1,720,981 research outputs found
ANATOMICAL Models in European Perspective (AMEP- Grant Agreement n. 2012-0695/001-001)
No full textAmazing models. The anatomy in 3D models between 700 and 900. Pilot event of a wider AMEP project (Amazing Models in European Perspective) which is divided between Bologna and different locations signing a border through cultural arts and medical sciences.
It will be traveling in the cities of Vienna and Lieda until March 2014. Powered by E.A.C.E.A. (Education, Audiovisual and Culture Executive Agency) of the European Commission and sponsored by the Municipality of Bologna and the SMA (University Museum System), University of Bologna, AMEP is a collaboration between the Museum of Anatomical Waxes "Luigi Cattaneo" in Bologna, the Museum Josephine Medical University of Vienna (A) and the Museum Boerhaave in Leiden (NL)
Italia 1870. Tre lettere intorno alle gallerie, ai musei e alle pinacoteche della nuova nazione
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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
Il Museo che non c'è. Arte, collezionismo, gusto antiquario nel Palazzo degli Studi di Bari (1875-1928)
No full textThe volume accompanies the exhibition Il Museo che non c’è. Arte, collezionismo, gusto antiquario nel Palazzo degli Studi di Bari (1875-1928) (The Museum that is not there anymore. Art, collecting, antiquarian taste in the Palazzo degli Studi in Bari), held in the Hall of Frescoes in the Palazzo Ateneo, where originally was the old Provincial Museum. The initiative is presented as a tribute dedicated to a choral and strongly identifying moment in the history of the city of Bari and Puglia, a region fully inserted in the geography of the artistic and antique routes opened by grand tourists since the eighteenth century. Specifically, the study aims to focus on the formation of an institution which, perceived as a container of an exclusively archaeological nature, actually played an important role for the protection and enhancement of the historical-artistic heritage within the wide post-unitary period, helping to pave the way for an ante - litteram notion of 'cultural heritage'. The Provincial Museum has therefore proved to be a reference both for the 'rediscovery' of the Middle Ages, and the collecting and ‘Connoisseurship’ guidelines of the Modern Age. In fact, his creation was due both to the enlightened work of his first director, Maximilian Mayer, and to members of important middle-class families in the South of Italy such as the Jattas. The research was supported by a systematic documentary survey that turns the Museum, located in the Palazzo degli Studi in Bari, designed by the Neapolitan Giovanni Castelli and decorated by the Bolognese Rinaldo Casanova, in a composite artistic and archaeologic site, capable of attracting the attention of a large audience of scholars. Among these, mittleuropean culture leading figures such as Martin Wackernagel, a pupil of Heinrich Wölfflin and a medieval expert like Arthur Haseloff; connoisseurs of the complex 'Venetian-Adriatic' figurative issues (from Vivarinis to Tintoretto) such as Gustavo Frizzoni and Mario Salmi, who wrote about this topic in the pages of magazines such as 'L’Arte' and the 'Il Bollettino d’Arte'; and also scholars and experts of the international antiquarian market such as Bernard Berenson, a real 'pilgrim of Puglia', and his friend and patron, the American Edward Perry Worren.Il volume accompagna la mostra Il Museo che non c’è. Arte, collezionismo, gusto antiquario nel Palazzo degli Studi di Bari (1875-1928), allestita nel Salone degli Affreschi dell’attuale Palazzo Ateneo (28 febbraio-24 aprile 2020), in origine sede dell’antico Museo Provinciale. L’iniziativa è centrata sul momento formativo di un’Istituzione che, indagata ‘dentro’, ‘intorno’ e ‘fuori’ a un contenitore divenuto dal 1928 di matrice esclusivamente archeologica, in realtà ha giocato in origine un ruolo di rilievo per la tutela e la valorizzazione del patrimonio storico-artistico meridionale, nell’ambito del largo e spesso difficile quadro nazionale postunitario. Il Museo Provinciale di Bari si è dimostrato così un punto di riferimento sia per quanto concerne la ‘riscoperta’ del Medioevo, sia per quanto attiene le direttrici del collezionismo e della connoisseurship di Età Moderna. Ponendo sempre al centro dell’attenzione il manufatto artistico, la ricerca è stata supportata da una sistematica ricognizione documentaria che restituisce il museo barese quale snodo capace di attrarre un’ampia platea di studiosi. Tra questi, si contano personalità di formazione e cultura mitteleuropea come Martin Wackernagel, allievo di Heinrich Wölfflin e in Puglia al seguito di un esperto medievista come Arthur Haseloff; conoscitori delle complesse problematiche figurative ‘veneto-adriatiche’ (dai Vivarini a Tintoretto) come Gustavo Frizzoni e Mario Salmi; sino a comprendere studiosi ed esperti frequentatori del mercato antiquario internazionale come Bernard Berenson, ‘pellegrino di Puglia’ ante litteram, nonché il suo amico e mecenate statunitense Edward Perry Worren
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
Dispelling 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
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
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