1,721,005 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
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
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe 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
Altered states : musical and psychological processes in Wagner
Get PDFThis study reconstructs the early development of modern psychological thought as a context for understanding Wagner's artistic practices. It opens by considering the evolution of psychological thought in German-speaking regions in the late eighteenth century and the growing recognition of unconscious psychological states. By the time that Wagner's career as an opera composer was underway, aesthetic theory and practices had changed to reflect implications of the model of the mind that absorbed early scientific and medical accounts of the unconscious. The application of these psychological ideas in Wagner's works is the focus of the analytical sections of the present work.
Der fliegende Holländer (1841) is the first opera in which Wagner systematically coordinated issues of musical-dramatic structure with psychological principles; this process merits detailed analysis. In Der fliegende Holländer, and all of his subsequent works, Wagner distinguished between phenomenal and noumenal music. Beginning with Tannhäuser, he experimented with the invisible fringes of the stage as performance space that could allude to the noumenal world. After surveying the evolution of Wagner's use of “unseen voices,” examples from Parsifal are assessed. Close examination of its second scene gives attention to this practice as well as to a vivid somnambulistic episode. The scene as a whole is shown to be a sophisticated manipulation of the Kantian notions of time and space that yields a tonal plan or framework coordinated with a differentiated conception of consciousness.
The final two chapters are devoted to the musical and psychological representation of two of Wagner's most important pairs of characters: Siegfried and Brünnhilde, and Tristan and Isolde. Analyses of Siegfried, Act I, and Götterdämmerung, Act III, as well as Tristan und Isolde illustrate how Wagner's large-scale tonal planning and associative tonalities are employed in the service of evolving psychological processes. Schopenhauer's theory of allegorical dream states is shown to be particularly relevant to a re-evaluation of the Wagnerian practice of the “double-tonic complex” much discussed in recent scholarship.Graduat
"The time gives it proofe" : paradox in the late music of Beethoven
Get PDFIt is a given that the late works of Beethoven occupy a special place in our musical life; that they continue to speak so directly to audiences more than a century and a half after they were written says much for the universality of their appeal. Although the music of Beethoven's final decade is much appreciated today, some early listeners found the coexistence of apparently contradictory aspects in these works to be very difficult to understand. Analysis that would attempt to do justice to such complex music must take into account the interplay of both form and content, thus broaching the question of how music can communicate that content. Since music has no lexical capacity, it is helpful to consider analogies from other fields in an investigation of the problem. Myth, alchemy, Jungian psychology, and seventeenth-century religious poetry are, like Beethoven's music, engaged with the exploration and communication of meaningful human experience; to deal with such issues requires a means of expressing the inexpressible, and so at the core of ideas in each of these fields is the paradox.
Paradox, an apparent self-contradiction that carries with it the implicit possibility of its resolution, is a self-referential phenomenon. That paradox is present in Beethoven's music has been recognized in a general way by a number of scholars, but a more detailed examination of this aspect of his compositions offers new insight into their construction and content. A precedent for Beethoven's use of musical paradox is found in the reflexive works of Haydn, although Beethoven's use of the technique developed into a tool capable of being applied to many more types of compositional situations, and with a much greater expressive range. An adaptation of William Empson's Seven Types of Ambiguity offers an introduction to the use of paradox in Beethoven's works, while two extended critical essays, on the string quartets opp. 132 and 130, develop a multidisciplinary critical framework in order to provide a more detailed examination of the utility of paradox in shaping the overall narrative design and expressive structure in these two compositions, and by implication, in many others of Beethoven's late works as well.Graduat
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
"What is ""Normal?"" A Beethovenian Reconsideration of Some of Tovey's Aesthetic Principles"
No full textDonald Francis Tovey’s writings on music continue to have a strong influence on scholarship seventy years after his death. In several of his essays, he mentions “normality” and “freedom” as meaningful aesthetic principles, but when one examines closely his use of these concepts, one discovers seemingly contradictory formulations. On the one hand, Tovey insists that “normality” in music is achieved by the resolution of internal conflicts, and that the process by which this occurs is one of “freedom”—in other words, the process is not formulaic but rather unique to each composition; as Tovey puts it, “an art form grows from within instead of being moulded from without.” On the other hand, his writings demonstrate clearly that he values convention in music, and his notion of “normality” is undoubtedly also informed by the fulfillment of certain expectations cultivated externally; he writes, for instance, that “nothing is more sterilizing than the critical conventions which demand originality as a sine qua non for all artists,” and that “it is stupid to use a convention in a way which shows that you have missed its point, but it is no cleverer to violate a convention because you do not understand it.”
Tovey applies his paradoxical conceptions of “normality” and “freedom” to Beethoven’s C-sharp–minor string quartet, Op. 131. In my thesis, I first demonstrate how Tovey’s ideas have informed and continue to influence scholarship on that work. I then probe the extent to which his principles can be applied to some of Beethoven’s other structurally abnormal compositions, the mature two-movement piano sonatas (Opp. 54, 78, 90, and 111) and the eleven bagatelles, Op. 119. Ultimately, I find that while Tovey’s concepts are helpful, they do not yield equally fruitful results when applied to several types of pieces.Item withdrawn by Mark Zulauf ([email protected]) on 2010-12-09T15:11:40Z
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