1,721,318 research outputs found
Jonson (Ben), Volpone ou le Renard, traduction de Castelain (Maurice)
No full textBuyssens Eric. Jonson (Ben), Volpone ou le Renard, traduction de Castelain (Maurice). In: Revue belge de philologie et d'histoire, tome 15, fasc. 1, 1936. pp. 174-175
Oberon, the fairy prince : a masque of Prince Henries, 1611
No full text13 pp. This HTML etext of Ben Jonson's "Oberon, The Fairy Prince" was created in February 2003 by Anniina Jokinen of
Luminarium. It is provided through Renascence Editions by her kind permission.
The text is unaltered,
and this etext also preserves, as much as possible within the constraints of the medium, the layout of the print edition.
Source text:
Jonson, Ben. The Works of Ben Jonson. A New Edition.
Edited, with a Biographical Memoir, by William Gifford.
Boston: Phillips, Sampson, and Company, 1853. 696-699.
This edition is made available to the public for nonprofit purposes only. It is not represented by the publisher as a
scholarly edition in the peer-reviewed sense. Unique site content is copyright ©2003 Anniina Jokinen. This e-text may
not be reproduced or published in any form without express written consent from the copyright holder
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
Capturing Design Ideas: A Protocol Analysis Model
Get PDFThis article explores the impact of digital technology on freehand drawing in the wider context of design ideation and the search for a method to capture how designers go about generating and communicating their ideas, both in design schools and industry. In this, the general issue of design methodology is looked at together with a range of specific research methods that might be helpful to the researcher of creative work. The author suggests an assembly of methods within the case study method, notably protocol analysis, and sets out to test these in a pilot study with a second year undergraduate design student. The outcome provided sufficiently illuminating data for the author to conclude that the protocol analysis is a viable research tool for exploring aspects of conceptualisation in design
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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