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harpe kundi
No full textThis book, published on the occasion of the museum's opening, presents a collection of 77 important works from the Royal Museum for Central Africa's collections, analysed by academics, curators and connoisseurs of African art. Many of the works are included in the room dedicated to the temporary exhibition Art without Parallels. Other pieces, however, are related to the permanent rooms or open a window onto the hushed world of the RMCA's reserves, which are largely unknown to the general public. Coming from the Congo, but also from other countries such as Angola or Gabon, these pieces selected by researcher and curator Julien Volper are sometimes material witnesses of disappeared cultures dating from the 8th to the 10th century, or even from several tens of thousands of years ago! However, the majority of them belong to the recent period of the 19th - 20th centuries. The masks, statues, sculpted ivories, weapons, vessels and other artefacts on display all bear witness to a real creativity that the theorist Vladimir Markov summed up so well in 1919: "[...] this [African] art has no equal in the world"
"Quand l art danse et chante". L art du Bobongo et les tambours divinatoires nkooku
No full textLight on the south-west of the Congo. Through 150 works, "La part de l'ombre" reveals the rich artistic production of a little known region. It is an opportunity to restore the wooden statuary of the Congo to its rightful place. The South-West of Congo corresponds more or less to the former province of Bandundu, which included the current territories of Kwango, Kwilu and Mai-Ndombe, while also incorporating the current province of Kinshasa. Covering almost half the surface area of France, the region is as diverse - more than a dozen peoples live there - as it is culturally rich. This richness is particularly evident in the plastic arts, as shown by the extraordinary diversity of forms of statuary, masks and other everyday objects
Crucifix kongo (Les)
No full textLes crucifix nkangi kiditu étaient encore possédés aux xixe et xxe siècles par certains chefs de RDC et d’Angola. La notice évoque quelques‑uns des différents groupes kongo ayant connu cet attribut de pouvoir, traite des fonctions de celui‑ci, expose son origine européenne et son lien avec la première évangélisation (xve‑xviiie siècle). Quelques modèles spécifiques de nkangi kiditu sont également présentés.This text briefly presents the “nkangi kiditu” crucifixes, a type of object that some chiefs of the DRC and Northern Angola still owned during the 19th and 20th centuries. The author mentions some of the Kongo groups who knew this emblem as one that represented rank and status. He deals with its functions, divulges its European origin and its link to the first evangelization period from the 15th to the 18th centuries. He also shows a few specific models of nkangi kiditu
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
Du goût à la théorie. Le « Maître de Buli » au travers du prisme photographique
No full textÀ partir d’une série de photos dédiées à l’une des œuvres les plus emblématiques du Musée royal de l’Afrique centrale, l’auteur dresse un bref historique des approches esthétiques et scientifiques de la porteuse de coupe dite du « Maître de Buli ». Analyser l’intérêt porté par le chercheur belge Frans Maria Olbrechts à cette pièce permet de présenter un résumé des théories olbrechtiennes qui s’appuyèrent autant sur les travaux de l’anthropologue germano-américain Franz Boas que sur ceux de l’italien Giovanni Morelli, historien de l’art, ou, plus indirectement, sur les études de l’anatomiste français Georges Cuvier.Using a number of photographs of one the most emblematic sculptures of the Royal Museum of Central Africa, the author sketches a short evolution of the aesthetic and scientific trends connected to the “Master of Buli” bowl-bearing figure. By analyzing the special interest Belgian scholar Frans-Maria Olbrechts showed for figures by this artist, we will be able to summarize his “Olbrechtian” theories, based on previous work of German-American anthropologist Franz Boas, Italian art historian Giovanni Morelli and indirectly the research of French anatomist Georges Cuvier
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