1,720,976 research outputs found
Alain Romestaing, Jean Giono. Le corps à l’oeuvre, Paris, Éditions Honoré Champion, 2009
No full textLabouret Denis. Alain Romestaing, Jean Giono. Le corps à l’oeuvre, Paris, Éditions Honoré Champion, 2009. In: Littératures 60,2009. Pierre Bergounioux. pp. 230-233
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
André Malraux and Romain Gary as the Writers of Adventure and Metamorphosis
Full text linkAmong the French novelists of the 20th century, André Malraux and Romain Gary stand out for their practice and thought of adventure, at a time when individual adventure seems to be condemned by collective history. On this point, their works show clear convergences. Each of them, in fact, testified in his work to a life of “active adventurer”. Each of them built a work in which adventure, as a spring of action or as a theme of reflection, occupies a major place. La Voie royale and Les Conquérants, Les Racines du ciel and La Promesse de l’aube bear the mark of these convergences between two authors who are known to have frequented and appreciated each other. Moreover, according to both of them, the adventurer is in search of metamorphosis because he suffers from being locked up in the prison of identity. He seeks in adventure an experience of otherness which alone allows him to exist fully, by changing his “skin”. In this respect, much of Gary’s work seems to illustrate Malraux’s definition of the adventurer in the preface to Le Démon de l’absolu. But while Malraux moves away from the novelistic genre and turns, from 1945 onwards, to a reflection on art that gives adventure and metamorphosis an essentially aesthetic meaning, Gary does not cease to confer on adventure a profoundly existential meaning and goes so far as to situate it at the very heart of the creative process of the novel. This vision of adventure, which he develops in particular in his essay Pour Sganarelle, culminates in this ultimate adventure which will be accomplished, with the invention of Émile Ajar, in a totally new metamorphosis of the author. This discrepancy may provide an element of explanation for the differences that can be observed today between the reception of Malraux, who seems to be on the decline, and that of Gary, which is much more flourishing.Parmi les romanciers français du xxe siècle, André Malraux et Romain Gary se distinguent par leur pratique et leur pensée de l’aventure, en un temps où l’aventure individuelle semble pourtant condamnée par l’histoire collective. Chacun d’eux, en effet, a été dans sa vie un “aventurier actif” et a construit une œuvre où l’aventure occupe une place majeure. Chez l’un et l’autre, l’aventurier est en quête de métamorphoses parce qu’il souffre d’être enfermé dans la prison de l’identité. Mais alors que Malraux s’éloigne du genre romanesque en se tournant surtout, à partir de 1945, vers une réflexion sur l’art qui donne à l’aventure un sens esthétique, Gary ne cesse de conférer à l’aventure une signification existentielle et la situe même au cœur du processus de création romanesque, jusqu’à cette aventure ultime qui s’accomplira, avec l’invention d’Émile Ajar, dans la métamorphose de l’auteur.
André Malraux ir Romainas Gary – nuotykio ir metamorfozės rašytojai
Anotacija. XX a., kai individualus nuotykis, regis, jau buvo tapęs kolektyvinės istorijos dalimi, André Malraux ir Romainas Gary iš kitų rašytojų išsiskiria nuotykio refleksija ir praktika. Tiek vienas, tiek kitas buvo aktyvūs nuotykių ieškotojai, taigi ir jų kūryboje nuotykiai užima itin reikšmingą vietą. Vis dėlto Malraux nuo 1945 m. atsisako rašyti romanus ir pereina prie svarstymų apie meną, suteikiančių nuotykiui estetinę reikšmę. Gary ir toliau nuotykiui priskiria egzistencinę prasmę ir paverčia jį savo kūrybinio proceso šerdimi. Sukūrus Emile’į Ajarą, paskutinis Gary nuotykis įgyja aukščiausią autoriaus metamorfozės dimensiją.Reikšminiai žodžiai: nuotykis, istorija, tapatybė, metamorfozė, romanas
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
Jean Giono and Music
No full text« Je ne mets rien au-dessus de la musique », écrit Giono. Pourtant, l’écrivain n’est guère musicien et refuse l’apprentissage du solfège, même si sa sensibilité musicale deviendra au fil du temps passion éclairée. La présence de la musique dans l’œuvre suit logiquement un parcours parallèle à celui qu’elle occupe dans la vie de Giono. Au-delà de sa simple présence thématique, aisément repérable dès les premiers écrits, outre les fonctions argumentatives, narratives et poétiques qu’elle offre aussi à l’écrivain, la musique s’impose progressivement comme une source d’inspiration et même un modèle esthétique pour l’homme de lettres. De manière inattendue, c’est lorsque la thématique musicale tend à disparaître que le roman devient ou tente de devenir véritablement musical chez Giono. La musique offre de plus l’occasion de s’interroger sur des tensions essentielles de l’œuvre, entre aspiration pour un certain naturel et nécessité de la culture, entre goûts musicaux très personnels et découverte de la musique via des mentors littéraires, entre modernité romanesque et prédilection pour des modèles souvent anciens, entre quête de structures musicales définies et transposition subjective de celles-ci. Giono aura proposé une réponse singulière à la question de l’impossible traduction du langage musical en mots qui taraude nombre d’écrivains. Paradoxalement, le rapport libre de Giono à la musique a une incidence sensible sur son écriture et, partant, intéresse de plein droit les études musico-littéraires et l’histoire de la littérature du xxe siècle et de ses mutations.« For me nothing is more important than music », Giono wrote. However, the writer was no musician and refused to learn music theory, even though his musical sensitivity became an enlightened passion as time went by. The presence of music in his work logically follows a parallel path to that of music in Giono’s life. Beyond its mere presence as a theme, easily perceptible in his early writings, and apart from its argumentative, narrative and poetic roles that are presented to the writer, music progressively becomes essential as a source of inspiration and even a model of aesthetics for the writer. Against all odds, when the theme of music tends to disappear, the novel becomes or seeks to become truly musical in Giono’s work. Besides, music is an opportunity to ponder over the paramount tensions in his work : between an aspiration to nature and the necessity of culture, between very personal musical tastes and the discovery of music through literary mentors, between fictional modernity and a predilection for past models, between a quest for defined musical structures and their biased transposition. Giono offered a singular answer to the question of the impossible translation of the language of music in words, and this question has tormented countless writers. Paradoxically, Giono’s independence from music had a conspicuous effect on his style and is therefore relevant to music and literary studies as well as the history of 20th century literature and its transformations
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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