1,720,955 research outputs found
Touring and the Regional Repertoire: Cheek by Jowl, Complicite, Kneehigh and Eastern Angles
No full textThe chapter examines the role of subsidised touring product in the ecology of British theatre since 1980
Touring and the Regional Repertoire: Cheek by Jowl, Complicite, Kneehigh and Eastern Angles
No full textThe chapter examines the role of subsidised touring product in the ecology of British theatre since 1980
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
The theatre of the organised working class 1830-1930
Get PDFThis study of the theatre of the British Labour Movement had
its roots in 1985 when History Workshop published a collection
of documents relating to the Workers' Theatre Movements in
Britain and America between 1880 and 1935. In his introductory
essay in Theatres of the Left, Raphael Samuel concludes that
there are no traditions in British Labour Theatre except those
which have been broken or lost, that
There is no continuous history of socialist or
alternative history to be discovered, rather a
succession of moments separated from one another by
a rupture (1).
Since this conclusion was reached, others have repeated
Samuel's assertion in varying forms. So, Andrew Davies talks
of "scanty Chartist theatrical activity" and of the mainstream
lab6ur movement in the 1920s remaining "uninterested in
cultural matters" and Ian Saville asserts that
the conception of a partisan, organised theatre
devoted to spreading the socialist message
throughout the working classes only began to take
shape in Britain in the mid-1920s (2).
Yet a cursory glance at the theatre which preceded the
Workers' Theatre Movement, a glance which Raphael Samuel
provides in his introductory essay on theatre and socialism in
Britain, reveals I a plethora of activity in the labour
movement. From the Chartists and the Owlenites in the nineteenth century, through the Socialist Sunday Schools and
the Socialist League to the Clarion movement, the Independent
Labour Party and the Labour Party, the theatrical activity
pointed to by Samuel is startling in comparison to anything we
can see today. What follows is an attempt to look at some of
those moments, to look at the plays they produced and at both
how and why working class political organisations looked to
the theatre, to try to ascertain if they were indeed no more
than broken threads and if so to try to account for why this
may be the case. It is also an attempt to re-examine some of
our notions of what is political theatre, for since the
discovery of the work of the Workers' Theatre Movement and
subsequently of the Actresses Franchise League much has been
made of these as the starting point of political theatre in
Britain. Yet, for a country with one of the longest traditions
of organised working class movements, such assertions seem at
best strange, at worst dishonest.
One clue as to the reason for such claims can be found in the
characterisation of the theatre of the organised working class
prior to the Workers' Theatre Movement which has become common
currency. It was, in the words of Colin Chambers, primarily
of ethical and anti-militarist rather than directly political",
or in the words of Raphael Samuel:
First, the belief that it is their mission to bring
the working class into contact with "great" art (ie
capitalist art) and second, the tendency to produce
plays which may deal with the misery of the workerss
may even deal with the class struggleg but which
show no way out, and which therefore spread a
feeling of defeat and despair (3).
Such definitions of what is (or rather what is not) political
theatre rest very heavily on a notion that political is most
importantly propaganda. If the theatre that existed in
connection with political organisations prior to 1926 was not
propagandist then it follows for some that it was not
political. What follows is therefore also an attempt to
uncover a different approach, by looking at the groups own
justifications for their involvement in theatrical ventures as
part of the struggle for socialism
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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