1,721,021 research outputs found
Cubo-Futurism in Russia, 1912-1922 : the transformation of a painterly style
No full textCubo-Futurlsm is defined both in terms of the development of
Cubist and Futurist styles of painting by the Russian avant-garde
artists Liubov Popova, Nadezhda Udaltsova, Olga Rozanova and Ivan
Puni between 1912 and 1915, and in terms of the reworking and
transformation of' these two movements against the unique Russian
cultural background into a new non-objective art after 1915.
The Russian artistic and cultural context, including Ouspensky
and the fourth dimension and the linguistic theories of the
Futurist poets Alexei Kruchenykh and Vellmlr Khlebnikov concerning
a transratlona]. language (zaum), played a vital role for a number
of artists in their move into non-objective painting and
construction. Zaum influenced the reworking of Cubist collage by
Malevich, Puni and Rozanova, and the abstract collages and reliefs
of Rozanova and Puni are defined as visual equivalents to the new
logic "broader than sense" envisaged by zaum. As part of the
Russian cultural context, indigenous art forms also acted as
possible stimuli for the development of a non-objective painterly
style. The abstract potential which artists saw in the icon was
exploited by Puni in his non-objective reliefs of 1915-c1919, and
the principles of decoration in Islamic Architecture may be seen as
an important source for Popova's painterly architectonics of
19 16-18.
After 1916, the principles of non-objective painting,
established fran an examination of Cubism and Futurism, were
applied to tasks of design and the theatre. Puni, Rozanova and
Udaitsova designed household and fashion items, and Alexandra Exter
and Alexandr Vesnin completed set and costume designs for several
productions in the Moscow Kamerny Theatre between 1916 and 1922.
In their attempt to articulate a dynamic spatial environment, the
principles for these designs derived from earlier Cubo-Futurist
experiments in painting
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
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
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