms, has only received very occasional interest so far. And for good reason, the exploitation by an elite culture of a popular material (because it is essentially described and spreaded in culture by popularization, academic painting and adventure stories), necessarily takes detours and must challenge. Therefore, the assumed rejection of any scientific discourse by these tendencies may have discouraged research from carrying out an epistemocritical examination of the symbolist and decadent body of work. However, these literary and artistic trends express a clear concern for the theme of origins, as a corollary to eschatological anxiety, the epistemic parameters of which should be identified. Well-considered or deliberately excluded, the latest scientific data on the question of the origins of man and living, whether they come from evolutionary biology or prehistoric anthropology, cannot be ignored as they circulate in popular culture. At that time a current discipline, although primitive as far as its object of investigation is concerned, prehistoric archaeology imposes itself as an equivocal discourse, between modernity and impossible nostalgia, which inspires many paradoxes. Once the acknowledgment of the massive nature of its dissemination acknowledged and supported, it is indeed appropriate to ask what is at stake, on the poetic, aesthetic and ideological levels, in the renewal of this knowledge in an anti-scientific culture, but also in the transfer of a popular subject to elite productions. Decadence, by marrying artificialism and primitivism, but also by associating the theme of the end of the world or of civilization with the theme of the dawn of time, invites us to explore the regimes of temporalities that these authors and artists conceive. This examination of the treatment of the prehistoric theme by the Decadents, whether it is based on the fantasy of a golden age or a fierce age, therefore makes it possible to specify its aesthetic, poetic and philosophical outlines. But it also leads us to guess their ideological specificities, insofar as these productions systematically put in crisis the ascending, progressive temporality, which is nevertheless deployed in the popular prehistoric imagination. Among the Symbolists, these ideological specificities are more difficult to identify, as its protagonists shift their political aversions towards a reinvestment of the fantasy genre, mythology and spirituality. Prehistoric archaeology then provides the imagination with motifs, themes and figures which supply their own mythology, no matter if they’re linked to a pre-existing intertext, and how. The exploitation of this scholarly material therefore paradoxically encourages the expression of idealism, the impetus towards transcendence and magical thinking, but also inspires reverie, more or less scientifically informed, about the origin of language, poetry and all creation. Thus, the break may seem clear between these mystical aspirations and the primitivism of the avant-gardes of the beginning of the 20th century. However, symbolism may be a protagonist of this shift from the man with the cludgel to the man with the paintbrush, from the representation of prehistoric man to the imitation of his example. By examining their appropriation of a scientific subject, this work also highlights the permeability of the supposed borders between decadentism and symbolism, but also between them and the primitivist groups
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
The Édition Nationale of Victor Hugo's Œuvres complètes (1885-1895). Illustrating, narrating, celebrating
No full textÉvénement tout autant éditorial, artistique que culturel de la fin du XIXe siècle, l’Édition Nationale se situe néanmoins aux marges des études hugoliennes, de même qu’elle n’a que peu attiré l’attention des spécialistes de la bibliophilie et de l’histoire de l’art. Le projet est pourtant monumental. Pendant dix années, les éditeurs Jules Lemonnyer puis Émile Testard rassemblent environ deux cents artistes contemporains pour illustrer les Œuvres complètes de Victor Hugo. Plus de deux mille gravures inédites sont ainsi publiées. En parallèle, Louis Ulbach et Camille Pelletan sont invités à composer un portrait saisissant de « l’homme siècle » (La Vie de Victor Hugo et Victor Hugo, homme politique). L’édition bibliophilique ambitionne donc de dresser un monument en l’honneur de l’auteur, mais aussi de proclamer la gloire de la production artistique de l’époque.Cette thèse se propose d’étudier un corpus hybride, entre texte et image, afin de comprendre comment l’édition illustrée tout à la fois accueille et fabrique des phénomènes de réception et de patrimonialisation de Hugo et de son œuvre au tournant du siècle. Ces pages explorent donc les liens complexes entre illustration, œuvres complètes, bibliophilie, récit, célébration et mémoire. Grâce au dépouillement d’archives inédites, la thèse commence par retracer l’histoire de l’Édition Nationale, de sa genèse jusqu’à son devenir dans divers espaces publics et privés, à l’exemple de la Maison de Victor Hugo à Paris qui s’en fait toujours aujourd’hui la chambre d’écho. Dans un second temps, elle interroge également les processus par lesquels l’édition façonne un imaginaire graphique des œuvres complètes hugoliennes, lequel interagit notamment avec les habitudes culturelles et visuelles des lecteurs-spectateurs de l’époque. Enfin, ce travail tend à démontrer que le récit à la fois historique, biographique et littéraire, qui naît de la rencontre du texte et de l’image, transforme l’édition en un « lieu de mémoire ». Le livre cristallise ainsi une mémoire collective centrée autour de Hugo et de son œuvre, inséparable d’un discours plus large sur l’histoire du siècle qui se constitue sous la Troisième République.While it was an important publishing, artistic and cultural event of the end of the 19th century, the Édition Nationale stands on the fringes of Hugolian studies, and has similarly attracted little attention from bibliophily and art history specialists. Yet, the project is monumental. For ten years, publishers Jules Lemonnyer and (later) Émile Testard brought together around two hundred contemporary artists to illustrate Victor Hugo’s Œuvres complètes (Complete Works). More than two thousand new engravings were published. At the same time, Louis Ulbach and Camille Pelletan were invited to compose striking portraits of the ‘century man’ (‘l’homme siècle’): La Vie de Victor Hugo and Victor Hugo, homme politique. The bibliophilic edition thus aims to erect a monument to the author’s work, while showcasing the richness of the artistic production of the period.The aim of this thesis is to study a hybrid corpus, both textual and graphic, in order to understand how the illustrated edition at the same time accommodates and manufactures phenomena of reception and heritagisation of Hugo and his work at the turn of the century. These pages explore the complex links between illustration, complete works, bibliophily, narrative, celebration and memory. By examining unpublished archives, the thesis begins by tracing the history of the Édition Nationale, from its genesis through to its development in various public and private spaces – such as the Maison de Victor Hugo in Paris, where it is still treasured today. Secondly, the study examines the processes by which the edition graphically shapes a specific representation of Hugo’s complete works, and how this representation interacted with the cultural and visual habits of readers-spectators at the time. Finally, this work aims to demonstrate that the historical, biographical and literary narrative that emerges from the encounter between text and image transforms the publication into a 'memorial' (‘lieu de mémoire’). The book thus crystallises a form of collective memory centred around Hugo and his work, which is inseparable from a wider discourse on the history of the 19th century as it was taking shape under the Third Republic
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe 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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