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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
« Kindergarten » ou la vision close de l'enfance perdue et retrouvée dans la poésie de Manuel António Pina
No full textInternational audienceDans le poème « Kindergarten » (O Caminho de Casa / Le chemin de la maison (1989)), écrit lors d’un séjour à Berlin en 1983, Manuel António Pina pose la relation d’une chose essentielle et perdue à un sol élémentaire : le jardin où jouent les fillettes – « Quelle chose essentielle ai-je perdue et où ? ». Cette communication propose une étude herméneutique du jardin dans la poésie de Manuel António Pina comme dispositif spatial conduisant le sujet poétique vers une expérience intime de vision d’un temps lointain, perdu et retrouvé. Avec ce poème, le jardin cesse d’être un simple lieu de délectation ou propre à la rêverie. Il bascule de la simple image poétique à un espace concret et physique parcouru par le poète et dans lequel ce dernier cherche à s’enquérir d’un temps in illo tempore. Si l’ambition du jardin peut être comprise comme une sorte d’alchimie transmutant l’espace et le temps, conduisant le sujet vers l’unité cosmique, elle donne, chez le poète portugais, à penser le temps dans une sorte de conjonction des êtres qui se rencontrent mais se délient pour « nêtre » que débordements, flux et flots d’autres qui ne cessent de se contempler sans se reconnaître. Jardin-oasis, le jardin est pour le poète portugais le lieu où habiter l’enfance comme la maison familiale attenant à un autre jardin, celui de la demeure. Il s’agira ainsi d’aborder avec plus d’acuité cette espace clos du jardin où flotte la substance de l’enfance, horizon d’altérité, dans l’œuvre poétique de Manuel António Pina
La poétique dans sa relation cachée ou l'excès pudique d'une réflexion poétique dans l'oeuvre de Daniel Faria
No full textInternational audiencepar l'opposition entre discours et mystique, nous voudrions réfléchir ici sur l'émergence du discours poétique qui, dans la poésie de Daniel Faria, prend souvent le dessus sur le discours strictement mystique. Notre propos aura donc pour objectif de présenter les particules amphibies qui permettent de basculer d'un discours à l'autre et d'étudier la manière avec laquelle le poète trahit les pratiques spirituelles pour affermir sa réflexion poétique. A partir da categoria " poesia mística " , ela própria clivada pela oposição entre discurso e mística, o nosso intuito é reflectir sobre a emergência do discurso poético que, na poesia de Daniel Faria, excede por vezes o discurso estritamente místico. O nosso artigo tem por objectivo apresentar as partículas anfíbias que permitem passar dum discurso ao outro e estudar o modo com que o poeta trai as práticas espirituais para reforçar a sua reflexão poética. Poète portugais de la fin de la génération de 90, Daniel Faria s'inscrit dans la lignée augustinienne des confessions littéraires comme en témoigne O Livro do Joaquim, sorte de journal-laboratoire, comme le reconnaît Francisco Saraiva Fino 1 , où le poète s'essaye à l'écriture et au travail sur le mot poétique. Confesser, écrivent John D. Caputo et Michael J. Scanlon dans l'introduction aux actes du colloque sur Jacques Derrida-Saint Augustin. Des Confessions, " est l'acte non pas d'un auteur autonome, mais d'un sujet assujetti, un acte non pas d'autonomie, mais de renoncement à cette autonomie " (D. Caputo/J. Scanlon, 2007: 22). C'est de cette approche de la confession comme renoncement que l'oeuvre poétique de Daniel Faria peut relever. De même que 1 Francisco Saraiva Fino, «O tempo de um corpo ao derramar-se. Breves notas de elogio à imperfeição» in Daniel Faria, O Livro do Joaquim, Vila Nova de Famalicão: Quasi Edições, Biblioteca «De veres o meu lugar», 2007, p. 17-18 : «No projecto de O Livro do Joaquim, Daniel Faria inclui alguns versos ou proto-versos que viriam a ser refundidos e usados em composições muito posteriores, como o verso inicial do poema «Guarda a manhã/ Tudo o mais se pode tresmalhar» de EAOA (p. 80), publicado em 1998, ou uma outra versão da citação de Dante em «Penso velozmente que o amor, como Dante disse, é um estado/ De locomoção (…)», em HSLMS (p. 132). Outros serão aproveitados em projectos ainda parcialmente inéditos, como é o caso dos versos finais da secção «Terceiro homem. Terceiro Dia», da obra também fragmentária provisoriamente designada como O Primeiro Homem…»
Manuel Antonio Pina entre Rossellini e Shindo: os procedimentos neo-realistas dum regresso à infancia
No full textInternational audienceManuel António Pina's poetry is characterized by its attempt to join a primordial time (the childhood) until reach the surroundings of the verb. Therefore, memory appears as the main mechanism capable of surmounting the barrier of time and of taking the poetic subject toward its lost reality. Manuel António Pina's poetry, marked by the isotopie of return, is constituted in its enterety by pure images of a lost time, similar to the long takes of the Italian neorealism. This work aims at studying the way the film image provides a cosmic and collective relation between the subject and the recalled object, as well as the process of recollection introduced by the Portuguese poet, in the style of a neorealist documentary movie.A obra poética de Manuel António Pina distingue-se pela tentativa de atingir a primordialidade (a infância) nos arredores do verbo. A memória afigura-se deste modo como o principal mecanismo capaz de superar a barreira do tempo e assim aproximar o sujeito poético da sua realidade perdida. A poesia de Manuel António Pina pautada pela isotopia do regresso consubstancia na sua totalidade imagens puras dum tempo perdido em muito similares aos planos-sequências do neo-realismo italiano. O presente trabalho tem por objectivo estudar o modo como a imagem fílmica assegura uma ligação cósmica e colectiva muito forte entre o ser e o objecto recordado, tal como o processo de rememoração encetado pelo poeta português, um pouco à maneira dum filme documentário neo-realista. PALAVRAS-CHAVE: poesia, cinema, memória
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
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
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