1,721,001 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
Naj, naj, naj Festival - production and reception
No full textRad započinje kratkom povijesti nastanka festivala, definicijom festivala kao forme i podjelom festivala. Nakon toga definirana je povijest Naj, naj, naj festivala od samoga osnutka kazališta. Autorica stavlja naglasak na produkciju jednog kazališnog festivala koji djeluje unutar ustanove. Podrobno je razrađena produkcija festivala u svim prepoznatljivim fazama. Također, pokazano je kako su sve poznate faze pretprodukcije, produkcije i postprodukcije u umjetničkom, financijskom i tehničko-organizacijskom aspektu istovjetne onome u kazalištu za odrasle, poznatijem kao „večernja scena“, sa zaključkom da svaki festival prolazi kroz iste ili slične faze produkcije. Veliku pozornost autorica usmjerava na specifičnosti dječje publike, kao i važnost Naj, naj, naj festivala za djecu, čime potkrepljuje poznatu tvrdnju da kazalište za djecu stvara buduću publiku kojoj će kazalište u zrelim godinama biti nezaobilazna potreba u napajanju vlastite duhovnosti i formiranju ličnosti kao kulturološkog bića, jer kazalište uči i zabavlja u isto vrijeme, formira ukus, uči djecu dijalogu i razvijanju tolerancije prema različitostima.
U drugom dijelu rada autorica govori o Naj, naj, naj festivalu kao kulturnoj potrebi grada Zagreba, ali i kao turističkoj ponudi grada Zagreba, gdje je navedeni festival na kulturnoj mapi Republike Hrvatske te naposljetku o festivalu kao brendu Gradskog kazališta Žar ptica. Primjerima iz Hrvatske dat će se uvid u analizu konkurencije i predstaviti jedan kazališni festival za djecu koji je po ustroju sličan Naj, naj, naj festivalu te jedan koji je u potpunosti različit.The thesis begins with a brief history of how the festival was conceived, the definition of the festival as an art form and its classification. What follows is the history of the Naj, naj, naj festival from the very establishment of the relevant theatre. The author focuses on the production of the specific theatre festival taking place within the institution. The festival production is elaborated in detail through all major phases. It is shown that all well-known phases of pre-production, production and post-production are identical (in terms of art, financing, technical and organizational issues) to that of the adult segment (known in this case as the evening scene).
In conclusion, every festival has the same or similar production phases. The author highlights specific features of children’s audience, as well as the importance of the Naj, naj, naj festival for children, thus supporting well-known claim that children's theatre creates the audience of the future for whom the theatre will play an important part in their adult years; it will help develop their own spirituality and cultural identity. As the theatre educates and entertains at the same time, it also shows children how to communicate, develops their artistic taste and cultivates diversity.
In the second part of the thesis, the author describes the Naj, naj, naj festival as a part of the cultural landscape of the City of Zagreb and of the City's tourist offer in which the Festival is positioned on the map of cultural events of the Republic of Croatia and finally, as the brand of the City Theatre Žar Ptica. Other examples from Croatia provide insight into the competition analysis and present another children's theatre festival which is similar to the Naj, naj, naj festival with regard to organization, and yet another example which is completely different
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
Production of theatrical content during the crisis caused by the Covid-19 virus
No full textPandemija COVID-19 virusa što je početkom 2020. godine zahvatila cijeli svijet te u kratkom vremenskom razdoblju primorala ljude na izolaciju i održavanje fizičke distance navela je sve, pa tako i kazališta, na razmišljanje o novim načinima komunikacije s publikom i produciranja novih sadržaja i programa. Kako je kazalište živi izvedbeni medij interakcije između glumaca i publike, a svaka je predstava drugačija i posebna, svladavanje prepreka bilo je tim više izazovnije i teže. Doslovno preko noći zatvorivši svoja vrata za publiku, kazališta su se našla u velikom problemu, ali zahvaljujući internetu i današnjoj tehnologiji dobila su prigodu na posve novi i dosad neistražen način ostati u interakciji s publikom.
Prvi dio rada bavi se općenito pojmom krize, uzrocima kriza i novonastalom krizom uzrokovanom pandemijom COVID-19. Drugi dio bavi se pitanjem kazališta u doba krize, važnošću interneta i digitalne tehnologije te sociološkim elementima publike, a u trećem dijelu autorica će na primjeru Gradskog kazališta Trešnja prikazati rad ustanove u novonastaloj situaciji.
Cilj autorice ovoga rada je da kroz osobno iskustvo na primjeru Gradskog kazališta Trešnja pokaže kako je moguće iskoristiti novonastalu situaciju odnosno krizu te implementirati današnje digitalne tehnologije u kazališnu umjetnost.The COVID-19 virus pandemic that has caputred the whole world in the beginning of 2020. and in a short period of time forced people to isolate and maintain physical distance. It has lead everyone, including theaters, to think about new ways of communicating with the audience and producing new content and programs. As the theater is a live performance, media of interaction between the actors and the audience and each play is different and special, overcoming obstacles was all the more challenging and difficult. Literally closing their doors to the audience overnight, theaters found themselves in big trouble, but thanks to the internet and today’s technology they were given the opportunity to keep the interaction with the audience through a whole new and still unexplored way.
The first part of this thesis paper deals with the concept of crisis in general, the causes of the crisis and the newly formed crisis caused by the COVID-19 pandemic. The second part deals with the issues of theater in times of crisis, the importance of the internet and digital technologies and sociological elements of the audience. In the third part the author will, using an example of the Trešnja Municipal Theatre , show the work of the institution in this new situation.
The goal of the author of this thesis paper is to, through personal experience on the example of the Trešnja Municipal Theatre, show how it is possible to take advantage of the new situation or crisis and implement today's digital technologies to theatrical art
Production of theatrical content during the crisis caused by the Covid-19 virus
No full textPandemija COVID-19 virusa što je početkom 2020. godine zahvatila cijeli svijet te u kratkom vremenskom razdoblju primorala ljude na izolaciju i održavanje fizičke distance navela je sve, pa tako i kazališta, na razmišljanje o novim načinima komunikacije s publikom i produciranja novih sadržaja i programa. Kako je kazalište živi izvedbeni medij interakcije između glumaca i publike, a svaka je predstava drugačija i posebna, svladavanje prepreka bilo je tim više izazovnije i teže. Doslovno preko noći zatvorivši svoja vrata za publiku, kazališta su se našla u velikom problemu, ali zahvaljujući internetu i današnjoj tehnologiji dobila su prigodu na posve novi i dosad neistražen način ostati u interakciji s publikom.
Prvi dio rada bavi se općenito pojmom krize, uzrocima kriza i novonastalom krizom uzrokovanom pandemijom COVID-19. Drugi dio bavi se pitanjem kazališta u doba krize, važnošću interneta i digitalne tehnologije te sociološkim elementima publike, a u trećem dijelu autorica će na primjeru Gradskog kazališta Trešnja prikazati rad ustanove u novonastaloj situaciji.
Cilj autorice ovoga rada je da kroz osobno iskustvo na primjeru Gradskog kazališta Trešnja pokaže kako je moguće iskoristiti novonastalu situaciju odnosno krizu te implementirati današnje digitalne tehnologije u kazališnu umjetnost.The COVID-19 virus pandemic that has caputred the whole world in the beginning of 2020. and in a short period of time forced people to isolate and maintain physical distance. It has lead everyone, including theaters, to think about new ways of communicating with the audience and producing new content and programs. As the theater is a live performance, media of interaction between the actors and the audience and each play is different and special, overcoming obstacles was all the more challenging and difficult. Literally closing their doors to the audience overnight, theaters found themselves in big trouble, but thanks to the internet and today’s technology they were given the opportunity to keep the interaction with the audience through a whole new and still unexplored way.
The first part of this thesis paper deals with the concept of crisis in general, the causes of the crisis and the newly formed crisis caused by the COVID-19 pandemic. The second part deals with the issues of theater in times of crisis, the importance of the internet and digital technologies and sociological elements of the audience. In the third part the author will, using an example of the Trešnja Municipal Theatre , show the work of the institution in this new situation.
The goal of the author of this thesis paper is to, through personal experience on the example of the Trešnja Municipal Theatre, show how it is possible to take advantage of the new situation or crisis and implement today's digital technologies to theatrical art
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