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Rubens and England. A commentary by Gregory Martin - ACE048.2
No full textGregory Martin in the Banqueting Hall, Whitehall, London. Self Portrait by Peter Paul Rubens (1623). Details of ceiling paintings while Martin wonders why he is alone there, and why these paintings aren’t better appreciated. Portrait from ceiling of King James I; Martin points out that he wanted the Monarchy to take precedence over the House of Commons, and was thus against democracy. Engraving showing the Commons around 1628; the Petition of Right. More details from paintings. Martin believes that the decoration in the Banqueting House challenges the British ideal, and "has come to represent a dead idea". Charles I, King of England, from Three Angles (The Triple Portrait) by Anthony van Dyck (c.1636). Engraving of London Bridge. Rubens’s portrait of Thomas Howard, 2nd Earl of Arundel and Surrey (1629). Arundel admired Rubens and inspired others to commission work from him. Portrait of Charles I of England (1631) by Daniel Mytens (1631). A painting which Rubens gave to Charles, Minerva Protects Pax from Mars (Peace and War) (1629-1630); Martin talks about details of the painting in which Rubens used "a vocabulary of allegory and symbol … common to everybody that was educated in the classical tradition", explaining that Minerva personified wisdom, Hercules could personify strength, etc. He suggests that Rubens wanted to say to Charles that, as a wise man, he would favour peace over war, but did it in a way which had "drama … impact and relevance". Part of Rubens’s Landscape with St George and the Dragon (1629-1635) with Charles I as the Saint and Queen Henrietta Maria as the princess. Martin points out that the picture also shows the Thames and Lambeth Palace. Rubens’s oil sketch of George Villiers, Duke of Buckingham (1625). Painting, Minerva and Mercury conduct the Duke of Buckingham to the Temple of Virtue (c.1625). Martin explains the allegory and compares it to The Apotheosis of James I, the centrepiece of the Banqueting Hall ceiling. General view of the Banqueting Hall. The Peaceful Reign of James I (aka The Benefits of the Reign of James I), with Minerva repulsing Mars while James embraces Concord and Peace. The Union of the Crowns, in which James directs Minerva to present the crowns of England and Scotland to Charles I, while Hercules overcomes Evil. Martin compares the Hercules figure to that of Cain Killing Abel (c.1540) by Titian, shown as engraving. Rubens’s coat of arms. Details of canvases showing joins where sections were sewn together. Self portrait c.1638-1640. Details of paintings. Martin points out that there were very few working drawings but many oil sketches, probably used by studio assistants to help them in blocking in the large canvases while Rubens went over them later. The paintings were delivered and installed in 1635. Rubens’s painting, An Autumn Landscape with a View of Het Steen in the Early Morning (c.1636), of his country house at Elewijt, where he spent most of his last year before his death in 1640. Self Portrait. Edward Bower’s portrait of Charles I at His Trial (1648). Engraving of crowds. Engraving of Oliver Cromwell with head of executed king; Cromwell’s signature on execution order. Engraving of scenes at execution. Banqueting Hall where the paintings "express the highest aspirations of the early Stuarts and are also the silent witnesses to the collapse of those aspirations". Credits
Rubens and England. A commentary by Gregory Martin
No full textGregory Martin in the Banqueting Hall, Whitehall, London. Self Portrait by Peter Paul Rubens (1623). Details of ceiling paintings while Martin wonders why he is alone there, and why these paintings aren’t better appreciated. Portrait from ceiling of King James I; Martin points out that he wanted the Monarchy to take precedence over the House of Commons, and was thus against democracy. Engraving showing the Commons around 1628; the Petition of Right. More details from paintings. Martin believes that the decoration in the Banqueting House challenges the British ideal, and "has come to represent a dead idea". Charles I, King of England, from Three Angles (The Triple Portrait) by Anthony van Dyck (c.1636). Engraving of London Bridge. Rubens’s portrait of Thomas Howard, 2nd Earl of Arundel and Surrey (1629). Arundel admired Rubens and inspired others to commission work from him. Portrait of Charles I of England (1631) by Daniel Mytens (1631). A painting which Rubens gave to Charles, Minerva Protects Pax from Mars (Peace and War) (1629-1630); Martin talks about details of the painting in which Rubens used "a vocabulary of allegory and symbol … common to everybody that was educated in the classical tradition", explaining that Minerva personified wisdom, Hercules could personify strength, etc. He suggests that Rubens wanted to say to Charles that, as a wise man, he would favour peace over war, but did it in a way which had "drama … impact and relevance". Part of Rubens’s Landscape with St George and the Dragon (1629-1635) with Charles I as the Saint and Queen Henrietta Maria as the princess. Martin points out that the picture also shows the Thames and Lambeth Palace. Rubens’s oil sketch of George Villiers, Duke of Buckingham (1625). Painting, Minerva and Mercury conduct the Duke of Buckingham to the Temple of Virtue (c.1625). Martin explains the allegory and compares it to The Apotheosis of James I, the centrepiece of the Banqueting Hall ceiling. General view of the Banqueting Hall. The Peaceful Reign of James I (aka The Benefits of the Reign of James I), with Minerva repulsing Mars while James embraces Concord and Peace. The Union of the Crowns, in which James directs Minerva to present the crowns of England and Scotland to Charles I, while Hercules overcomes Evil. Martin compares the Hercules figure to that of Cain Killing Abel (c.1540) by Titian, shown as engraving. Rubens’s coat of arms. Details of canvases showing joins where sections were sewn together. Self portrait c.1638-1640. Details of paintings. Martin points out that there were very few working drawings but many oil sketches, probably used by studio assistants to help them in blocking in the large canvases while Rubens went over them later. The paintings were delivered and installed in 1635. Rubens’s painting, An Autumn Landscape with a View of Het Steen in the Early Morning (c.1636), of his country house at Elewijt, where he spent most of his last year before his death in 1640. Self Portrait. Edward Bower’s portrait of Charles I at His Trial (1648). Engraving of crowds. Engraving of Oliver Cromwell with head of executed king; Cromwell’s signature on execution order. Engraving of scenes at execution. Banqueting Hall where the paintings "express the highest aspirations of the early Stuarts and are also the silent witnesses to the collapse of those aspirations". Credits
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
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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