1,721,036 research outputs found
sj-docx-1-cat-10.1177_10760296231200223 - Supplemental material for Predictive Factors and Clinical Events Associated with Edoxaban Interruption and Heparin Bridging Strategy: EMIT-AF/VTE
No full textSupplemental material, sj-docx-1-cat-10.1177_10760296231200223 for Predictive Factors and Clinical Events Associated with Edoxaban Interruption and Heparin Bridging Strategy: EMIT-AF/VTE by Amparo Santamaria, Cathy Chen and
Paolo Colonna, Christian von Heymann, Manish Saxena, Thomas Vanassche, James Jin, Martin Unverdorben in Clinical and Applied Thrombosis/Hemostasis</p
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
Conceptos arcádicos y mediación cultural en las dedicatorias musicales de Giovanni Paolo Colonna y Alessandro Scarlatti al duque de Medinaceli
No full textLo studio della musica in Arcadia a cavallo tra Sei e Settecento si è di solito concentrato sui generi della poesia per musica e, soprattutto, sull’opera e sulla cantata. In questo contributo porrò, invece, l’accento su due raccolte di musica, apparentemente ecclesiastica, su testo latino pubblicate rispettivamente da Giovanni Paolo Colonna (1637-1695), i Psalmi ad vesperas musicis trium, quatuor & quinque vocum, nel 1694, e da Alessandro Scarlatti (1660-1711), i Mottetti sacri ad una, due, trè e quattro voci con violini per ogni tempo nel 1702 . Entrambe sono dedicate allo stesso diplomatico, membro dell’Arcadia, in due momenti molto diversi della sua carriera. Si tratta del duca di Luis de la Cerda y Aragón (1660-1711), IX duca di Medinaceli, ambasciatore spagnolo a Roma dal 1687 al 1696 e poi viceré di Napoli dal 1696 al 1702. Le chiavi di lettura offerte dai testi di dedica delle due raccolte sono particolarmente efficaci alla comprensione delle strategie di mecenatismo messe in atto da "diplomatici" del calibro di Medinaceli nei confronti della musica. Le due lettere dedicatorie si illuminano a vicenda. Scopo di questo studio è metterle a confronto per spiegare differenze e complessità di significati che esse celano e allo stesso tempo acquistano alla luce dei dibattiti culturali che contraddistinguono gli albori dell’Arcadia.Depto. de MusicologíaFac. de Geografía e HistoriaInstituto del Teatro de Madrid (ITEM)TRUEpu
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
The three collections of psalms for vespers for eight voices (op. nos. I, VII and XI) by Giovanni Paolo Colonna
Full text linkLe tre raccolte di salmi da vespro a otto voci nello stile pieno di Giovanni Paolo Colonna (Bologna 1637-1695), pubblicate rispettivamente nel 1681, nel 1686 e nel 1694 (opp.I, VII e XI), costituiscono un oggetto di studio privilegiato nell’ambito della ricca produzione a stampa dell’autore: in primo luogo, esse ebbero ampia e favorevole recezione, come testimoniano la diffusione degli esemplari, le ristampe, le copie manoscritte ricavate dalle edizioni; in secondo luogo, la fortuna postuma del compositore fu legata in buona parte alla sua musica sacra a doppio coro e, in particolare, al favore riscosso dai suoi libri di salmi; infine, l’analisi delle tre raccolte consente di confrontare le risorse tecniche e stilistiche messe in opera da Colonna in composizioni afferenti a uno stesso genere ma risalenti a periodi diversi. La dissertazione è articolata in tre parti: nella prima sono presi in esame gli ordinamenti liturgici secenteschi relativi alla celebrazione dei vespri, onde illustrare la cornice rituale alla quale i salmi di Colonna erano destinati, e si passano in rassegna alcune definizioni di stile pieno e di contrappunto a otto voci desunte dalla trattatistica coeva. La seconda parte è dedicata alla lettura storico-critica delle opp. I, VII e XI nel contesto generale della produzione dell’autore. La terza parte contiene l’edizione integrale dell’opera VII e XI, nonché una scelta di brani tratti dall’op. I.The three collections of psalms for vespers for eight voices in the stile pieno by Giovanni Paolo Colonna (Bologna 1637-1695), published in 1681, in 1686 and in 1694 (op. nos. I, VII and XI) respectively, are a favourite topic of study within the vast printed output of the composer. First, they were well received everywhere, as shown by the circulation of the copies, the reprints and the handwritten copies taken from the editions. Secondly, the composer's posthumous fame was linked for the most part to his sacred music for double choir and, in particular, to the success of his books of psalms. Finally, the analysis of the three collections allows the comparison of the technical and stylistic resources used by Colonna in compositions belonging to the same genre but dating back to different periods. The dissertation is divided into three parts: the first considers the seventeenth century liturgical regulations concerning the celebration of vespers, in order to illustrate the liturgical context for which Colonna’s psalms were intended, and some definitions of stile pieno and counterpoint for eight voices taken from contemporary treatises are reviewed. The second part is devoted to the historical-critical examination of op. nos. I, VII and XI in the general context of the composer’s output. The third part contains the complete edition of op. nos. VII and XI, as well as a selection of pieces from op. I
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