1,720,962 research outputs found
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
Correspondence Édouard Dujardin – Valery Larbaud (1922-1929)
No full textCette correspondance, quasi intégrale, entre Larbaud et Dujardin, qui a été établie à partir du fonds Valery Larbaud de la médiathèque de Vichy et du fonds de l’Université du Texas à Austin (« Édouard Dujardin Papers » du Harry Ransom Center), fait le récit d’un écrivain symboliste de la Belle Époque qui resurgit, d’une manière tout à fait inattendue, au beau milieu des Années folles, en plein modernisme. Dans une lettre du 17 août 1923, Dujardin confie à Larbaud : « Vous avez apporté une grande joie et un grand réconfort à mes cheveux blancs. Il est certain que si votre lettre m’était arrivée trente-cinq ans plus tôt, elle aurait eu une grande influence sur ma carrière littéraire ! ». La réaction peut se comprendre dans la mesure où l’éminente nouveauté formelle que constituait le monologue intérieur des Lauriers sont coupés n’attira aucune attention critique lors du premier tirage en 1887. Larbaud rendit hommage à Dujardin et le réhabilita comme le précurseur du monologue intérieur qui fit le succès de Ulysse de James Joyce. Les lettres entre les deux hommes détaillent toutes les étapes de cette « revie » littéraire
Twilight of the Wagnerian God:reexamining Huysmans’s and Mallarmé’s poetic critique of Wagner
No full textThis article offers a comparative study of Huysmans's poetic paraphrase "L'Ouverture de Tannhæuser" (1885) and Mallarmé's sonnet "Hommage" (1886). The texts were commissioned by the editor of the Revue wagnérienne, Édouard Dujardin, following a concert of Wagnerian excerpts the three attended. However, despite that original connection, these two Wagnerian poems have never been analyzed side by side. This essay is the first to juxtapose them in order to uncover commonalities in their attitude toward Wagner and music, a subject in which neither author was formally trained. Ultimately, I argue that the poems as creative and critical texts helped define French Wagnerism as a movement split between its reverence and irreverence of Wagner. They did so by poking fun at the "God Richard Wagner" and his cult-like following, an iconoclastic gesture that paved the way for the questioning of poetic norms among the French avant-garde of the mid–1880s
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
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
Narcissistic fiction:music theater of the everyday in Édouard Dujardin’s <i>Les Lauriers sont coupés</i> (1887)
No full textThe Symbolist novella Les Lauriers sont coupés (1887) by Édouard Dujardin (1861–1949) is the first work of fiction in Western literature to be entirely written as an interior monologue. Yet it took more than thirty years for Dujardin’s innovation to be recognized thanks to James Joyce acknowledging Les Lauriers as an important formal influence for Ulysses (1922). Subsequently, Dujardin claimed in the essay “Le monologue intérieur” (1931) that his goal had been to transpose Wagnerian procedures into writing. Since then, scholars have either denied or confirmed the novel’s Wagnerian inspiration. The latter interpretation has become the consensus in scholarship. However, in their efforts to connect Les Lauriers with Wagner, previous studies have neglected the constant presence of French musical theater references in the novel, presumably because their presence represents a form of paradox for a devout Wagnerite like Dujardin. This article is the first to analyze them. It also ties these references together with Symbolism’s interest in metafiction, that is to say, in fiction that reflects on its own existence as fiction. I argue that Dujardin was eager to follow the model of the Wagnerian novel proposed by his friend Teodor de Wyzewa in the Revue wagnérienne, that of setting on paper the poet’s entire existence by depicting his/her every emotion, sensation, and thought. In his discovery of the difficulty involved in performing such a task, Dujardin switched his focus to what his mentor Mallarmé called a “Type”: a depersonalized character, who is supposed to stand in as a representative of France’s youth. Hence, the protagonist of Les Lauriers sont coupés being an average character, with musical tastes that are illustrative of his time. Thus, the numerous musical references peppering Les Lauriers are not connected to the elitist world of Wagnerism in the 1880s, but rather to what were then beloved favorites like François-Marie Boieldieu’s La Dame blanche (1825), or Edmond Audran’s La Mascotte (1880). But there is an added twist, as Dujardin did not let go of Wagner’s influence entirely and used Audran’s operetta as a springboard with which to experiment with Wagnerian leitmotifs in literature. Ultimately, I show that the musical references in Les Lauriers are systematically divorced from real-life performance in order to become strictly mental creations that highlight just how isolated and self-absorbed the protagonist—and, by extension, the author himself in the act of creation—really is
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