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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
Oral History Interview with Anthony Guardalabene, March 9, 1991
No full textAnthony Guardalabene, born in 1919, is the son of Giovanni Battista and Angela Bellante who emigrated from Sicily to Milwaukee in 1897-98. In his interview Anthony discusses his schools days in the Third Ward, his attendance at Lincoln High, and the strong sense of community that was present amongst the Italians in the Third Ward. He also details the family’s business, Guardalabene Funeral Home, which his father started in 1915 and Tony took over after serving in World War II.AN ORAL HI STORY
OF
THE ITALIANS IN MILWAUKEE
May, 19 91
Subject: Anthony Guardalabene
LAWRENCE BALDASSARO
DIANE VECCHIO
Department of French and Italian
College of Letters and Science
University of Wisconsin-Milwaukee
Funded in part by the Wisconsin Humanities Committee
and
The State of Wisconsin
The narrator is Tony Guardalabene. The interview is taking
place at the Italian Community Center of Milwaukee on
March 9, 1991. The interviewer is Diane Vecchio.
Interviewer.
Narrator.
Tony, tell me about your parents and their lives
in Italy before coming to this county.
My dad and mother were both born in Sicily, my
mother in Sant'Elia and my dad in Porticello. My
dad in Porticello, his trade over there was a
barber and my mother came to this country, her
name was Angela Bellante and she came here in 1897
and my dad one year later, 1898, and came directly
to Milwaukee.
I. Now, your mother came first you said.
N. My mother came first, right.
I. And they were already married?
N. No, they were not married.
I. How did she happen to come here first, then?
N. My uncle, Tony Bellante, was already here and I think he
came about the same time that Tom's father came here, in
about the same period of time and that's how my mother came
here and my grandmother.
I. Called for her. And then your father came over the next
year.
N. The following year my dad arrived here in Milwaukee.
I. And what was the connection bringing him here? Was there
somebody calling for him?
N. Probably so. I don't know exactly but I'm sure that he came
here because of letters that friends of his wrote telling
him to come here and telling him of the opportunities, and
so forth.
I. Very common.
N. And then once he came here he did open up a barber shop in
the Third Ward and then later on, I should go back a little
further, because when he first came he got a job with the
railroad and wound up working up in Hancock, Michigan. And
then to make extra money on the side he would cut hair.
With the money that he made up there he came back to
Milwaukee, opened up the barber shop, but at the same time
he had purchased some horses that did work for the County
and so from there. And then back in 1915 he started the
funeral business, so we've been in the business since i915.
I. When did he meet your mother?
N. Oh, shortly after he arrived in Milwaukee. He saw this lady
and fell in love with her and he married her.
I. And they were both living in the Third Ward?
N. Both living in the Third Ward.
I. When your mother was here as a young woman before she
married your dad, did she work at all?
N. No, she didn't.
I. She did not. When your father and mother got married did
your mother ever work outside of the home?
N. No.
2
I. After they married they also settled in the Third Ward.
N. That is correct, yes.
I. Did they, for instance, board or rent from other people
before, while they were saving money for their own home? Do
you know about that?
N. No. I think they were renting or had their own home. I
don't recall. I know my dad had his home, but my mother I
don't know. My uncle Tony Bellante worked for the City. He
was a supervisor in the garbage collection department at the
time and had a few people that he had working under him.
Then after that he went into the banking business and he was
president of the Columbia Bank. And that went haywire
during the days of the Depression.
I. What year were you born, Tony?
N. 1919.
I. So, your youth was spent in the old Third Ward.
N. That is correct.
I. You went to schools down there.
N. Andrew Jackson.
I. Andrew Jackson School, ok.
N. And from there to Lincoln High School.
I. And I imagine that most of your classmates must also have
been Italian.
N. All of them were.
3
I. All of them! Were any of your teachers able to speak
Italian, or they just spoke English and expected that all
these little kids would learn how to?
N. Yes. I don't recall, except at Lincoln High School we had 1
or two Italian teachers. That's all I could recall right
now offhand.
I. Right. Do you recall working with any of the nuns who were
sent here from Italy? Do you remember any of them?
N. Sure, I recall when they first came to this county. They
lived right next door to the Pompeii Church and we lived
just around the corner. We could see their back yard from
our back yard.
I. Is that right? Do you remember Sister Dio Mira or Sister
Crucifix?
N. Very well.
I. Do you really? What can you tell me about them?
N. They're lovely, beautiful people, they really are. You
can't say anything but good about them. They're saints,
they really are.
I. And they came here to work with the Italian families?
N. When they first got here in 1932, why the home that they
were occupying, they didn't even have any beds. They just
slept right on the floor on mattresses.
I. Did the Italian people try to help them?
N. Oh, all the Italian people did. The nuns of St. Joan Antida
are held in high esteem.
4
I.
N.
Are they? By the Italian people here?
Definitely so.
I. That's great! Going back to your education, as a young
schoolboy, what kinds of things did you and your friends do
in the old Third Ward when you were growing up? What kinds
of activities, social activities, sports, did you
participate in?
N. Well, we played a lot of basketball, softball, tag football.
So we were involved with sports all the time because that
was the only thing, the best thing that we could have done
at that time. We made up our own games and we never had any
fancy ice skates or roller skates. We had worn out
baseballs and so forth. But we all managed.
I. Your parents obviously spoke_ Italian in the horne and so you
grew up learning to speak Italian as well.
N. That is correct, yes.
I. So most of your friends probably were bilingual. Most of
these kids learned Italian in the horne and learned English
or spoke English because it's your native language.
N. That'S correct.
I. Did your parents also encourage you to stay in school and
graduate from high school? Was education valued by them, do
you think?
N. Yes it was. It certainly was. And they tried to do
whatever they could to keep us going to school and we never
faltered in our education.
5
I. So your dad goes into the funeral business in what year?
•
N. 1915.
I. And was that business located in the Third Ward?
N. It ·was in the Third Ward, driginally in the Third Ward.
I. And it was called the Guardalabene Funeral Home?
N. That is correct.
I. And I would assume that most of his clients were Italian.
N. That's right.
I. That's a strange word to use. So you must have had a lot of
dealings with Italian families for years then.
N. All my life.
I. All your life. How did you get interested in the business?
N. After I graduated high school then I went to Marquette for a
year and I guess that must have been the time when my dad
asked me, see I was the last one, but he asked me to get
into the business, which I did. And I went to mortuary
school, graduated there in 1940, got my license in 1941
because I had to wait until I was 21 in order to take my
State Board exams. Then right after that into service.
Like Tom [Busalacchi], we were there for about 4 years each.
We came back, worked there ~ull time ever since.
I. Now, I forgot to ask you about siblings. Did you have
brothers and sisters also?
N. Yes. There were eight in our family, four boys and four
girls.
I. But you were the only one to follow in the family business?
6
N. Right.
I. What do your brothers and sisters do?
N. My oldest brother was a doctor, an M.D., and 2 other
brothers had taverns and then went to work at the brewery
and then I of course into the mortuary, funeral business.
I. So you've been with the business since, what year did you
say you entered the business?
N. Well, I entered into the business, I got licensed in 1941,
but prior to that I used to help my father because at that
time most of the funerals were in the homes. It isn't like
today. Things were much tougher, harder.
I. Oh, I bet. So, when did you move from taking care of people
in the home to a regular funeral parlor?
N. It was probably back in the mid 30s, I guess.
I. Mid 30s. What was it like to be in charge of a mortuary
business when you had to deal with people in their homes?
It must have been very difficult.
N. It was difficult in that you had to bring everything into
the homes such as chairs, the ferns that went around the
casket, the Catholic equipment, everything else. It was
tough.
I. If it's possible, tell me a little bit about your
experiences dealing with these Italian people during periods
of grief. I mean, you really are dealing with people at ...
N. At a very difficult time.
7
I. Yes, at the most emotional time of their lives. What is it
like for you?
N. It's not easy, that I guarantee you, and knowing the people
themselves you're part of them. It isn't that they're total
strangers. They're not. None of our people have ever been
strangers and consequently we've always been right in there
with them. When they grieved and hurt, we grieved and hurt
also with them. That's how close we were.
I. Your history goes back a long time with these people.
N. That's right. From childhood. So, it isn't that you
can ••• , until today when we see each other, we're just like
brothers and sisters. We hug and we kiss each other and we
have a lot of respect for each other. As it should be.
I. That's right. Now, when did you get married?
N. I got married in January, 1947.
I. Did you marry a woman who was from an Italian family?
N. No. She's German.
I. She's German. One of Milwaukee's Germans?
N. One of Milwaukee's Germans.
I. And you had children?
N. Three sons.
I. Di~ any of them follow in the family business?
N. Yes, my son, James. Jimmy.
I. So you've got one son. And will he take over the business
then someday.
8
N. Well, hopefully. See I sold off my business back in 1979
and joined with the Schmidt-Bartelt Funeral Home and so my
son now is working with them and helping them out. So
that's it.
I. Now you were both talking about this effort to recreate the
camaraderie with the people from the old Third Ward. And
you see this as more or less the springboard for the growth
of the Italian Community Center.
N. That's right.
I. Do you feel that the destruction of the old Third Ward added
to the desire for people to create something like this?
N. I believe so.
I. Yes?
N. I believe so, because people started to scatter through
different parts of Milwaukee County, some even into Waukesha
County, and so some of the fellas always spoke about getting
together and having us get together, so consequently we
called it the Third Ward Reunion. And from there, we
started in late 1969 but our first reunion was in September
of 1970 and it was held at the old Knights of Columbus (on
14th and Wisconsin). I don!t recall what branch of the
Knights of Columbus, but anyway, when you get 700 and more
fellas together. And we even had people that came from out
of state, California, New Jersey, Michigan. Some came from
Texas. When they heard about it they wanted to be part of
it. And the same thing happened when we had the other 2
9
reunions. They wanted to be part of it and they came here.
(We charged 15 a couple;
the third one was 100 just
to be together.
I. What are your fondest memories of the old Third Ward?
N. My fondest memories of growing up in the Third Ward was the
fact that we were one. We weren't separated. When we saw
each other again we were collectively one.
I. A real community of people.
N. Those are my most beautiful memories, the friendship that
you made which is everlasting. We used to tell our children
about these things, and they thought we were telling them
stories. Until they saw what we were talking about, they
saw it in front of them. It did me a lot of good just to
see that my children did understand how close we were.
I. Right. Do you think it's because the old Third Ward was so
predominantly inhabited by Italians who lived one after
another, they were so closely intermingled and - they
recreated ...
N. Because we all helped each other.
I. You helped each other.
N. Yes, right.
I. How did you help each other? In what way?
10
N. Well, first of all if someone needed some help, if a mother
gave birth then you had these other people who would come to
the house and who would do the washing, who would do the
cooking, you know, helped each other. Ways of that type.
We were wealthy people down in the Third Ward, not
monetarily but rich in everything else, friendship, respect,
love, and all that. Because our parents taught us many
things, responsibility, love, honor, all those fine things.
I. All those solid values.
N. That's what they taught us. That's how we all grew up.
I. Were things like baptisms and first communions big
celebrations among the Italian people?
N. Yes.
I. What would a first communion be like? The church kind of
held the people together. Would an Italian family have a
big party following a first communion or a baptism?
N. Yes.
I. Did they?
N. Sure. At home. It all depends on the person, sometimes
they would rent a hall.
I. Oh, really?
N. And invite differ~nt friends over, or everyone, come on
over, open house. (Years ago weddings were two days; when
we were kids, they were two day affairs).
I. Wow! What's the greatest strength of the Italian community
today in Milwaukee?
11
N. Today?
I. What's their greatest strength do you think?
N. I think the greatest strength we have going for us right
today is just those that grew up in the Third Ward that are
still living. Those are the ones that are really holding
things together. The children do not seem to participate as
they should.
I. Really? Do you think that the children of your generation
have lost a strong identification with their Italian
background?
N. Well, possibly. We've spread out, intermarriages
(intermarriage had a lot to do with it). From the Third
Ward we went to Fox Point, we went to Wauwatosa, places like
that, you know. (People from that generation are Italian in
name only, they don't know nothing about themselves.) What
you're doing is fine, I mean, in that you could give sort of
a history of really what is taking place in the Italian
community today.
I. Yeah. Well, it seems to me at least from my view as an
outsider that the Italian Community Center more or less
attests to the fact that there is a strong desire among the
Italians in this city to never forget their roots and
continue this camaraderie and all of the things that bring
Italians together .
N. Years ago this was part of what our parents wanted was to
keep things together. They had the Casa Colombo (they had
12
Italian societies). Each group, that's why collectively
•
they had the Casa Colombo, made up of the different
societies. That was their intent - also to build something
like we· have today. Probably not as grandiose as this is,
·but at least they were looking forward in that direction.
So, with each generation growing up they were all looking
forward to building an Italian Community Center. It just
didn't start with us. It started with our parents many
years ago.
I. And it's finally reached fruition with your generation.
N. That's true. But, like you said, maybe it was the knocking
down of the old Pompeii Church.
I. That led to something good in the end! Anything else that
you'd like to say, Tony?
N. No, that's, one great thing about the Italian people in this
community is that those that had problems or were in
trouble, that was less than half of 1 ~ 0. And that's what's
going for us, because we had what I call the first
generation we might call the second generation, but the fact
is that we had, of our first generation, we made tremendous
strides in that we had lawyers, dentists, doctors, teachers,
engineers, presidents of different companies, vice
presidents of different companies in Milwaukee, that people
are still living. And so we won't take a back seat to no
one.
13
I. That's I think what's impressed me most is that the Italians
in Milwaukee have been very successful, not just
economically but, educationally, status, they have really
achieved. It seems to me that the Italians in Milwaukee
have really been successful. Great! Thanks a lot.
N. You're welcome.
[Pause .•• Tony wanted to mention his parents' names.]
N. Well my dad's name was Giovanni Battista, John the Baptist.
And of course, I had told you my mother's, her name was
Angela Bellante.
1
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
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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