1,721,123 research outputs found
From atypical to paradigmatic? Artistic work in contemporary capitalist societies
No full textThe main aim of this Special Issue is to shed light on the restructuring of artistic work in the context of the wider global transformations affecting the socio-economic regulation of capitalist societies, with their national or subnational variations. If occupational conditions defining artistic labour markets were considered as atypical in modern industrial societies, in contemporary post-industrial ones they become seen as paradigmatic of work in the so-called “gig economy” or “platform capitalism” (Cloonan, Williamson 2017, Srnicek 2016). High levels of unemployment, diffused precarious and undeclared work, strong seasonality, non-routine activities, emotional involvement and self-exploitation, job diversification, entrepreneurial skills and portfolio careers: those features, typically defining artistic work (Becker 1982, Menger 1999, Paradeise 1998), seem to apply to an increasing number of workers (Bertolini, Rizza 2004), especially those in the knowledge sector (Murgia et al. 2016), comprised with
artists within what some authors call the new “creative class” (Florida 2002, Howkins 2001). The recent centrality recognised to creative workers in enhancing productivity within contemporary capitalist economies, however, hides the strong inequalities existing among them - especially with reference to their different situations regarding production means property and inherited cultural and economic capital (Martin-Brelot et al. 2010, O’Brien et al. 2016, Bellini et al. 2018). Adopting this perspective, the “creative class” concept seems more apt to define an economic sector, than a “class” in the sociological sense, if not even to hide class oppositions within creative industries (Banks 2017). In the case of artistic work, the concept refers to a sector seen as mainly ruled by individual “talents”, thereby representing de facto the organization of artistic workplaces as a prototype of the neoliberal socioeconomical order (Banks, Hesmondhalgh 2009). Changes in the various fields of artistic work, however, do not only relate to the diffusion of a neoliberal approach in the regulation of the economy, but also to ongoing processes of cultural de/reclassification (DiMaggio 1987, 2009) or technological innovation (Williamson, Cloonan 2007, Leyshon 2009), whose influence in the different fields and contexts is a matter of empirical investigation
Nichts Unbekannteres, als das Bekannte? Anmerkungen zur medialen Resonanz einiger Bilder aus dem e-Dossier zur Shoah der Diplomatischen Dokumente der Schweiz.
No full textRien de plus inconnu que le connu? Remarques sur les échos médiatiques de quelques images tirées d’un dossier électronique des Documents diplomatiques suisses sur la Shoah.
No full text
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
Diplomatische Dokumente der Schweiz. Documents Diplomatiques Suisses. Documenti Diplomatici Svizzeri, Bd. 23 (1964–1966)
No full textAppropriate 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
Documents Diplomatiques Suisses. Diplomatische Dokumente der Schweiz. Documenti Diplomatici Svizzeri, Bd. 20 (1.4.1955–28.2.1958)
No full text- …
