1,721,053 research outputs found
Science in motion : optical devices in popular science magazines (1851-1903)
No full textCette thèse s’inscrit dans le mouvement des études interdisciplinaires portant sur la presse. Son objet est double : la presse de vulgarisation scientifique et les dispositifs optiques. Notre étude débute en 1851, moment de la fondation des premiers titres représentatifs, et s’achève en 1903, période de crise où ces périodiques entament une redéfinition de leurs lignes éditoriales. L’objectif de ce travail est d’étudier la façon dont la presse de vulgarisation scientifique s’empare des dispositifs optiques. Nous montrons que ces dispositifs, mieux que tout autre objet, permettent de comprendre efficacement l’évolution générale de la presse de vulgarisation scientifique dans ses pratiques d’écriture, dans le choix de ses rédacteurs et dans l’évolution des lignes éditoriales. L’étude conjointe de la presse photographique, laquelle se rattache explicitement au mouvement de vulgarisation scientifique, et des périodiques de vulgarisation scientifique généraliste, montre que, si ces deux types de presse cohabitent initialement en s’ignorant largement, ils finissent par se rencontrer et s’influencer mutuellement. Cette thèse visant à offrir une cartographie détaillée des périodiques et du personnel qui y officie, elle s’accompagne d’annexes incluant un répertoire des périodiques traités, ainsi qu’un premier répertoire des personnalités de la vulgarisation scientifique et une chronologie.This dissertation is part of interdisciplinary studies dealing with the press. Its subject-matter is twofold: french popular science newspapers and optical devices. Our study begins in 1851 with the founding of the first popular science magazines, and ends in 1903, year of crisis during which this periodical press begins to redefine its editorial lines.The purpose of this work is to study how the popular science press got hold of optical devices. We show that these devices, better than any other object, allow effectively to understand the general development of the popular science press in its writing practices, in the choice of its writers, and in the evolution of its editorial lines. The joint study of photographic newspapers, which are explicitly linked to the popular science movement, and general popular scientific journals, shows that both types of press initially ignore each other, but eventually meet and influence each other.This dissertation aims at providing a detailed description of this periodical press and its staff: it is accompanied by appendices including a detailed index of those newspapers, and another detailed index of popular science writers. It also includes a chronology
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
Vie et mort d'un hebdomadaire de vulgarisation scientifique : dans les cuisines de La Science populaire (1880-1884)
No full textTexte rédigé en complément de A. Hohnsbein, « “Au même moment tous les hommes tressaillirent sous la commotion” : la vulgarisation scientifique selon La Science populaire d’Adolphe Bitard (1880-1884) », in Marta Caraion & Barbara Selmeci Castioni dir., Littérature, image, périodicité (XVIIe-XIXe siècles), à paraître
Dioramas
No full textSite de l'exposition : https://www.palaisdetokyo.com/fr/evenement/dioramasCR d'expositionInternational audienceExposition "Dioramas", Paris, Palais de Tokyo (juin-septembre 2017). Texte initialement paru sur le site de la SERD : https://serd.hypotheses.org/132
Les misères de Paris. Des représentations du corps souffrant dans la Revue photographique des hôpitaux de Paris
No full textInternational audienceThe Revue photographique des hôpitaux de Paris stages the meeting of two paradoxical elites: the medical, educated and privileged public, and the most exceptional pathological cases of popular Paris. Sprung from the Second Empire, where centralization and spectacularization of the wonders of science and industry are the rule, this periodical fulfills – more or less consciously – three functions: offering a striking panorama of the life of popular Paris and its biological accidents, the review wants to tell “stories” of diseases selected for their rarity, accompanying them with an iconography set up as the main selling point. Our study shows that, by its lack of editorial line, this review is extremely ambiguous.La Revue photographique des hôpitaux de Paris est un objet trouble. S’attribuant le rôle de vitrine pour les hôpitaux de Paris, elle met en scène la rencontre de deux milieux diamétralement opposés : le public médical, éduqué et privilégié, et les cas pathologiques les plus exceptionnels du Paris populaire. S’inscrivant dans une modernité typique du Second Empire, où la centralisation et la spectacularisation des merveilles de la science et de l’industrie sont la règle, elle remplit plus ou moins consciemment trois fonctions : offrant un panorama saisissant de la vie du Paris populaire et de ses accidents biologiques, elle veut raconter des « histoires » de maladies sélectionnées pour leur rareté, en les accompagnant d’une iconographie qu’elle érige en argument de vente principal via son titre. Cette étude montre que faute de ligne éditoriale suffisamment développée, cette revue est d’une extrême ambiguïté
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