1,720,982 research outputs found
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
Le Cœur en toutes lettres. Rhétorique de la cordialité dans les Lettres de saint François de Sales (1567-1622)
Full text linkCe mémoire a reçu la mention « Exceptionnel ».Ce mémoire s'intéresse à la cordialité dans les Lettres de François de Sales (1567-1622), évêque de Genève, écrivain savoisien, épistolier, saint et docteur de l'Église catholique. Exposée dans les Entretiens spirituels que François de Sales donna aux religieuses visitandines d'Annecy, la cordialité est une pensée de l'amitié fondée sur la figure complexe du cœur, siège et source de l'amour. Le but de notre mémoire est de montrer en quel sens la cordialité fonde la rhétorique épistolaire salésienne. Aucune étude universitaire ne s'est encore penchée sur le sujet. L'éloquence déployée dans les Lettres ne contient pas sa propre fin, mais naît d'une amitié qui a son fondement dans le cœur pour œuvrer au perfectionnement spirituel de leurs destinataires. De même, la cordialité salésienne, déclinée en trois vertus cordiales que sont l'affabilité, la bonne conversation et la confiance tout enfantine, s'adapte tour à tour aux registres formels, familiers et intimes de l'écriture : de ce fait, la cordialité constitue une rhétorique complète. L'on (re)découvre ainsi, à travers l'angle de la cordialité, un épistolier aussi maître de la rhétorique que du cœur humain.This dissertation looks at the notion of cordiality in the Letters of Francis de Sales (1567-1622), Savoyard bishop of Geneva, prolific writer, saint and Doctor of the Catholic Church. In the Spiritual Conferences given to the Visitandine nuns of Annecy, Francis de Sales develops the idea of cordiality, a form of friendship founded on the complex figure of the heart, seat and source of love. The aim of our study is to propose cordiality as the foundation of Francis de Sales' epistolary rhetoric. No academic literary study has yet explored this notion in-depth. Francis de Sales' epistolary eloquence does not contain its own end but emerges from the heart and attends to the spiritual perfection of its adressees. Salesian cordiality, declined in the three cordial virtues of affability, cheerfulness (or good conversation) and childlike confidence, adapts itself to the formal, familiar and intimate settings of writing : it becomes, as such, a complete form of rhetoric. Through the lens of cordiality, we thus (re)discover a skilled writer and specifically hearted rhetorician
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
“L’homme passe l’homme” : Figures of finitude in Pascal’s works
No full textPhilippe Sellier a montré que l’ascension et la chute sont constitutives de l’imaginaire pascalien. Mais l’ascension n’est pas toujours heureuse, ni la chute sans promesse, et Pascal ne cesse de dialectiser, en tous ordres, ces deux mouvements dont l’un entraîne l’homme vers ce qui dépasse ses limites, et l’autre le ramène à ces mêmes limites. Notre thèse se propose de synthétiser la façon dont Pascal rend compte de la dimension finie de l’homme et des tensions paradoxales qui la parcourent, d’un point de vue rhétorique et philosophique. On repère une pensée de la finitude, à la source d’une ou de plusieurs poétiques de la finitude, et condensée dans une formule que nous considérons, au-delà du contexte dans lequel elle s’inscrit, comme son étymon spirituel : « L’homme passe l’homme ». Une première partie étudie l’omniprésence du corps et l’épreuve linguistique qui en découle : comment dire l’union qu’est l’homme, inconcevable à son esprit ? Une deuxième partie étudie les limites de l’esprit et le rôle argumentatif que Pascal dévoue à l’incompréhensible, et à l’indémontrable. Une troisième partie rend compte de la seule fin de l’homme – le bonheur – et de l’impossibilité de l’accomplir sans la grâce de Dieu : comment alors entendre la recherche que Pascal met au fondement de son projet ? Une quatrième partie s’interroge sur la dimension collective de la finitude, et reprend sous cet angle la question de l’énonciation paradoxale, que nous qualifions d’ironique et d’amicale, dans les Pensées, et une cinquième partie, enfin, ressaisit le portrait de la finitude chrétienne, entre transfiguration et humilité du corps et de la langue.In an article entitled “L’ascension et la chute”, Philippe Sellier showed how these antithetical movements structure Pascal’s imaginary world. But Pascal does not strictly oppose them: he rather highlights the dialectical tension which leads man to surpass his limits and brings him back to these limits. Our thesis aims to synthetize the way Pascal explores the finite human condition and its paradoxical tensions, from a rhetorical and philosophical point of view. We see in Pascal’s works a poetics of finitude, encapsulated in a phrase that we regard as its “spiritual etymon”: “L’homme passe l’homme”. The first part focuses on the incarnate dimension of man and its linguistic consequences : how to write about the union of body and soul that is man, if we can’t understand it ? The second part focuses on the limits of the mind and on the way Pascal makes room – textually – for what one cannot comprehend and demonstrate. A third part studies the links between the will and its ultimate end – happiness, unattainable without the grace of God : how then can we understand the idea of inciting man to the search of God ? A fourth part questions the collective dimension of finitude and then reinterrogates Pascal’s enunciative choices in the Pensées, oscillating between irony and benevolence. A fifth part, eventually, draws the portrait of the Christian condition which appears to humiliate and transform the body and the language
« Il faut bien penser où l’on mettra ses pieds » : archéologie de la danse dans les Pensées de Pascal
No full textRares sont les évocations de la danse dans l’œuvre de Pascal. Elle lui inspire pourtant cette remarque, écrite dans la marge du grand fragment « Divertissement » : « La danse : il faut bien penser où l’on mettra ses pieds ». C’est tout à la fois s’inscrire dans une longue tradition contre la danse, et en infléchir considérablement le sens. On essaie d’apprécier cette originalité en parcourant, de Montaigne à Nicole, les discours qui analysent la puissance aveuglante de la danse, avant d’étudier ce que son exemple révèle du fonctionnement du divertissement, consacrant la victoire temporaire du corps qui n’annule pas la pensée, mais l’asservit à sa dépense. »Mentions of dance are rare in Pascal’s work. Dance, however, inspires him to make this remark, written in the margin of the large fragment “Diversion”: “Dancing: one must think where to put one’s feet”. This is joining a long tradition against dancing and at the same time considerably changing its direction. We will try to appreciate this originality by examining, from Montaigne to Nicole, the discourses that analyse the blinding power of dancing, before studying what his example reveals about the working of diversion, consecrating the temporary victory of the body which does not overturn thought, but subjugates it to its expense
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