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Representation of Painting by Ekphrasis in Chekhov's Prose
No full textThis article deals with the problem of pictorial image description in Chekhov's prose. A.P. Chekhov's skills leaned against technique of ekphrasis (intersemiotic transition) whereby literary text is becoming intermediate phenomenon and synthesizing itself semiotic system of varied art forms especially pictorial art. Representation by ekphrasis of literary text in modem theoretical science is typified in three aspects: as a technique (instrument of organization literary text), as a genre (verbalization of work of art) and such as discourse (organization of visual narrative). The author as exemplified in Chekhov's prose materials focus on intermediate method of analyzing text. Actual continuity was due to the fact that growing interest of media theory and synthesizing varied art forms as part of one literary work, as also ekphrasis and visual marked zones, so-called visual attractors. In the article analyzed examples of which can be seen that for Chekhov-prosaist featured permanent access to transformation subject matter (pictorial art) into verbal. Ekphrasis as a technique of intermediate poetic became author's strategy of writing skills and permanent practice. In this paper also try a short systematize and classify varied kinds of Chekhov's ekphrasis. According to presence or absence of referent there are classification of examples, that describes real (memetic) or fictitious (unmemetic) works of art in Chehkov's world
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
ОСОБЕННОСТИ ДРАМАТУРГИИ ЛИ ЛУНЪЮНЯ (1948-2012) (НА ПРИМЕРЕ ПЬЕСЫ "СЯОЦЗИН ХУТУН" (1981))
No full textThe article discusses the main features of the "new Chinese drama" of the period after the end of the "Cultural Revolution" (1966-1976) using the example of the play "Xiaojing Hutong" (1981) by Li Longyun. This period of the last third of the 20-th century marked a new stage in the revival and flowering of dramatic theater art in China. The author notes that the emergence of a new ideological environment and a new intellectual elite during this period leads to a rethinking of the results of the "Cultural Revolution". It is noted that the main idea of the dramaturgy of this period is the desire to stop public unrest and return to the path of peaceful transformation and economic development. Particular attention is paid to the structure and artistic features of Li Longyun's play "Xiaojing Hutong" (1981), which in China is also called the continuation of Lao She's play "The Tea Room" (1957). The play "Xiaojing Hutong" describes more than thirty years of the history of a small alley in southern Beijing from the founding of New China to the end of the Cultural Revolution, as well as the change in the fate of people living in this alley. Each action of the play represents a certain historical stage.В статье рассматриваются основные особенности "новой китайской драматургии" периода после окончания "культурной революции" (1966-1976) на примере пьесы "Сяоцзин Хутун" (1981) Ли Лунъюня. Этот период последней трети ХХ столетия отмечен новым этапом возрождения и расцвета драматического театрального искусства в Китае. Автор отмечает, что появление новой идейной среды и новой интеллектуальной элиты в этот период ведёт к переосмыслению итогов "Культурной революции". Отмечается, что основной идеей драматургии этого периода становится стремление прекратить общественные беспорядки и вернуться на путь мирных преобразований и экономического развития. Особое внимание уделяется структуре и художественным особенностям пьесы Ли Лунъюня "Сяоцзин Хутун" (1981), которую в Китае также называют продолжением пьесы Лао Шэ "Чайной" (1957). В пьесе "Сяоцзин Хутун" описаны более чем тридцатилетняя история небольшого переулка на юге Пекина с момента основания Нового Китая до момента окончания "культурной революции", а также изменения судеб людей, живущих в этом переулке. Каждое действие пьесы представляет определённый исторический этап
ЭКФРАСТИЧЕСКАЯ РЕПРЕЗЕНТАЦИЯ ПРОИЗВЕДЕНИЙ ЖИВОПИСИ В ЧЕХОВСКОЙ ПРОЗЕ
No full textThis article deals with the problem of pictorial image description in Chekhov’s prose. A.P. Chekhov’s skills leaned against technique of ekphrasis (intersemiotic transition) whereby literary text is becoming intermediate phenomenon and synthesizing itself semiotic system of varied art forms especially pictorial art. Representation by ekphrasis of literary text in modern theoretical science is typified in three aspects: as a technique (instrument of organization literary text), as a genre (verbalization of work of art) and such as discourse (organization of visual narrative). The author as exemplified in Chekhov’s prose materials focus on intermediate method of analyzing text. Actual continuity was due to the fact that growing interest of media theory and synthesizing varied art forms as part of one literary work, as also ekphrasis and visual marked zones, so-called visual attractors. In the article analyzed examples of which can be seen that for Chekhov-prosaist featured permanent access to transformation subject matter (pictorial art) into verbal. Ekphrasis as a technique of intermediate poetic became author’s strategy of writing skills and permanent practice. In this paper also try a short systematize and classify varied kinds of Chekhov’s ekphrasis. According to presence or absence of referent there are classification of examples, that describes real (memetic) or fictitious (unmemetic) works of art in Chehkov’s world.В статье исследуется проблема описаний живописных изображений в чеховской прозе. Техника А.П. Чехова, с помощью которой литературный текст становится явлением интермедиальным, синтезируя в себе знаковые системы различных видов искусства, в частности живописи, опирается на экфрасис (явление межсемиотических переходов). В современной теоретической науке экфрастическая репрезентация в художественном тексте рассматривается, как правило, в трех аспектах: как прием (средство организации художественного текста), как жанр (вербализация произведения искусства) и как дискурс (организация визуального нарратива). На материале чеховской прозы автор уделяет основное внимание интермедиальному методу анализа текста, опирающегося на экфрастический прием. Актуальность работы обусловлена растущим интересом к медиа теориям и синтезу различных видов искусства в рамках одного литературного произведения, а также экфрасису и визуально маркированным зонам, так называемым визуальным аттракторам. В статье проанализированы примеры, из которых видно, что для Чехова-прозаика характерно постоянное обращение к переводу изображаемого (живописного) в словесное. Экфрасис, как прием интермедиальной поэтики, становится стратегией авторской техники письма и постоянной практикой писателя. В работе делается попытка систематизировать различные виды чеховского экфрасиса. По наличию или отсутствию референта классифицируются примеры, описывающие существующие (миметические) или вымышленные (немиметические) произведения искусства чеховского мира
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
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
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