1,720,960 research outputs found
IN LIMINE. FORME MARGINALI E DISCORSI DI CONFINE/FRINGE FORMS AND BORDER DISCOURSES.
Full text linkIn organizing the second edition of the Graduate Conference of the PhD programme in Literary, Linguistics and Comparative Studies at the University of Naples "L'Orientale", which took place in the splendid setting of Palazzo Du Mesnil on 20-21 October 2016, the members of the organizing committee – in full accordance with the PhD coordinator, prof. Carlo Vecce, and the Board of Professors – continued the path traced by their predecessors, remaining faithful to the interdisciplinary dialogue that has characterized our PhD training programme for years.
The conference debate was devoted to investigating the concept of limen in its various meanings: limen as threshold, textual and meta-textual margin; limen as border, boundary; limen as extreme limit; limen as in-betweenness, the threshold of consciousness and perception. The concept of limen is referable to what defines, separates, combines, allows the crossing and contamination, the identification or differentiation. It can be fixed, variable, incorporated or invented and is understood as an object in its literal meaning or as a metaphorical concept. The richness of ambivalent meanings linked to this concept has allowed a wide discussion panorama, in which marginal forms and boundary discourses have been analyzed in a multicentric and multidisciplinary perspective.
Given the many submissions (almost three times more than the tight constraints), the committee had the delicate and unenviable task of selecting them; the choices were based on the pre-established themes – marginality in literature, linguistics and in the arts – without favouring any kind of approach and remaining open to innovative proposals that could demonstrate the arbitrariness of superficial and hasty 'labels' present in today's cultural landscape.
While aware of the inadequacy of any subdivision for an event such as this one, characterized by a constant strive for interdisciplinary contact, it was decided to place the essays gathered together in this volume in three sections: even if corresponding to distinct research areas, they all share the same field of inquiry in a broader sense.
The first section of the volume focuses on Textual Crossings. In this part, we find papers analyzing the relationship between text and 'paratext', those describing the processes of rewriting (understood as evolution of a text according to the different wills of the author, both as a re-use and as transfer to different cultural, chronological and linguistic contexts) and those focusing on innovative solutions adopted in some Italian literary texts at linguistic and stylistic levels.
In the second section, Boundaries between Arts and Culture, there is room for contributions that deal with literary works relegated to the margins of the canon (for a rate of originality that is too high compared to current trends or because they are considered to be ancillary in some ways). There are also essays that deal with the theme of socio-anthropological margins, particular notions of the concept of limen and those on different artistic and cultural expressions in motion. Finally, we find studies that make an in-depth examination of issues related to cultural crosses and the loss of collective and individual identity.
The third section, Linguistic Marginality, focuses on the contacts between different linguistic systems, on the varieties that arise from those contacts, on speakers’ perception of those varieties, on the ways in which the concept of 'crossing a border' is expressed in different linguistic codes, and, not least, about variations related to unusual communication situations (such as, for example, telematic events).
A more detailed description of the essays is provided in the abstracts preceding each paper. Before dismissing this volume, we would like to thank all those who made its realization possible: the speakers, who participated in the Graduate Conference and decided to commit themselves by sending their proposals for the publication of its proceedings; the session chairs, who enthusiastically accepted our invitation, enriching the debate with precious insights; the scientific committee members, who meticulously reviewed the papers, guaranteeing the achievement of the standards required for such a publication, and finally Professor Carlo Vecce, for the constant and discreet support at all stages of our work
Diamanda Galás artista della differenza
No full textL'arte musicale, vocale, letteraria, performativa di Diamanda Galás si pone come un esercizio costante sullo stato di soglia, o sull'attraversamento di soglie. Soglie di vario tipo: tra materiale estetico ed extra-estetico, tra canto ed extra-canto, tra linguaggio ed emissioni vocali extra-linguistiche, tra generi e stili differenti, tra diverse lingue e culture, tra strati sociali, tra pubblico e privato, tra corpo e tecnologia. La soglia è il precipuo campo dell'azione artistica, e insieme politica, di Galás: soglia come luogo della differenza, da riconoscere ed esaltare oppure da abbattere. Nella sua multiforme carriera di autrice-interprete, lavori come Plague Mass (1984) sull'epidemia di AIDS, o Defixiones, Will and Testament (2003) sul genocidio armeno, rappresentano paradigmaticamente la tematica centrale di tutta l'opera di Galás: la ribellione contro la violenza del potere; altri come Vena cava (1993) o Schrei X (1996) esplorano il continuum integrale della vocalità extracantata: grido gemito mugolio sussurro rantolo; The Sporting Life (1994) o Malediction and Prayer (1998) attestano la versatilità straordinaria di un'erede autentica di più tradizioni (bel canto, blues, amanes, rock, avanguardia). Nell'arte di Galás il limen nelle sue plurime accezioni – soglia tra differenze, margine rispetto al centro, estremo espressivo rispetto alla moderazione – è il campo d'azione estetica (in quanto tale mirabilmente riuscita) di una battaglia etica (inesorabilmente perduta).The musical, vocal, literary, performative art of Diamanda Galás stands as a constant exercise on the threshold state, or on crossing thresholds. Various kinds of thresholds: between aesthetic and extra-aesthetic material, between singing and extra-singing, between language and extra-linguistic emissions, between different genres and styles, languages and cultures, social strata, between the public and the private, the body and technology. The threshold is the main field of Galás's artistic and together political endeavour: the threshold as the place of difference, to be recognized and exalted or to be demolished. In her multifaceted career as an author-performer, works like Plague Mass (1984) on the AIDS epidemic, or Defixiones, Will and Testament (2003) on the Armenian genocide, paradigmatically represent the central theme of Galás's entire œuvre: the rebellion against the violence of power; others like Vena cava (1993) or Schrei X (1996) explore the full continuum of extra-singing vocality: scream moan groan whisper wheeze; The Sporting Life (1994) or Malediction and Prayer (1998) attest to the extraordinary versatility of an authentic heir of many traditions (bel canto, blues, amanes, rock, avant-garde). In the art of Galás the limen in its multiple meanings – threshold between differences, margin with respect to the centre, expressive extreme with respect to moderation – is the field of aesthetic action (as such admirably accomplished) of an ethical battle (inexorably lost)
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
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe 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
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