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Online_Appendix – Supplemental material for Fridays of Revolution: Focal Days and Mass Protest in Egypt and Tunisia
No full textSupplemental material, Online_Appendix for Fridays of Revolution: Focal Days and Mass Protest in Egypt and Tunisia by Neil Ketchley and Christopher Barrie in Political Research Quarterly</p
Supplemental Material - Plots, Attacks, and the Measurement of Terrorism
No full textSupplemental Material for Plots, Attacks, and the Measurement of Terrorism by Thomas Hegghammer and Neil Ketchley in Journal of Conflict Resolution</p
Supplemental Material - Purging to Transform the Post-Colonial State: Evidence From the 1952 Egyptian Revolution
No full textSupplemental Material for Purging to Transform the Post-Colonial State: Evidence From the 1952 Egyptian Revolution by Neil Ketchley and Gilad Wenig in Comparative Political Studies.</p
SRD773614_Online_Appendix – Supplemental material for Sticks, Stones, and Molotov Cocktails: Unarmed Collective Violence and Democratization
No full textSupplemental material, SRD773614_Online_Appendix for Sticks, Stones, and Molotov
Cocktails: Unarmed Collective Violence and Democratization by Mohammad Ali Kadivar and
Neil Ketchley in Socius</p
Supplemental Material - Plots, Attacks, and the Measurement of Terrorism
No full textSupplemental Material for Plots, Attacks, and the Measurement of Terrorism by Thomas Hegghammer and Neil Ketchley in Journal of Conflict Resolution</p
Egypt in a Time of Revolution
No full textThis book considers the diverse forms of mass mobilization and contentious politics that emerged during the Egyptian Revolution of 2011 and its aftermath. Drawing on a catalogue of more than 8,000 protest events, as well as interviews, video footage and still photographs, Neil Ketchley provides the first systematic account of how Egyptians banded together to overthrow Husni Mubarak, and how old regime forces engineered a return to authoritarian rule. Eschewing top-down, structuralist and culturalist explanations, the author shows that the causes and consequences of Mubarak's ousting can only be understood by paying close attention to the evolving dynamics of contentious politics witnessed in Egypt since 2011. Setting these events within a larger social and political context, Ketchley sheds new light on the trajectories and legacies of the Arab Spring, as well as recurring patterns of contentious collective action found in the Middle East and beyond.</jats:p
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
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