1,722,012 research outputs found
Recall this Book 56: Merve Emre on Natalia Ginzburg's "The Dry Heart"
No full textLike our podcast, B-Side Books focuses on those moments when books topple off their shelves, open up, and start bellowing at you. The one that buttonholed Merve Emre (Oxford literature professor and author most recently of The Personality Brokers) was a novella by the luminous midcentury Italian pessimist, Natalia Ginzburg. And if you think you know precisely why a mid-century Italian writer would have a dark and bitter view of the world (already thinking of the Nazi shadows in work by Italo Calvino, Primo Levi and Giorgio Bassani) Ginzburg's The Dry Heart will have you thinking again. Merve started her piece by asking that age-old question: "When should a woman kill her husband?
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
Data Quality and Performance Analysis of Salesforce.com as a Customer Relationship Management Platform: Strategies for Improving Business Processes
Full text linkTezsiz Yüksek Lisans Bitirme ProjesiBu çalışma, Salesforce.com'un bir Müşteri İlişkileri Yönetimi (CRM) platformu olarak veri kalitesi ve performansını analiz etmeyi amaçlamaktadır. Araştırma, platform üzerindeki veri yönetimi sorunlarının etkilerini incelemekte ve Salesforce.com kullanıcılarının performansını ve veri kalitesini artırmak için önerilen stratejilere odaklanmaktadır. Analizler, veri güvenliği, doğruluk, bütünlük ve erişilebilirlik gibi kriterler göz önünde bulundurularak gerçekleştirilmiştir. İşletmelerin bu uygulamalardan en yüksek verimliliği sağlamaları amaçlanmıştır
The sentence is a lively place: Virginia Woolf and Diane William's experiments in the short form
No full textIn "The Sentence is a Lonely Place" (2009), Gary Lutz calls for more literature that recognizes the sentence to be "the one true theater of endeavor, as the place where writing comes to a point and attains its ultimacy" (5). As a response, this thesis considers the role of the sentence and readerly perception in the experimental short fiction of Virginia Woolf and Diane Williams. Woolf and Williams use their short stories to write the perceptual moment and they leverage the sentence and its effects toward this end. The short story is the ideal form for this perceptual thematics and poetics of the sentence given its ability to focus readerly attention on the sentence unit. Woolf and Williams exploit this by breaking the sentence in their stories, privileging fragmentation and ellipsis over linear narrative strategies and relying on their readers to do the perceptual work of reading between the gaps for story. This thesis argues that such an active, participatory reading practice allows for an innovative approach to character that resists conventions of psychological realism. Ultimately, I suggest that the result of Woolf and Williams's sentence-oriented aesthetic provides a way of writing character that is specific to the short form.Dans « The Sentence is a Lonely Place » (2009), Gary Lutz défend la création littéraire qui reconnait la phrase comme « l'unique et véritable théâtre de l'effort littéraire, là où l'écriture culmine et atteint sa pleine force. » Répondant au propos de Lutz, cette thèse s'interroge sur le rôle de la phrase et de la perception du lecteur dans les nouvelles expérimentales de Virginia Woolf et de Diane Williams. En se servant de la phrase comme espace poétique autant qu'unité sémantique, Woolf et Williams s'efforcent d'écrire la perception éphémère du moment. Étant donnée sa courte longueur, la nouvelle conduit le lecteur à s'intéresser au niveau sémantique de la phrase aussi bien qu'à celui de l'histoire. Aussi la nouvelle s'avère-t-elle la forme idéale pour explorer une thématique de la perception tout comme une poétique de la phrase. Ainsi, Woolf et Williams se servent de la concentration aiguë demandée par cette forme afin de détourner les normes de la lecture et de l'interprétation littéraires. En "cassant" l'unité sémantique de la phrase, les auteures privilégient la fragmentation et l'ellipse plutôt que la linéarité narrative. Le lecteur est donc forcé à tisser des liens de causalité là où il n'existe que de la rupture, à construire une histoire de "brèches" et de "non-dits". Cette thèse propose que la lecture active, voire collaborative demandée par ces nouvelles démontrent une approche innovatrice en matière de caractérisation littéraire, à savoir une approche qui refuse les normes du réalisme psychologique. En outre, nous maintenons qu'en créant une esthétique axée sur la phrase, Woolf et Williams prônent un mode de caractérisation spécifique à la forme de la nouvelle
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