1,720,970 research outputs found
Metalepsis, grief, and narrative in Aeneid 2
Get PDFThis chapter addresses the question of the emotional functions of metalepsis: does narrative complexity intensify emotional engagement or make it bearable through moments of withdrawal? 6 How does metalepsis contribute to the representation of grief? Is there something metaleptic about intense emotion, especially grief, which can create a numbness or shock that separates the sufferer from a sense of reality?
The chapter begins with an examination of narrators and narrating in Aeneid 2. Both Aeneas and Sinon are fascinatingly complex narrators, who use their grief to establish authority and create a positive reception. This complexity encourages constant interplay between narrative levels, which creates dissonances for readers, but ultimately intensifies the emotional response of the various levels of audience. If Dido models Virgil’s ideal response, he was not intending to turn us off. The narrator’s constant presence, in counterfactuals that remind us we are in the pre-determined world of myth, the operation of hindsight which activates lament, and the irony more often associated with tragedy, do not alienate but draw us in.
The second section tackles narrative transition: ends of scenes and sequences and changes of setting are often characterized by emotional intensity and lack of narrative realism. Metalepsis often occurs at the edges of narrative, including problematization of the narrator’s knowledge of events, anachronism and focus on the narrator’s physical location. The chapter then examines the epic voice of Aeneas, beginning with similes, which also often feature at the ends of sections both as emotional high points and moments of self-conscious reflection for narrator and narratees. In many ways, Aeneas as narrator takes on the epic voice of the primary narrator, and Aeneas’ narrative as well as that of the primary narrator shows through the other narrative
levels.7 When Polites dies ante ora parentum (‘before the face of his fathers’) he is an image of the universality of epic death, and connects to Aeneas’ own desire to die in the storm of book 1. This tendency of epic to speak across time and space as well as audience levels is reinforced by puns and intertextual references, which one would expect to create distance, but which can also serve to enhance immediacy. Most strikingly of all, when Priam is described as a headless body on the shore, the author intrudes with a reference to contemporary Rome and Pompey’s death in the civil wars. This too claims the universality and contemporary relevance of mythic storytelling and seems likely to intensify engagement. Finally, I look briefly at Genette's phrase ‘Virgil “has Dido die”’ and how the death of Dido fits into these ideas about grief and narrative
Narrative and lyric levels in Catullus
Get PDFThis chapter revisits the challenges of thinking about narrative metalepsis in lyric contexts by considering the diverse corpus of Catullus. Catullus' most obviously narrative poem—poem 64—offers rich possibilities for metaleptic readings, and the chapter particularly investigates the ways in which the boundary between the poem's outer narrative and its inset, ostensibly ecphras- tic story is navigated by two powerfully subjective presences, the narrator and Ariadne, by such means as apostrophe and mise en abyme. Yet Catullus is typically classified as a lyric poet, and the chapter also examines poems that fuse the narrative and lyric modes, looking at potentially hymnic addresses to divinities across the corpus, and the tension in poem 68 between, on the one hand, the tendency to establish a whole series of nested narrative levels through ring composition and simile, and, on the other, the pull of the lyric mode towards a unified poetic 'present'. There is a particular emphasis on the interaction among speech acts in the first, second and third person. Catullus himself appears in all three 'persons' as a character in the corpus, but is also a Roman author in whose real existence we believe, and the chapter concludes by returning against this background to Genette's concern that metalepsis prompts us to ask whether we may belong to some narrative—as Catullus indeed does
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
- …
