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Enrique Encabo e Inmaculada Matía Polo (eds.). Copla, ideología y poder (Madrid, Dykinson, 2020, 286 pp.)
Full text linkReseña de Enrique Encabo e Inmaculada Matía Polo (eds.). Copla, ideología y poder (Madrid, Dykinson, 2020, 286 pp.)
Reseña del libro: Enrique Encabo e Inmaculada Matía Polo (eds.), América como horizonte. Intercambios, diálogos y mestizajes de la escena popular española
No full textEnrique Encabo e Inmaculada Matía Polo (eds.), América como horizonte. Intercambios, diálogos y mestizajes de la escena popular española, Madrid/ Frankfurt am Main, Iberoamericana/ Vervuert, 2023, 234 páginas, ISBN 978-84-9192-334-3.Enrique Encabo e Inmaculada Matía Polo (eds.), América como horizonte. Intercambios, diálogos y mestizajes de la escena popular española, Madrid/ Frankfurt am Main, Iberoamericana/ Vervuert, 2023, 234 páginas, ISBN 978-84-9192-334-3
Enrique Encabo e Inmaculada Matía Polo (eds.). Copla, ideología y poder (Madrid, Dykinson, 2020, 286 pp.)
No full text
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
MUJERES EN LA ESCENA: LA “COMPAÑÍA DE BAILES ESPAÑOLES” DE “LA ARGENTINITA” Y EL ESTRENO DE EL AMOR BRUJO (1933)
No full textEn 1933 Encarnación López Júlvez “La Argentinita”, funda su propia compañía de danza, con la que estrenará El amor brujo (1933), primero en el Teatro Falla de Cádiz y después en el Teatro Español de Madrid. Auspiciada por Ignacio Sánchez Mejías y Federico García Lorca, Encarnación logra trasladar a la escena un cambio de paradigma presente en los círculos de intelectuales de la sociedad urbana, con los que se vincula a raíz de su contacto con Gregorio Martínez Sierra y María Lejárraga y sus actuaciones en el Teatro Eslava de Madrid durante la temporada de 1919-1920. Palabras clave: Danza Española, “La Argentinita”, Martínez Sierra, El amor brujo, Pilar López. Women in the Scene: the “Company of Spanish Dances” of “La Argentinita” and the Premiere of El amor brujo (1933) Abstract: Encarnación López Júlvez “Argentinita”, founded her own dance company “Compañía de Bailes españoles” in 1933, with which she will premiere El amor brujo (1933), in Teatro Falla (Cádiz) and Teatro Español (Madrid). Supported by Ignacio Sanchez Mejias and Federico García Lorca, Encarnación transfers a paradigm present in the intellectual circles of urban society to the theatrical scene, with which she is linked because of her relation with Gregorio Martinez Sierra and Maria Lejárraga, and her performances at the Teatro Eslava (Madrid) during the 1919-1920 season.Key words: Spanish Dance, “La Argentinita”, Martínez Sierra, Amor Brujo, Pilar López</jats:p
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