1,720,956 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
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'OPERA DI FRANCESCO LAURANA. NUOVI STUDI SULLA SCULTURA DEGLI ANNI SETTANTA DEL XV SECOLO.
Full text linkQuesta tesi affronta la lettura storico-critica dell’opera di Francesco Laurana, protagonista della scultura rinascimentale del XV secolo, con il proposito di superare una tendenza degli studi che ad oggi, ha determinato il generale abbandono delle ricerche, dovuto soprattutto alla dispersione di gran parte delle fonti documentarie relative agli anni precedenti il 1453. Attraverso l’analisi del rapporto tra il processo d’identificazione delle sue opere e l’evoluzione del relativo stato di conoscenze, si affronta il tema della fortuna critica dell’artista, contestualizzata in un panorama storico che non ha escluso riferimenti al contesto storico-artistico europeo, approfondendo l’esame della storiografia artistica di ambito francese e croato. I più rilevanti e inediti raffronti iconografici posti all’attenzione della critica riguardano il rapporto tra i rilievi di Francesco Laurana nella cappella Mastrantonio (chiesa di S. Francesco d’Assisi, Palermo, 1468-69) e quelli dell’Arca di San Gerolamo di Mino da Fiesole (già Basilica di santa Maria Maggiore, Roma, 1461-66), nonché tra il retablo del Portement de Croix (chiesa di Saint Didier, Avignone, 1478-82) e l’Andata al Calvario di Pietro Befulco (particolare della predella del Polittico della Compagnia della Croce, Museo Nazionale di San Martino, Napoli, 1473 circa). Tali raffronti si fondano sullo studio di fonti diverse (documentarie, letterarie, «impersonali») relative al periodo preso in esame, coniugato con l’indagine diretta sulle opere d’arte oggetto dello studio. Degna di nota è la rilettura critica di un documento napoletano del 1473 (Archivio di Stato di Napoli, Processi antichi, pandetta corrente, fascio 1631, fascicolo 10643, carte 18-20, 2 febbraio 1473), che ha posto le condizioni per riconsiderare l’opera di Francesco Laurana durante gli anni settanta del XV secolo, poiché le notizie che da questo si apprendono sono legate a più di una questione che interessa il percorso artistico dello scultore. Da ciò la possibilità di confermare o rivedere il luogo d’esecuzione e la datazione di alcune delle sue opere (tra cui i celebri busti che ritraggono Francesco del Balzo duca di Andria e le principesse Eleonora d’Aragona e Beatrice d’Aragona) e di definire la sua attività in relazione a quella del coevo pittore salernitano Pietro Befulco, nel contesto delle forme di ritualità civile e religiosa napoletana del secondo Quattrocento, con la conseguenza di fornire un’inedita collocazione del suddetto Portement de Croix, legata a tale contesto religioso, supportata dal confronto tra la Sainte Anne Trinitarie (chiesa di Saint Blaise, Les Pennes Mirabeau, 1476) e la Sant’Anna Metterza (collezione privata napoletana, 1474 circa). Il lavoro aspira a fornire un’immagine non stigmatizzata dell’opera dello scultore quattrocentesco, esortando il lettore a considerarlo una personalità artistica perfettamente inserita nel contesto di un Rinascimento che riscopre e rielabora l’immensa ricchezza tramandata dalla civiltà classica, nella complessa ricezione del duplice aspetto dell’idealizzazione e della drammatizzazione dei soggetti rappresentati.This thesis is about a review on a historical-critical basis of the works of Francesco Laurana, one of the Renaissance main figures in sculpture of the fifteenth century, with the intention to overcome a tendency of the studies that, up to date, led to the general abandonment of the research, largely due to the dispersion of large parts of documentary sources related to the years prior to the 1453. Through the analysis of the relationship between the process of identification and the related evolution of knowledge of his work, we face the fortunate critique of the artist, contextualized in a historical panorama that did not exclude references to the historical and artistic European context, deepening the examination of the art history of French and Croatian area. The most relevant and unpublished iconographic comparisons brought to the attention of critics, concern the relationship between the reliefs of Francesco Laurana in Mastrantonio Chapel (Church of St. Francis of Assisi, Palermo, 1468-69) and the Arca di San Gerolamo of Mino da Fiesole (originally in Basilica di Santa Maria Maggiore, Roma, 1461-66), and between the altarpiece of Portement de Croix (Church of Saint Didier, Avignon, 1478-82) and the Andata al Calvario of Pietro Befulco (particular of the Altarpiece of the Compagnia della Croce’s altar-step (Museo Nazionale di San Martino, Napoli, about 1473). These comparisons are based on the study from different sources (documentary, literary and "impersonal") according to the period under review, along with a direct investigation on the works of art covered by the study. Noteworthy is a critical reading of a Neapolitan 1473 document (Archivio di Stato di Napoli, Processi antichi, pandetta corrente, fascio 1631, fascicolo 10643, carte 18-20, 2 febbraio 1473), which established the conditions for reviewing Francesco Laurana’s art during the seventies of the XV century, as the news that we learn from it, are linked to more than a matter that affects the artistic career of the sculptor. Hence the opportunity to confirm or revise the place of performance and the dating of some of his chef d’oeuvre (including the famous busts depicting Francesco del Balzo, Duke of Andria and princesses Eleanor of Aragon and Beatrice of Naples) and to define its activities in relation to the contemporary work of salernitan painter Pietro Befulco, in the context of forms of civil and religious rituals of the Neapolitan second part of the XV sec, with the result of providing an unprecedented position of the Portement de Croix, tied to its religious context , supported by the comparison between Sainte Anne Trinitarian (church of Saint Blaise, Les Pennes Mirabeau, 1476) and Sant'Anna Metterza (private collection in Naples, about 1474). The work aims to provide an non-stigmatized image the work of the fifteenth sculptor, exhorting the reader to consider him an artistic personality perfectly placed in the context of a Renaissance which discovers and elaborates the immense wealth handed down from classical civilization, within the complex reception of the dual aspect of idealization and dramatization of the represented subjects
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
Breve storia illustrata di Palermo
No full text"Una breve storia ha lo scopo di cogliere in pochi, forti tratti lo spirito di un territorio, di rivisitarne il passato alla luce del presente per comprenderne i caratteri originali". La storia illustrata di Palermo si configura come una guida istruttiva della città, suddivisa in capitoli corrispondenti alle dominazioni, dalla sua fondazione (VIII secolo) ai Giorgi nostri. Il libro è destinata ad un pubblico non solo siciliano
Michelangelo pistoletto: Autoritratto con microfono.
No full textscheda critica di una serigrafia su acciaio inox esposta alla mostra "Catarifrangenze:artisti a confronto
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