1,721,295 research outputs found
Recontextualization and memory production: debates on rulership as reconstructed from "Gu ming" 顧命 (testimonial charge)
No full text'Shu' traditions and text recomposition: a re-evaluation of 'Jin teng' and 'Zhou Wuwang you ji'
No full textLiterary Forms of Argument in Early China
No full textIn Literary Forms of Argument in Early China, Gentz and Meyer explore a new analytical approach to the study of written thinking by focusing on the argumentative function of literary patterns in early Chinese texts
'They despise my novelty and humble birth, I their cowardly conservatism': Architecture and politics in the plates of Piranesi’s 'Parere su l’architettura'
No full textA well-known matter of contention in architectural history is the dispute between Giovanni Battista Piranesi and Pierre-Jean Mariette, as it was most scornfully expressed in Piranesi’s twin publications 'Parere sull’architettura' and 'Osservazioni... sopra la lettre de M. Mariette' (1765).
To the Parere dialogue Piranesi later added a series of five plates, three of them prominently bearing classical quotes. These citations have never been read otherwise than as a mere contribution to this dispute on architecture, the role of invention and the tyranny of aesthetical theories. However, an investigation into the larger context of the classical texts from which they originate, and the significance of these quotes for a mid-eighteenth-century reader, may offer an additional layer of meaning.
Following eighteenth-century changes in the role of classical erudition, Piranesi is revising his use of classical quotations: with the Parere quotations their purpose seems to shift, from delivering the basis of historical truth to a rhetorical device for criticizing present conditions and believes. With these quotations Piranesi, as I will argue, is not only defending himself against harsh, particularly French, criticism in architectural matters, but also firmly raising his profile in a much larger, political controversy.
Concentrating on the Terence, Ovid and Sallust quotes in the plates of the Parere, this paper demonstrates how behind the aesthetic and theoretical agenda of the plates, and their quotes, emerges an implicit political one that is no less antagonistic. For Piranesi, the Roman Republic offers not only an architectural but also an ideological model. Its heroic and magnificent past provides models and elements for a new architecture as well as for a new, republican, society
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
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