1,720,973 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
Finding a New Home for Herself: A Comparison of the Joy Luck Club and Girl in Translation
No full textThis study explores two novels written by two contemporary Asian American female writers:
The Joy Luck Club by Amy Tan and Girl in Translation by Jean Kwon. Both novels follow the daily experiences and family relationships of Chinese mothers who have emigrated to America and their daughters, who were born either in China or in the USA. By comparing these novels, we can see the different approaches taken by female immigrants as they create new cultural identities. The study explores the differences and similarities in the ways in which the women in these novels are shown to search for cultural identities in their new home. At the same time, it explores how the novels thus represent the images and experiences of Chinese immigrant women as being in a constant process of becoming rather than fully finished. As they struggle to find ways of being ‘at home’ in the USA, the mothers and daughters in these two novels must negotiate between past and present. They find themselves suspended between their two sides of self: Chinese and American
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
Acting as Hierophany: Locating a Sense of the Sacred in the Work of the Actor
No full textThis thesis aims to locate the sacred in the work of the actor in the context of Western theatre and its religious roots in ritual. Throughout the thesis, my research draws on my extensive experience as an actor trained in the European tradition and employed to perform the Western repertoire. I ask: How can we, in the secularised environment of contemporary Western theatre, come to understand the way something of the sacred still remains to us in performance? How might the contemporary Western actor, who is far removed from the priest or priestess of ancient times, even now be seen as a hierophant, a locus for a spiritual force beyond the human?
In focusing on the actor’s work as somehow still productive of something like the sacred, I rely on Richard Schechner’s and Victor Turner’s ideas of the actor’s presence as liminal. For Schechner, the actor occupies the space “in between identities.” In this mediatory position, the actor is not unlike a priest, or a shaman – a term Schechner often uses. The act of acting, in this light, might be seen as hierophany, a word I take from Mircea Eliade’s The Sacred and the Profane. For Eliade, hierophany (hiero – sacred, phainein – to show) serves as a manifestation of the sacred. A hierophant might be a priest. I think he might, also, be an actor.
This thesis sits between Theatre and Performance Studies. Its methodology as such, is one of close reading of play texts and contexts, and of interpretation and reflection. The case studies – play texts, live, and mediated performances – analysed in this thesis have been drawn from the wider repertoire. The first chapter aims to unpack conventional understandings of the relationship between ritual, theatre, and the sacred, in ancient Greek and Elizabethan theatre, through the analysis of the actor’s work in Euripides’ The Bakkhai and Christopher Marlowe’s Doctor Faustus. Chapter Two leads to a re-consideration of the secularity of modern drama by focusing first on Stanislavski’s theories of acting, and then on two plays: Anton Chekhov’s The Seagull and Samuel Beckett’s Waiting for Godot. The third chapter turns to Jerzy Grotowski’s idea of the secular sacrum in his direction of Ryszard Cieślak’s performance in The Constant Prince – a performance that, for me, is the epitome of hierophany. In my conclusion, I turn to what I experience and see in the actor’s work on stage today.
What I have found in this research is not what I expected. The actor rarely serves as a locus for the sacred, whether in Elizabethan or Modern Drama. Instead, what I have come to understand is that what we can see in the actor’s work is more a desire for the sacred, which is often located just out of reach. It is to this unseen force – which might be termed “the sacred” or might be the art that Stanislavski once idealised, or in any case something beyond the limits of our daily human experience – that the actor’s work, and the audience’s attention, is directed
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
Where’s the Criticality, Tracey? A Performative Stance Towards Contemporary Art Practice
No full textTracey Emin’s bed is in the Tate Museum. Flanked by two portraits by Francis Bacon, My Bed (1998) is almost inviting. Displayed on an angle, it gestures for us to climb under the covers, amongst stained sheets, used condoms and empty vodka bottles - detritus of Emin’s life. This is not the first time My Bed has been shown in the Tate. The 2015-17 exhibitions of this work are, in a sense, a homecoming, reminiscent of the work’s introduction to the British public. Short-listed for the 1999 Turner Prize, My Bed made headlines: How dare she put her bed in a gallery and call it Art?
Yet dare she does. Emin shows what we repress - the repugnant entrails of her personal life are splayed out, exhibited for all to see. My Bed invites disgust. Its commonplace content provokes a visceral response. This work does not afford us the luxury of critical distance: How do we come to be looking?
I look to My Bed as a point of departure, a paradigm for exploring the exchange that takes place between artist, art object and audience. Performativity - the idea that things are only real to the extent that they are performed, acts as a theoretical frame for this discussion. Here, written, spoken, physical and material communication practices produce, rather than merely describe, the subjects and objects that they involve.
Far from presenting a totalising theory of art, or for that matter experience, my aim is to contribute to efforts to position knowledge as situated within lived experience. This is my partial perspective; an iteration of my own practice. This document is an artefact, residue of my academic performance - no less ephemeral than the coffee cups on my desk nor the cigarette butts littering Emin’s bed
The Denied Happiness: Stages of Violence, Terror and Repression in Colombia
No full textThis thesis analyses how acts of violence, terror, and repression in Colombia can be analysed as performances, that is for the way they are constructed to be viewed by the general public. To see these acts as events that have been prepared, rehearsed, follow a dramaturgical process, and are later restaged by the media, is to come to understand that the long cycle of violence is not the result of Colombian nature (which would mean it cannot be changed), but the product of a socio-political process that follows patterns, builds status relations, and frames ways of thinking individually and socially. In this thesis, I will be looking at the constituent parts of historical and theatrical events to see how they have been constructed in order to create an effect in their audiences. This thesis triangulates theoretically between the work of Victor Turner, Richard Schechner and Diana Taylor. Each informs my application of performance studies to the case studies and allows me to build a methodological approach that is both dramaturgical and theatrical.
I have selected four events as case studies. Considered chronologically from 1948 to 2008 from Colombian social history, they represent pivotal moments in the construction of violence in my country. In chapter one, I analyse the assassination of the political leader Jorge Eliecer Gaitán. Chapter two examines the siege of the Palace of Justice in 1989 by the guerrilla group M-19 and how the counterattack by the army reinforced the use of violence as a method of repression. Chapter three studies the assassination of the journalist and comedian Jaime Garzón in 1999 by paramilitary forces, confirming a state of terror in which any citizen might be subject to annihilation. My final chapter begins with the case of the Falsos Positivos – the false positives case – which then leads to my conclusions.
In addition, I examine the theatrical response to each of the events and evaluate the ways theatre-makers have worked to represent these social circumstances. In Chapter one, the play 1948: El Fracaso de una Utopía Popular (2015) is a collective creation by a 1948 group of researchers from Universidad del Valle. La Siempreviva (1992) by Miguel Torres in Chapter two takes elements from the siege of the Palace of Justice and is part of Colombia’s classic theatre repertoire. Chapter three analyses Corruptour (2015) by Verónica Ochoa who used postmodern theatrical devices to depict Garzon’s life and activism. The last theatrical response, in my concluding chapter, is Antígona: Tribunal de Mujeres (2013), a collective creation by Tramaluna Teatro in which the cast includes women victims of the abuse of power from the state.
It is perhaps in the theatre that Colombians can create enough space to see themselves not as powerless and passive actors, but as active performers who can redress violence, terror and repression through social action. Then, Colombian society might start imagining a future with happiness more real than the present reality
The Denied Happiness: Stages of Violence, Terror and Repression in Colombia
No full textThis thesis analyses how acts of violence, terror, and repression in Colombia can be analysed as performances, that is for the way they are constructed to be viewed by the general public. To see these acts as events that have been prepared, rehearsed, follow a dramaturgical process, and are later restaged by the media, is to come to understand that the long cycle of violence is not the result of Colombian nature (which would mean it cannot be changed), but the product of a socio-political process that follows patterns, builds status relations, and frames ways of thinking individually and socially. In this thesis, I will be looking at the constituent parts of historical and theatrical events to see how they have been constructed in order to create an effect in their audiences. This thesis triangulates theoretically between the work of Victor Turner, Richard Schechner and Diana Taylor. Each informs my application of performance studies to the case studies and allows me to build a methodological approach that is both dramaturgical and theatrical.
I have selected four events as case studies. Considered chronologically from 1948 to 2008 from Colombian social history, they represent pivotal moments in the construction of violence in my country. In chapter one, I analyse the assassination of the political leader Jorge Eliecer Gaitán. Chapter two examines the siege of the Palace of Justice in 1989 by the guerrilla group M-19 and how the counterattack by the army reinforced the use of violence as a method of repression. Chapter three studies the assassination of the journalist and comedian Jaime Garzón in 1999 by paramilitary forces, confirming a state of terror in which any citizen might be subject to annihilation. My final chapter begins with the case of the Falsos Positivos – the false positives case – which then leads to my conclusions.
In addition, I examine the theatrical response to each of the events and evaluate the ways theatre-makers have worked to represent these social circumstances. In Chapter one, the play 1948: El Fracaso de una Utopía Popular (2015) is a collective creation by a 1948 group of researchers from Universidad del Valle. La Siempreviva (1992) by Miguel Torres in Chapter two takes elements from the siege of the Palace of Justice and is part of Colombia’s classic theatre repertoire. Chapter three analyses Corruptour (2015) by Verónica Ochoa who used postmodern theatrical devices to depict Garzon’s life and activism. The last theatrical response, in my concluding chapter, is Antígona: Tribunal de Mujeres (2013), a collective creation by Tramaluna Teatro in which the cast includes women victims of the abuse of power from the state.
It is perhaps in the theatre that Colombians can create enough space to see themselves not as powerless and passive actors, but as active performers who can redress violence, terror and repression through social action. Then, Colombian society might start imagining a future with happiness more real than the present reality
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
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