1,720,953 research outputs found
Mon Ghost Dance : Conservation of Mon Cultural Inheritance, Ban Nong Du and Ban Bor Kaw Community, Ban Ruan Subdistrict, Pasang District, Lamphum Province.
No full textThe objective of this research is to study community context, to investigate history ofthe communities and to preserve, for the future generations, the ritual of “Forn Phee Mon” or MonGhost dance of Ban Nong du and Ban Bor Kaw, Ban Ruen subdistrict, Pasang district, LamPhoon province. The research covered to develop web site. The research was qualitative based ondata collected by interviews, observations and watching performances of Mon ghost dance of BanNong Du and Ban Bor Kaw, Ban Ruen subdistrict, Pasang district, Lamphoon province. The exactstory of the history of the dance was a myth but from interviews three names of mater ofceremonies “Tong” had been found and one was still living.The studies found that ritual dance of “Mon Ghost Dance or Forn Phee Mon” wasbased on the believe of ancestors spirits called “Phee Ban Pa Burut or Phee Pu Ya”. They believethey are protected by the ancestors spirits and have to behave in good manners under set rules.Behaving out side the set rules called “Pid Phee”. Communication with the spirits is through
certain people acting as medium. The spirit related ceremony have to be carried out betweenMarch and June before Buddhist lantern day except Buddhist day Wednesday and other so called“bad day” on calendar. The ceremony takes two days. The first preparation day called “WanTriam” or “Wan da” is when stage for ceremony is built, food and other sweets to offer to spiritsare prepared. The second day is ceremony day. The ceremony day can be full day or half day.The first half of ceremony day consists of 9 parts as followings : pay respect to teacher “Yok KanKruu”, offering to ancestors spirits “Tawai Kan Phee Pu Ya”, sword dance “Ram Dab”, push
away bad health “Pad Payad”, cut banana tree “Tud Ton Kroy”, give baht to sick persons“Abb Nam Pu Puy”, dress up sick persons “Tang Tua Pu Puy”, call spirit “Reak Winyarn”, andlook at chicken legs “Du Ka Kai”
Afternoon ceremony consists of 15 parts – play with Kula spirit “Len Phee Kula”,feed rice “Porn Kao”, play with Nang Tang Song Tang Sarm spirit “Len Phee Nang Tang SongTang Sarm”, play with Nang Noi spirit “Len Phee Nang Noi”, carry fish by mounth “Karb Pla”,send ancestor spirit to spirit house “Pu Ya Kun Hor”, play Songkran splash water “LenSongkran”, cock fight “Chon Kai”, play with Lanna style food tray “Ouo Phee Kan Tok”, go to
the field “Pai Rai”, catch elephant “Klong Chang”, light fire works “Jud Kra Bok Fai”, watchcandle tears “Du Namta Tien”, boat ride “Tor Ruer” and pull ton keaw “Torn Ton Keaw”.The dance of Tong or master of ceremony and the troop of dancer spirit “Luk PheeChang Fon” have no set movements but changes according to the spirit believed to be inside thedancers at that moment. Dance movements were not designed tobegracefulorbeautiful noparticular meaning consisting fast slow or comical movements according to the musicwhicharenotnecessarily mon music but could be Thai classical, arranged Thai classical or country music“Luk toong”Phee Morn Dance not only express the believe and respect tothespiritoftheancestorsbutalsogivesmoralsupportandencouragement to younger generations when they are in troublefrom sickness or other troubles. They believe performing Mon Ghost Dance or Forn Phee Monwill lead them to good luck prosperity and unity of the families. It makes people care for eachothers to make stronger better communities.การวิจัยครั้งนี้มีจุดมุ่งหมายเพื่ออนุรักษ์และการสืบทอดวัฒนธรรมการรำผีมอญของชุมชนบ้านหนองดู่และบ้านบ่อคาว ตำบลบ้านเรือน อำเภอป่าซาง จังหวัดลำพูน รวมทั้งศึกษาบริบทชุมชน ศึกษาประวัติ ความเป็นมา ถอดบทเรียน และพัฒนาสื่อเว็บไซต์ (Web site) การวิจัยครั้งนี้ เป็นการวิจัยเชิงคุณภาพซึ่งเก็บรวบรวมข้อมูลโดยการสังเกต สัมภาษณ์ และสำรวจชุมชน การฟ้อนผีมอญของบ้านหนองดู่และบ้านบ่อคาว ตำบลบ้านเรือน อำเภอป่าซาง จังหวัดลาพูน มีประวัติ ความเป็นอย่างไรนั้นไม่มีผู้ใดสามารถบอกได้ จากการวิจัยสามารถสืบค้นรายชื่อผู้ที่ทำหน้าที่เป็นผู้อำนวยการในพิธีหรือที่เรียกว่า “โต่ง” ได้เพียงสามคน และมีเพียงคนเดียวที่ยังคงมีชีวิตอยู่จากการศึกษาพบว่าพิธีกรรมการฟ้อนผีมอญเป็นผลสืบเนื่องมาจากความเชื่อและศรัทธาในผีบรรพบุรุษหรือผีปู่ย่า มีความเกี่ยวข้องกับการเลี้ยงผี การผิดผี และการทรงเจ้า กำหนดการทำพิธีจะต้องทำในเดือนมีนาคมถึงเดือนมิถุนายน หรือก่อนเทศกาลเข้าพรรษา โดยยกเว้นการทำใน วันพระ วันพุธ และวันเสียตามปฏิทิน วันทำพิธีแบ่งออกเป็นสองวันคือ วันเตรียมพิธี ซึ่งเป็นวันที่ต้องสร้างผามหรือปะรำพิธี ทำขนมเตรียมเครื่องเซ่นไหว้ต่าง ๆ และวันประกอบพิธี ซึ่งมีสองแบบคือแบบทำครึ่งกับแบบทำเต็มวันโดยพิธีกรรมในช่วงเช้ามี 9 ขั้นตอน ได้แก่ พิธียกขันครู ถวายขันผีปู่ย่า รำดาบ ปัดพยาธิ ตัดต้นกล้วย นำผู้ป่วยไปอาบน้า แต่งตัวให้ผู้ป่วย เรียกวิญญาณ ดูขาไก่ ส่วนพิธีกรรมในช่วงบ่ายมี 15 ขั้นตอน ได้แก่ เล่นผีกุลา ป้อนข้าว เล่นผีนางทั้งสองทั้งสาม เล่นผีนางน้อย คาบปลา ปู่ย่าขึ้นหอ เล่นน้าสงกรานต์ ชนไก่เอาผีขันโตก ไปไร่ คล้องช้าง จุดกระบอกไฟ ถ่อเรือ ดูหยอดน้าตาเทียน และถอนต้นแก้วสำหรับท่าฟ้อนของโต่งและลูกผีช่างฟ้อนจะไม่มีท่าแบบแผนและท่าตาย และอาจเป็นท่าที่เกิดจากการถูกวิญญาณเข้าสิง ท่าราจะไม่เน้นความสวยงาม ไม่มีความหมายของท่า จังหวะของการร่ายรำมีทั้งช้าและเร็ว สนุกสนาน ส่วนเพลงที่บรรเลงไม่ได้เน้นเฉพาะเพลงที่มีท่วงทำนองมอญ ส่วนใหญ่เป็นเพลงพื้นเมืองภาคเหนือ เพลงทำนองไทยเดิมซึ่งประยุกต์มาเป็นเพลงลูกทุ่งการทำพิธีฟ้อนผีมอญนี้นอกจากจะเป็นการแสดงถึงความเชื่อและเคารพต่อบรรพบุรุษแล้วยังเป็นที่พึ่งทางใจในยามที่ลูกหลานมีความทุกข์ หรือเจ็บป่วย เพราะเชื่อกันว่าเมื่อได้ทำพิธีนี้แล้วลูกหลานในตระกูลก็จะอยู่ดีมีสุข สิ่งไม่ดีที่เคยเกิดก็จะหายไป อีกทั้งยังเป็นการแสดงถึง ความสามัคคีของคนในตระกูล และความมีน้าใจเอื้อเฟื้อของคนในชุมชนที่มาร่วมมือร่วมใจให้งานลุล่วงไปด้วยด
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
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
- …
