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Luca Baratta “A Marvellous and Strange Event” Racconti di nascite mostruose nell’Inghilterra della prima età moderna
Full text linkLuca Baratta “A Marvellous and Strange Event” Racconti di nascite mostruose nell’Inghilterra della prima età moderna
(Firenze, Firenze University Press, 2016, 402 pp. ISBN print 978-88-6453-344-5, ISBN online 978-88-6453-345-2)
by Arianna Antoniell
A prism called nation: an introduction
No full textThis article introduces a collection of essays which brings together the contributions of some of the scholars who took part in the “Shakespeare and His Contemporaries Graduate Conference”, a one-day conference organised by the British Institute of Florence and the Italian Association of Shakespearean and Early Modern Studies on 10 April 2014. Under the subtitle “Forms of Nationhood”, a tribute to Richard Helgerson’s 1992 seminal study, the volume presents investigations on constructions of Englishness, Britishness and otherness in early modern plays, masques, treatises and travelogues. Essays by Luca Baratta, Gabriella Del Lungo, Alice Equestri, Caterina Guardini, Nagihan Haliloglu, Alessandra Petrina, Cristiano Ragni, Valeria Tirabasso. Edited by Luca Baratta and Alice Equestri
La tentazione dell'ordine
No full textLa prefazione analizza e contestualizza lo studio di Luca Baratta sulla rappresentazione delle nascite mostruose nella street literature del periodo early modern, riflettendo sul carattere ambivalente del mostro, oggetto al contempo di orrore e curiosità. Il mostro è sfida alla regolarità della natura e al contempo opportunità retorica, e infatti si carica di volta in volta di diverse valenze ideologiche all'interno di polemiche legate a religione e potere sovrano
Shakespeare: Criticism: Comedies
No full textThis chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Shakespeare on Screen: this will be available as a double section in the next edition of YWES; 4. Criticism. Section 1 is by Edward B. M. Rendall; section 2 is by Peter J. Smith; section 3 is by Elinor Parsons; section 4(a) is by Chloe Fairbanks; section 4(b) is by Emanuel Stelzer; section 4(c) is by Shirley Bell; section 4(d) is by Sarah Hodgson; section 4(e) is by Luca Baratta
Thomas D’Urfey, The Comical History of Don Quixote, Part I, with Introduction, Critical Edition and Notes by Luca Baratta, Spanish Translation by Aaron M. Kahn and Vicente Chacón Carmona, Presentation by Rafael Portillo García, Research Coordinator Agapita Jurado Santos
No full textThomas D’Urfey (1653-1723) was one the most prolific Restoration playwrights, and his works covered all literary genres: stage works (encompassing tragedy, dramatic opera, comedy, masque, and musical comedy); songs ranging from solemn elegies to bawdy ditties; poems of every description from political satire to panegyrics; and English translations of French and Italian tales.
His Comical History of Don Quixote Part I, written and first performed in 1694 at the Dorset Garden Theatre in London, represents the oldest surviving theatrical recreation of Miguel de Cervantes Saavreda’s great novel in English. From the initial publication of El Ingenioso Hidalgo Don Quixote de la Mancha in 1605, the English reading public became fascinated by the antics of the would-be knight errant and his country squire, Sancho Panza. The novel’s first published translation into English by Thomas Shelton in 1612 likely inspired William Shakespeare and John Fletcher’s collaborative work entitled The History of Cardenio, based on the interpolated episodes of Cardenio in Don Quixote. This play is now lost but is known to have been performed in 1613.
This critical edition of D’Urfey’s adaptation produced by Luca Baratta presents modern readers with a thorough understanding of the play’s significance within the historical context of late-seventeenth century England, and the first translation of the play into Spanish by Aaron M. Kahn and Vicente Chacón Carmona opens the work to an entirely new audience.
D’Urfey’s conception of a play based on the masterpiece of the celebrated writer and dramaturge from Alcalá de Henares and its success in theatres provide further evidence that not only was the story and its characters entertaining to the English public, but also that they had become very well known
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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