1,720,963 research outputs found
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
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe 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
Against a Migrant Cinema. Critical Reflections on the Postcolonial Perspective
No full text“What? You did not include any reference to the Tahrir Square uprising?” In the final scene of La Vierge, les Coptes et Moi (Namir Abdel Messeeh, 2012), an autobiographical film in which the director, an Egyptian Copt residing in France, stages the alleged apparition of the Madonna in his native village, the (French) producer blurts out, reproaching the director for speaking about himself, and not about the political situation in his country. That same year, Tahrir, by the Italian Stefano Savona, documented masterfully that social reality, with an insider's eye, although the author was a foreigner. This discomfort of the autochthonous, for which the foreign filmmaker is admitted only to the extent that he tells us of his “strangeness”, calls into account the cinephile approach, intimately Eurocentric, to the “marginal” cinemas. To seek an image “Other”, indeed, would do nothing but replicate, by its very nature, the alterity it attempts to eliminate: it is a paradox that seem to characterise part of the European contemporary cinema (Capussotti 2009; Cincinelli 2009; Corrado, Mariottini 2013, Garosi, Trapassi 2016; De Franceschi 2013; Jedlowski 2001; Schrader, Winkler 2013) and literature (Fracassa 2012; Negro 2015, Proglio 2011; Romeo 2018). This has given rise to a re-evaluation of postcolonial studies, applied to the film studies (Heffelfinger, Wright 2011; Ponzanesi, Waller 2012). The minimal common denominator of both domains seems to be the notion of gaze, with the subtle ambiguity that this approach entails: the “Other” is, by definition, “other than Us” (Baggiani, Longoni, Solano 2011). The process of othering intrinsic in any European view of the “Other”, being Eurocentrism not a rhetorical choice but an inescapable perspective (Shohat / Stam 1994), is therefore a double-edged sword: on the one hand it tends to recognise the specificity of non-European cinematographic forms, questioning some aesthetic and narrative rules of “western” cinema (where the very notion of "West", as Said notes, is intimately Eurocentric) (1978). On the other hand, this risks to flatten the “Other” to his own culture of belonging, forcing the will of non-European directors to express themselves exclusively within more or less conscious processes of media segregation, that prevent the expression of a subjective gaze (De Franceschi, 2018). The very notion of “migrant cinema”, therefore, on the one hand tends to historicize a phenomenon, recognizing in the current socio-political context a common ground on which such products, despite their diversity, can grow; on the other hand, like any codification, this historicization tends to bring back to the collective sphere what is often an individual artistic expression: as it does not speak of society, it is simply not interesting. In this sense, as we will try to argue in this essay, the postcolonial perspective on the one hand proves to be effective, as it opens up film studies to important methodological contaminations; on the other hand, as a negative consequence, it tends to treat “migrant cinema” as a genre in its own right, thus transforming the “eye of the migrant” into an “eye on migrant”. In a critical-theoretical perspective, this paper will debate on how the denial of the existence of a migrant cinema is not an attempt to deconstruct a consolidated historiographical frame, but on the contrary, it is a way to avoid that this historicization implies and replicates the same dynamics of abjection that it tends to eliminate
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe 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
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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