1,720,957 research outputs found
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
Tales in French music between 1890 and 1939
No full text« Les fins de siècles, dit-on, se ressemblent : comme les fins de vers ». Si la fin du XVIIe siècle voit fleurir en son sein une mode littéraire du conte, celle du XIXe siècle correspond à l’émergence d’une mode musicale. Cet engouement artistique, dont nous explicitons les origines, s’inscrit parfaitement dans cette période d’effervescence culturelle et se remarque tant dans la diversité des genres employés (opéra, musique de chambre, etc.) que dans celle de leurs esthétiques. La charnière entre les XIXe et XXe siècles est une époque de remise en cause de la tradition – notamment avec des mouvements comme le symbolisme – qui affecte également les musicalisations de contes. Pour traiter de cette dualité entre tradition et modernité, nous mettons en regard deux œuvres représentatives de ces sensibilités : d’une part Les Contes de Perrault (1914) de Félix Fourdrain, d’autre part Éros vainqueur (1910) de Xavier Leroux. Une nouvelle vision de la féérie – beaucoup plus sombre – se découvre alors à travers l’influence du monde moderne et la reconsidération du courant de pensée dominant. Cette étude transdisciplinaire met en relief les caractères particuliers aux contes – modernes comme ceux du temps passé – qui s’identifient dans leurs mises en musique. Néanmoins, ces lois complexes sont souvent perçues à travers le filtre de stéréotypes, héritiers des déformations romantiques, et cette perception faussée se retrouve dans les partitions. À travers une démarche de transmédialité, nous avons questionné la démarche de réécriture, souvent nécessaire dans le passage des mots aux sons. Les points communs que nous relevons – en dépit des différences d’esthétiques – posent la question d’une certaine unité du genre, à l’image de celle présente en Allemagne avec le Märchenoper. Cette mise en miroir entre les deux pays voisins nous permet de nous interroger sur l’une des préoccupations des compositeurs français : la recherche d’un style national. Cette quête peut être rapprochée du contexte politique de la IIIe République, qui recourt aux conteurs classiques pour unir la nation sous la coupe d’une identité française. La mise en musique de contes apparaît alors comme un sujet plus complexe que la vision sommaire qui fait son succès."Ends of centuries, as it says, look the same: like ends of verses". If a literary fashion of tale blooms at the end of the 17th century, a new one arises at the end the 19th century is musical. This artistic enthusiasm, which origins are explained, fits perfectly the artistic excitement and stands out by both the genre’s variety (opera, chamber music, etc.), and their aesthetics. In the transitional period between the nineteenth and the twentieth centuries, tradition is questioned – especially by movements such as symbolism – and this also affected the tales put to music. To deal with this duality between tradition and modernity, we compare two works representative of this contradiction: on the one hand Félix Fourdrain’s Les Contes de Perrault (1914), and on the other hand Xavier Leroux’s Éros vainqueur (1910). A darker vision of fairy could be noticed, through the influence of the modern world and the reconsideration of the mainstream thought. This transdisciplinary study highlights the particular elements of tales – modern and classical - which are identified in their musicalizations. Nevertheless, these complex laws are often perceived through the filter of stereotypes, heirs of romantic distortions, and this skewed perception is found in the scores. Through a process of transmediality, we questioned the process of rewriting, often necessary in the journey from words to sounds. The similarities which are found - despite the different aesthetics - raise the question of a certain unity of the genre, like the one in Germany with the Märchenoper. This comparaison between France and Germany allows us to question one of the of French composers’ concerns: the search for a national style. A parallel can be drawn between this quest and the political context of the Third Republic, which uses classical storytellers to unite the nation under the thumb of a French identity. Tales set in music appear as more complex than the basic vision that makes it so successful
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
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
Musical settings of Apollinaire's "Bestiaire ou Cortège d'Orphée (1911) by Francis Poulenc, Louis Durey and anothers composers : Analysis and stylistic study
No full textLe Bestiaire ou Cortège d’Orphée (1911) d’Apollinaire attire toujours les mélodistes de notre temps. S’inscrivant dans une tradition ancestrale, les mises en musique des petits poèmes d’animaux guidés par Orphée constituent en effet un inestimable « jardin zoologique » pour les musiciens. Apollinaire imaginait-il une exploration de ce type ? Ces créations musicales à partir du Bestiaire sont-elles, à titre posthume, un hommage au poète ? Des plus célèbres, celles de Poulenc et Durey (1919), à celle de Régis Campo (2008) en passant par les recueils de Claude Ballif et Robert Caby (1945), chacune des versions donne lieu à un réinvestissement spécifique des poèmes. Dans cette étude diachronique allant de 1919 à 2008, les compositions concernées sont analysées dans leur contexte puis examinées à travers la pluralité des langages musicaux qu’elles mettent en oeuvre. Outre Poulenc et Durey, voici, par ordre chronologique, les auteurs abordés : Yves Nat (Dans vos viviers, dans vos étangs, 1943) ; Claude Ballif (Le Cortège d’Orphée, op. 1b, 1945-1948) ; Robert Caby (Cycle inédit de sept mélodies, 1945-1948) ; Robert Cornman (Le Bestiaire Alpha, 1961-1963, Le Bestiaire Bêta, 1972) ; Jean Absil (Bestiaire op. 58, 1964) ; Lionel Daunais (Bestiaire, 1978) ; plus près de nous : May Breguet (Bestiaire, 1982) ; Alain Corbellari (Bestiaire bis, 1991) ; Rachel Laurin (Bestiaire op. 22, 1992) ; enfin, John Carbon (Bestiaire, 2002) et Régis Campo (Bestiaire, 2008)The poem collection Le Bestiaire or Cortège d’Orphée (1911) by Apollinaire still attracts vocal composers of our time. Drawing on ancestral traditions, the setting to music of short poems about animals guided by Orpheus constitutes an inestimable “zoo” for musicians. Did Apollinaire imagine an exploration of this type? Are these musical creations, from Le Bestiaire onward, posthumously, homages to Apollinaire? From the most famous of animal cycles by Poulenc and Durey (1919), to that of Régis Campo (2008), as well as the collections of Claude Ballif and Robert Caby (1945) , each version gives rise to a specific reingagement with the poems. In this diachronic study from 1919 to 2008, the compositions in question are analyzed in their context and examined through the plurality of musical languages that they employ. In addition to Poulenc and Durey, here, in chronological order, are the other composers discussed: Yves Nat (Dans vos viviers, dans vos étangs, 1943); Claude Ballif (Le Cortège d’Orphée, op. 1b, 1945-1948); Robert Caby (Cycle of seven songs, 1945-1948); Robert Cornman (Le Bestiaire Alpha, 1961-1963, Le Bestiaire Bêta, 1972); Jean Absil (Bestiaire, op. 58, 1964); Lionel Daunais (Le Bestiaire, 1978); more recent, May Breguet (Bestiaire, 1982); Alain Corbellari (Bestiaire bis, 1991); Rachel Laurin (Bestiaire, op. 22, 1992); and, finally, John Carbon (Bestiaire, 2002) and Régis Campo (Le Bestiaire, 2008
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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