1,720,970 research outputs found
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
Young Falstaff and the performance of nostalgia
No full textThe Shakespeare plays located during the period of the Wars of the Roses are unusual in that there is a core set of characters who appear in more than one play. (The Roman plays offer the only other example.) These characters are a diverse group; in addition to Falstaff, they include aristocrats and royalty (Bolingbroke/Henry IV, Prince Hal/Henry V); country justices (Shallow and Silence); and London underworld figures like Mistress Quickly, Bardolph, Pistol and Nym-these last four being associates of Falstaff, who plays a major role in the plays in which he appears on stage (Henry IV, Part 1;Henry IV, Part 2; TheMerry Wives of Windsor), and is mentioned in another two (Henry V and Henry VI, Part 1). This can make the world of the play and the characters in it seem more 'three dimensional' and realistic. It implies that the characters have an independent existence, a real life, between and outside the plays in which they appear. The danger of this for theatre practice and scholarship is the possibility of blurring the distinction between human beings and theatrical characters. Trying to analyse characters as if they were real people can lead theatre practitioners and scholars down a dead end. The role of Mistress Quickly shows how the distinction between a person and a character can break down in a revealing way. In the Henry plays she is the landlady of a riotous Eastcheap tavern and bawdy house, apparently married (Henry IV, Part 1, 3.3, TLN 2100), though we see no husband until she weds Pistol in Henry V (2.1 and 2.3), a 'most sweet wench' (Henry IV, Part 1, 1.2.39, TLN 153-54) and old (Henry IV, Part 2, 2.2, TLN 930). She tries to defend her tattered reputation as an honest businesswoman in the face of the disorder of her house and the uncontrolled irresponsibility of the clientele, especially Falstaff, for whom she has a deep fondness despite his behaviour to her
Article on Furioso and Meryl Tankard, Adrian Kiernander Armidale, NSW, 1993.
No full textArticle written by Professor of Theatre Studies, University of New England, NSW, Adrian Kiernander. This article is about Meryl Tankard's Furioso, and her transition into Artistic Directorship of Australian Dance Theatre in 1992
Abjected Arcadias: Images of Classical Greece and Rome in Barrie Kosky's 'Oedipus', 'The Lost Echo' and 'The Women of Troy'
No full textThe name "Arcadia" has a seductive sound. From Virgil via Sir Philip Sidney to Tom Stoppard, through high art and popular fiction, it evokes an idyllic setting characterised by harmony and delight, a scene of youth, perpetual good health and abundance, where the greatest grief is occasioned by unrequited affection and expressed in the lamentations of the disappointed lover. Twenty-first-century drama has its citified and suburban versions of this idyllic but nevertheless anxious classical world – but they are now called sitcom and soap, the worlds of 'Friends' and 'Neighbours'. But when theatre in Sydney, over the past few years, has turned back to the classical tradition, it is not this gentle, bucolic version of antiquity that it has chosen to share with audiences; Australian theatregoers have been presented instead with images of the ancient Greek and Roman periods characterised by violence, brutality, deception, conspiracy, cruelty, torture, hatred, disharmony, the capricious abuse of power, and blood – buckets and buckets of blood. The image of antiquity presented by these theatrical events is more the version we know from intrigue-laden texts like Shakespeare's 'Julius Caesar', the televised adaptation of Robert Graves's 'I Claudius' and the more recent BBC/HBO/RAI television series 'Rome' than pastorals depicting a golden age. The productions I am referring to here are the Sydney Theatre Company's 'Oedipus' by Seneca in the translation by Ted Hughes (2000); 'The Lost Echo' (2006) and 'The Women of Troy' (2008)
John Bell, Shakespeare and the Quest for a New Australian Theatre
No full textIn September 2006, on the occasion of the launch of an Australian film version of Shakespeare's Macbeth that was set in the gangland world of Melbourne, John Bell was interviewed by the Australian Broadcasting Corporation (ABC) for their television news program, the 7.30 Report. He was asked to comment on the appropriateness of making such a film in Australia. His response was that there should be more Australian film versions of Shakespeare's plays, and that "they should be done in a very Australian way. Just as our theatre Shakespeare is very Australian, so our films should express something that is ours, uniquely ours" (Bell 2006). It was hardly surprising that Bell, as the Australian actor and director most closely associated with Shakespeare's plays, should have been chosen to comment on the film. Furthermore, if it is true that our "theatre Shakespeare" is very Australian, more credit should go to Bell than to any other single Australian theatre practitioner, past or present. This book is a study of Bell's contribution-as an actor and director, not only in Shakespeare productions but also in the productions of newer, Australian playwrights-to a theatre which speaks as directly as possible to Australian audiences, giving them pleasure as well as encouraging a continual rethinking of what Australia means both in itself and in its relations with the rest of the world. Bell has performed and directed with his own two companies for all but five years between 1970 and 2013: from 1970 to 1985 as co-director of the Nimrod Theatre, and from 1990 to the present as artistic director of the Bell Shakespeare Company (BSC)
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
Enright on the Record: Evidence from the Television Archives of the Australian Broadcasting Corporation
No full textThe television archives of the Australian Broadcasting Corporation contain significant material dealing with the work and career of Nick Enright. This includes footage of some of his plays in performance, interviews with him, and commentary on his work by critics and theatre practitioners. This chapter describes and analyses some of the more important contents of this archival material, under three main headings: representations of masculinity, meta-theatre, and Enright's success as a playwright for actors. It makes special reference to 'The Venetian Twins', 'Mongrels' (which is a significant turning point in Enright's career), 'Blackrock', 'Good Works', 'A Poor Student', 'Cloudstreet', and 'The Boy from Oz'. The chapter argues that the material in the archive illustrates important aspects of Enright's career and his rising profile after 1991, when he began to be accepted as a serious playwright, but that this success and the move to larger-scale productions paradoxically involved a certain loss of artistic control
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