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Richard Attenborough and Ian Taylor examining a model of the Attenborough Arts Centre, 27 May 1997
No full textColour photograph of Ian Taylor (Bennetts Associates) and Richard Attenborough examining a model of the Richard Attenbrough Centre. Ian Taylor was the architect for the Centre
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The millennium development goals and Africa: a response to Ian Taylor
No full textThe author, formerly Head of Secretariat at the Commission for Africa, responds to the criticisms of the Commission's report and process made by Ian Taylor. While the latter is right to emphasize the need for sound governance and for addressing the issue of looted assets, he appears to have overlooked sections of the report which do just that. He is also wrong to assert that aid does not work; the CfA believes that, when combined with other mechanisms, it is effective
Author response: India and China in Africa: a comparative perspective of the oil industry by Raj Verma
Get PDFEarlier this month Ian Taylor reviewed India and China in Africa, a new book about Asian engagement in the West African oil industry. Here, the book’s author Raj Verma responds to Taylor’s comments, outlining the rationale and evidence for the framework used in the study. India and China in Africa: A comparative perspective of the oil industry. Raj Verma. London: Routledge. 2017
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
Why Transnational Class and State? A Response to Ian Taylor
No full text Ian Taylor challenges the concepts of a transnational capitalist class (TCC) and state, suggesting that Poulantzas’s notion of the “internal bourgeoisie” is a better theoretical starting point for the analysis of transnational class formation and that the transnational state (TNS) is a step too far. This critique is not convincing. It is debatable to what extent it is a “Poulantzian reading.” The rejection of the notion of a TCC is unsustainable because of compelling evidence for the existence of such a class with articulated shared interests and organizations tasked with pursuing them. The critique of the TNS has some validity, but largely because proponents of the concept have been insufficiently clear on the consequences of upscaling the state concept to the global level. When this is acknowledged, the relevance and usefulness of the concept is that it enables state theoretical analysis of demonstrably existing TNS apparatuses that perform TNS functions, shaped by transnational relations of power between social forces, involving both structural power and direct engagement in transnational sites of contestation. There are now transnational elements of all fundamental characteristics of the capitalist state except one, the monopoly on the legitimate use of violence. Finally, Taylor does not provide an alternative approach to theorizing what descriptively is known as global governance. </jats:p
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
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