1,720,953 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
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
Development of Glamorous Evening Wear Jacket Patterns for Technical Garment Design OÜ
No full textTechnical Garment Design OÜ soovis laiendada kasutatavat baaslõigete tootevalikut, kuna
väljatöötatud lõigete kasutamine hoiab kokku tööaega. Töö eesmärgiks oli väljatöötada
hästiistuva jaki mudeli baaslõige ning lõputöö tulemusena valmis kaks naiste kostüümjaki
mudelit.
Kollektsiooni kavandamisel uuriti käesoleva ning tulevase aasta moesuundi, tutvuti
disainerite kollektsioonidega ning uuriti erinevaid pidulikke kangaid ja nende omadusi.
Kogutud infost lähtuvalt kavandati ettevõttele kostüümjakid. Materjali kogumiseks ja
läbitöötamiseks kasutati erinevaid moesuundi tutvustavaid veebilehti, ajakirju ning
raamatuid. Moesuundade analüüsimisel on lähtutud näiteks 2024-2025. aastal ilmunud
disainerite kollektsioonidest ning 2024-2026. aasta „Next Look“ moeajakirjadest.
2025. ja 2026. aastal on naiste kostüümjakid sirgelõikelised ning pikema tegumoega. Jakid
on reväärkraega või kraeta, krae puhul on kasutatud ülespoole nurkadega või klassikalist
reväärkraed. Taskud on klapiga või liistuga ning esikinnis ühe- või kaherealine, suletav
nööpide või trukkidega. Värvitoonide valik jaguneb tihtipeale kaheks, tagasihoidlikumad
toonid (must, valge, beež, tumesinine) ning julgemad toonid (kuldne, hõbe, punane).
Pidulikke kangaid jaotatakse välimuse, omaduste ja hinna järgi. Kanga välimuse puhul
mängivad rolli värvid ning tekstuur, tegumoe valikul kanga omadused.
Kostüümjakkide kavandamisel on kasutatud unifitseerimise meetodit ehk ühe baaslõike
põhjal on kavandatud kaks mudelit, millele on juurde konstrueeritud moekohased detailid.
Põhilõige on nn klassikalise pintsaku lõikeline lahendus, mis on poolliibuva siluetiga.
Kostüümjakil on kasutatud kaheosalist varrukat, kuna varruka põhilõige konstrueeritakse
jälgides käe loomulikku asendit, mis tagab kandmisel toote hea istuvuse.
Kostüümjakid on sirgelõikelise tegumoe ning kaherealise esikinnisega, suletavad nelja
õmmeldava trukiga. Jakid on küljetüki ja 2-osalise varrukaga. Esiosal on vööjoone
vertikaalsed sissevõtted ning seljakeskjoon on õmblusega. Mõlemal mudelil on klapiga
taskud. Mudel „Margot“ on sallkraega ja mudel „Marge“ reväärkraega.
Pärljaki (mudel „Marge“) valmistamiseks on kasutatud põhimaterjalina villasisaldusega
kostüümikangast ning lisatud pealisvarruka ja taskuklapi detailidele pärlkangas, litterjaki
(mudel „Margot“) detailid on õmmeldud üleni litterkangas. Kostüümjakid on dubleeritud ja
töödeldud voodriga.
Esmalt on konstrueeritud põhilõige, seejärel varruka lõige. Varruka konstrueerimise
algandmed on saadud kehaosa konstruktsioonilt. Kehaosa ja varruka põhilõike järel on
moejoonise järgi konstrueeritud moekohased detailid. Toote istuvuse paika panekuks on
kasutatud modelli, mistõttu on baassuurus valitud modelli rinnaümbermõõdu järgi.
Ülejäänud mõõdud on võetud Saksa tüüpfiguuride mõõtude tabelist suurus 40 järgi.
Kostüümjaki originaallekaalid on valmistatud kõigile kasutatud materjalidele
(põhimaterjal, dubleer ja vooder). Lekaalidele on märgitud õmblusjooned, vastasmärgid,
lõimelõnga suund, tasku ja trukkide asukohad ning markeering. Igal detailil on oma nimi
(Piece name).
Tehnilise paljundamise aluseks on kasutatud Saksa tüüpfiguuride mõõtude tabelit.
Paljundamise skeemid on koostatud esmalt põhilõikele ning seejärel moekohastele
tuletustele, kasutades koordinaatide ehk arvutuslik-proportsionaalset meetodit. Tooted on
paljundatud suurustesse 36-50.
Toodete õmblemiseks on kasutatud lihtühendusõmblusmasinat ning kuumniiskeks
töötlemiseks triikrauda.
Paigutusjooniste põhjal on teostatud kangakulu arvestus põhimaterjalile, dubleerile ja
voodrimaterjalile. Kangakulu täpsemaks arvutamiseks on tehtud paigutusjoonised
mõlemale tootenäidisele eraldi. Niidikulu arvutamiseks on kokku arvutatud detailide
külgede pikkused ning õmblustele kulunud niidi kogus. Mudel „Margot“ materjali hinnaks
kujunes 46,17€ ja mudel „Marge“ materjali hinnaks 92,00€.
Töö eesmärk sai saavutatud – ettevõte sai endale väljatöötatud kostüümjaki mudeli.Technical garment design OÜ wished to expand their selection of base sewing patterns,
since using a ready-made pattern saves production time. The aim of this project is to
produce a base sewing pattern for a well fitting jacket and create two women ́s costume
jacket designs.
When planning this collection, the current state as well as the direction of fashion in the
future was researched. Different collections, by several designers were taken into account
and research was made regarding glamorous fabrics and their attributes. Based on the
gathered information, a draft of the costume jackets was made for the business. To gather
the needed material and to research the topic multiple websites, magazines and books,
that deal in fashion and the direction of fashion in the future, were used. The analysed
information in this assignment is based on the collections of designers for the years 2024
and 2025 as well as the 2024 to 2026 fashion magazines „Next Look“.
Women ́s costume jackets for the years 2025 and 2026 are estimated to have a straight
and somewhat long cut. The jackets have either a lapel collar or no collar at all. Regarding
collars, an upturned corner or a classical lapel are used. The pockets make use of a flap
or strip, and the front fastenings have a single or double row that make use of buttons or
snap fasteners. The selection of colours are usually split into two categories, modest
(black, white, beige, dark blue) and bold tones (gold, silver, red). Glamorous fabrics are
categorised based on appearance, attributes and price. When considering the appearance
of fabric, colour and texture play a big role, in addition when considering style a fabrics
attributes are taken into account.
When drafting costume jackets a unified method was used, which means one base pattern
was used to create two designs which are differentiated by the addition of certain
fashionable details. The base pattern is a classical coat solution with a close fitting
silhouette. The costume jacket makes use of a two part sleeve, since when constructing
the base pattern, the natural position of the arm is observed, which ensures a good fit.
The costume jackets have a straight cut style with a front double row of four sew-on snap
fasteners. The jackets consist of a side piece and a two part sleeve. The front includes two
vertical darts on the belt line and a sewed center line on the back. Both designs include
pockets with a flap. The design „Margot“ includes a scarf collar and the design „Marge“
includes a lapel collar.
When creating the pearl jacket (design „Marge“) a costume fabric with a high concentration
of wool is used as the main material along with a pearl fabric, that is used to provide
additional details on the pocket flaps and the outside sleeve while the additional details on
the sequin jacket (design „Margot“) are made entirely out of sequin fabric. The costume
jackets are duplicated and manufactured with a lining.
The torso section is constructed first and after that come the sleeves. When constructing
the sleeves the initial data is compiled using the torso construction. After the torso and
sleeve section come the fashionable details which are constructed based on the fashion
illustration. Base patterns for the costume jackets are made for all of the used materials
(the main material, backing and lining). The drawings have sewing lines, opposite signs,
warp direction, pocket and snap fastening locations and marking noted. Every detail has
its own name (Piece name).
The technical duplication was done based on the German standard figures measurements
table. The duplication schemes were initially compiled on the torso section and then on
the fashionable derivations using coordinates, meaning the computational-proportionality
method. The products are duplicated to sizes 36-50.
The fabric expenditure was made based on the placement diagram for the torso, backing
and lining. The thread expenditure was calculated based on the length of the sides of
certain details and thread used in stitching. The material cost of the design „Margot“
proved to be 46,18€ and the cost of „Marge“ was 92,00€.
The objective of the assignment was achieved - Technical garment design OÜ received the
costume jacket pattern and design
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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