1,720,979 research outputs found
Att teoretisera om mening genom exempel : Vardagsspråkkritik, sam-vett och verklighetens svårighet
No full textTheorizing Meaning Through Examples: Ordinary Language Criticism, “Sam-vett” and the Difficulty of Reality In this article I set out to exemplify how one can, from within the tradition of Ordinary Language Criticism (OLC), theorize about literary meaning through concrete interpretative work. I proceed by attending to what I take to be a particular interpretive hard case, namely, the Swedish author and activist Sara Lidman’s (1923-2004) notion of “sam-vett”. Or more precisely: I attend to one specific usage of that word, namely the male protagonist Didrik Mårtensson’s usage of the word in Lidman’s novel Järnkronan (1985). Lidman invented the word “sam-vett” in the early 1980s but never defined it; she simply put it to use in various texts and contexts. By comparing how the problematic nature of “sam-vett” presents itself for Didrik in Järnkronan, with the Wittgensteinian philosopher Cora Diamond’s notion of “the difficulty of reality”, I argue that Lidman’s “sam-vett” – in this specific usage – expresses an experience of encountering something ineffable. In my comparative reading I argue that rather than offering a road to a more-than-human communality and knowledge beyond words, however, Didrik’s usage of “sam-vett” expresses a fantasy of being able to escape a guilty conscience through the letting go of sanity and sense-making altogether. So, while Didrik encounters “a difficulty of reality” that shoulders him out (at least partially) from language his attempt at imagining a non-linguistic pan-species community in the name of “sam-vett” nevertheless fails. Instead, Didrik’s “sam-vett” becomes something of a false idol, a delirious idea that only appears to make sense. Sam-vettet och det Hela. Sara Lidmans litterära filosof
Gyllenstens radikala metafiktion [Elektronisk resurs]
No full textIngeborg Löfgren, Gyllenstens radikala metafiktion. (The Radical Metafiction of Gyllensten.) Lars Gyllensten (1921–2006) is often purported to be a role-playing author who hides behind his fictitious characters and story-tellers, never to be caught presenting his own personal views in his literary writings. Yet Gyllensten-scholars usually put great effort into finding out just how Gyllensten is to be understood in his dialectical authorship, what he wants to express with his fictitious works, and the particular roles he uses. In this article, I want to claim that there is a severe conflict within the role-concept itself: on the one hand, it is seen as a tool to separate the empirical Gyllensten from the text’s story-teller or “author”, and, on the other, it is also seen as a method used by Gyllensten to deal with his own (personal) existential, moral and epistemological concerns. In my view, it is also due to the scholars faithful application and use of Gyllensten’s theoretical vocabulary (in particular, his selfcontradictory role-concept), presented in his generous literary comments and remarks, that some of his most interesting texts have remained unacknowledged and unexplored – his radical metafiction. This article is concerned with three tasks, carried out respectively: a theoretical examination of the concepts of fiction and metafiction, a critical survey of previous author-intentionalist Gyllensten-research, and the demonstration and analysis of five of Gyllensten’s radically metafictional texts. Among the texts I deal with in the present study – ”Not” from Moderna myter (1949), ”Not” from Det blå skeppet (1950), ”On dit” and ”Au revoir” from Desperados (1962), ”Intervju med pseudonymen ’Sören Kierkegaard’”(1963) from Nihilistiskt credo (1964) and finally Diarium spirituale. Roman om en röst (1968) – four have previously been taken as genuine commentaries by Gyllensten, and used as such. And despite the fact that the fifth, Diarium spirituale, has been to some extent recognized as a “meta-novel”, this has not prevented it from being used as an exegetical commentary as well. This shows how difficult, not to say impossible, it is to detect the special and complex character of radical metafiction in the works of Lars Gyllensten, while staying within the framework of the role-concept. Radical metafiction consists of mutually contradictory features, the fictional and the authentic, which mix in such a way that the complete text neither can be identified as truly fictional nor as really authentic. To the author-intentionalist in search of “keys to interpretation”, these texts will always temptingly resemble pure commentary – which they are not. This will be evident when we see how the radical metafiction of Lars Gyllensten actually resists the author-intentionalist readings.</p
Gyllenstens radikala metafiktion
No full textIngeborg Löfgren, Gyllenstens radikala metafiktion. (The Radical Metafiction of Gyllensten.) Lars Gyllensten (1921–2006) is often purported to be a role-playing author who hides behind his fictitious characters and story-tellers, never to be caught presenting his own personal views in his literary writings. Yet Gyllensten-scholars usually put great effort into finding out just how Gyllensten is to be understood in his dialectical authorship, what he wants to express with his fictitious works, and the particular roles he uses. In this article, I want to claim that there is a severe conflict within the role-concept itself: on the one hand, it is seen as a tool to separate the empirical Gyllensten from the text’s story-teller or “author”, and, on the other, it is also seen as a method used by Gyllensten to deal with his own (personal) existential, moral and epistemological concerns. In my view, it is also due to the scholars faithful application and use of Gyllensten’s theoretical vocabulary (in particular, his selfcontradictory role-concept), presented in his generous literary comments and remarks, that some of his most interesting texts have remained unacknowledged and unexplored – his radical metafiction. This article is concerned with three tasks, carried out respectively: a theoretical examination of the concepts of fiction and metafiction, a critical survey of previous author-intentionalist Gyllensten-research, and the demonstration and analysis of five of Gyllensten’s radically metafictional texts. Among the texts I deal with in the present study – ”Not” from Moderna myter (1949), ”Not” from Det blå skeppet (1950), ”On dit” and ”Au revoir” from Desperados (1962), ”Intervju med pseudonymen ’Sören Kierkegaard’”(1963) from Nihilistiskt credo (1964) and finally Diarium spirituale. Roman om en röst (1968) – four have previously been taken as genuine commentaries by Gyllensten, and used as such. And despite the fact that the fifth, Diarium spirituale, has been to some extent recognized as a “meta-novel”, this has not prevented it from being used as an exegetical commentary as well. This shows how difficult, not to say impossible, it is to detect the special and complex character of radical metafiction in the works of Lars Gyllensten, while staying within the framework of the role-concept. Radical metafiction consists of mutually contradictory features, the fictional and the authentic, which mix in such a way that the complete text neither can be identified as truly fictional nor as really authentic. To the author-intentionalist in search of “keys to interpretation”, these texts will always temptingly resemble pure commentary – which they are not. This will be evident when we see how the radical metafiction of Lars Gyllensten actually resists the author-intentionalist readings
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
Pandemiska reflektioner : Retoriska och litteratur-filosofiska undersökningar i coronas tid
No full textPandemiska reflektioner : Retoriska och litteratur-filosofiska undersökningar i coronas tid
No full textDispelling the Myths Behind First-author Citation Counts
Full text linkWe 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
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