1,721,109 research outputs found
Modernismo tardio : os romances de José Cardoso Pires, Fernanda Botelho e Augusto Abelaira
No full textTese de doutoramento, Estudos de Literatura e de Cultura (Estudos Portugueses), Universidade de Lisboa, Faculdade de Letras, 2009O fim do debate sobre o pós-moderno, que levou a uma profunda reavaliação do conceito de modernismo, abriu o caminho para uma reapreciação das suas diferentes manifestações a nível internacional. Um conceito-chave que emergiu graças à disputa foi modernismo tardio , noção que aponta para a continuação de impulsos modernistas pelo menos até à década de 70 do século XX. Na realidade, as histórias da literatura portuguesa publicadas recentemente tendem a assinalar a existência de dois períodos distintos na segunda metade do século: de 1950 a 1974 e de 1974 a 2000 o último normalmente associado à emergência de tendências pós-modernas e o primeiro descrito como uma espécie de período de transição entre o neo-realismo e a literatura que desponta a partir de 1974. Vários ensaístas, contudo, como Eduardo Lourenço, Liberto Cruz, Nelly Novaes Coelho, Maria Lúcia Lepecki e Fernando Guimarães, desde os anos 60 assinalaram a especificidade da ficção portuguesa desse período intermédio, apontando para a existência de um impulso claramente modernista na literatura que começa a se afirmar a partir de 1950 sem, contudo, utilizarem a palavra modernismo para a descrever. O propósito deste trabalho é demonstrar que a ficção produzida em Portugal por vários escritores cuja obra começa a surgir (ou a se afirmar definitivamente) na década de 50 do século passado revela a configuração temporal básica e características distintivas do modernismo, instituindo um período específico na literatura portuguesa do século XX um período que denominaria de Modernismo Tardio. De modo a demonstrar essa tese, os romances de José Cardoso Pires, Fernanda Botelho e Augusto Abelaira são aqui analisados em termos das concepções temporais neles configuradas uma abordagem que revelará igualmente que, mesmo ao considerarmos as mudanças detectadas nos seus romances após 1974, as suas coordenadas temporais permanecerão essencialmente intactas ao longo do seu percurso.The end of the postmodern debate, which forced a profound revaluation of the concept of modernism, has cleared the way for a reapreciation of its different international manifestations. A key-concept that emerged in the wake of the dispute was late modernism , a concept that refers to the continuation of specifically modernist impulses at least until the 1970s. In fact, recent histories of 20th century Portuguese literature tend to signal two different periods in the second half of the century: from 1950 to 1974 and from 1974 to 2000 - the latter usually associated with the emergence of postmodernist tendencies and the former described as a sort of transitional period, between new realism and the literature that would emerge after 1974. Several essayists, however, such as Eduardo Lourenço, Liberto Cruz, Nelly Novaes Coelho, Maria Lúcia Lepecki and Fernando Guimarães, have since the 1960s emphasized the specificity of the fiction of this middle period, signalling the existence of clearly modernist impulses in the literature that started to assert itself after 1950 - without, however, using the word modernism to describe it. The purpose of this work is to demonstrate that the fiction produced in Portugal by writers who start to appear (or to finally assert themselves) in the 1950s reveal the basic temporal configuration and distinctive features of modernism, thus constituting a specific period in 20th century Portuguese literature a period that I would call Late Modernism. In order to demonstrate this thesis, the novels of José Cardoso Pires, Fernanda Botelho and Augusto Abelaira are analyzed in terms of the temporal conceptions configured in their writing an approach that will also reveal that, even considering the changes detected in their works after 1974, their basic temporal coordinates will remain essentially intact
Modernismo tardio : os romances de José Cardoso Pires, Fernanda Botelho e Augusto Abelaira
No full textTese de doutoramento, Estudos de Literatura e de Cultura (Estudos Portugueses), Universidade de Lisboa, Faculdade de Letras, 2009O fim do debate sobre o pós-moderno, que levou a uma profunda reavaliação do conceito de modernismo, abriu o caminho para uma reapreciação das suas diferentes manifestações a nível internacional. Um conceito-chave que emergiu graças à disputa foi modernismo tardio , noção que aponta para a continuação de impulsos modernistas pelo menos até à década de 70 do século XX. Na realidade, as histórias da literatura portuguesa publicadas recentemente tendem a assinalar a existência de dois períodos distintos na segunda metade do século: de 1950 a 1974 e de 1974 a 2000 o último normalmente associado à emergência de tendências pós-modernas e o primeiro descrito como uma espécie de período de transição entre o neo-realismo e a literatura que desponta a partir de 1974. Vários ensaístas, contudo, como Eduardo Lourenço, Liberto Cruz, Nelly Novaes Coelho, Maria Lúcia Lepecki e Fernando Guimarães, desde os anos 60 assinalaram a especificidade da ficção portuguesa desse período intermédio, apontando para a existência de um impulso claramente modernista na literatura que começa a se afirmar a partir de 1950 sem, contudo, utilizarem a palavra modernismo para a descrever. O propósito deste trabalho é demonstrar que a ficção produzida em Portugal por vários escritores cuja obra começa a surgir (ou a se afirmar definitivamente) na década de 50 do século passado revela a configuração temporal básica e características distintivas do modernismo, instituindo um período específico na literatura portuguesa do século XX um período que denominaria de Modernismo Tardio. De modo a demonstrar essa tese, os romances de José Cardoso Pires, Fernanda Botelho e Augusto Abelaira são aqui analisados em termos das concepções temporais neles configuradas uma abordagem que revelará igualmente que, mesmo ao considerarmos as mudanças detectadas nos seus romances após 1974, as suas coordenadas temporais permanecerão essencialmente intactas ao longo do seu percurso.The end of the postmodern debate, which forced a profound revaluation of the concept of modernism, has cleared the way for a reapreciation of its different international manifestations. A key-concept that emerged in the wake of the dispute was late modernism , a concept that refers to the continuation of specifically modernist impulses at least until the 1970s. In fact, recent histories of 20th century Portuguese literature tend to signal two different periods in the second half of the century: from 1950 to 1974 and from 1974 to 2000 - the latter usually associated with the emergence of postmodernist tendencies and the former described as a sort of transitional period, between new realism and the literature that would emerge after 1974. Several essayists, however, such as Eduardo Lourenço, Liberto Cruz, Nelly Novaes Coelho, Maria Lúcia Lepecki and Fernando Guimarães, have since the 1960s emphasized the specificity of the fiction of this middle period, signalling the existence of clearly modernist impulses in the literature that started to assert itself after 1950 - without, however, using the word modernism to describe it. The purpose of this work is to demonstrate that the fiction produced in Portugal by writers who start to appear (or to finally assert themselves) in the 1950s reveal the basic temporal configuration and distinctive features of modernism, thus constituting a specific period in 20th century Portuguese literature a period that I would call Late Modernism. In order to demonstrate this thesis, the novels of José Cardoso Pires, Fernanda Botelho and Augusto Abelaira are analyzed in terms of the temporal conceptions configured in their writing an approach that will also reveal that, even considering the changes detected in their works after 1974, their basic temporal coordinates will remain essentially intact
Modernismo tardio : os romances de José Cardoso Pires, Fernanda Botelho e Augusto Abelaira
No full textTese de doutoramento, Estudos de Literatura e de Cultura (Estudos Portugueses), Universidade de Lisboa, Faculdade de Letras, 2009O fim do debate sobre o pós-moderno, que levou a uma profunda reavaliação do conceito de modernismo, abriu o caminho para uma reapreciação das suas diferentes manifestações a nível internacional. Um conceito-chave que emergiu graças à disputa foi modernismo tardio , noção que aponta para a continuação de impulsos modernistas pelo menos até à década de 70 do século XX. Na realidade, as histórias da literatura portuguesa publicadas recentemente tendem a assinalar a existência de dois períodos distintos na segunda metade do século: de 1950 a 1974 e de 1974 a 2000 o último normalmente associado à emergência de tendências pós-modernas e o primeiro descrito como uma espécie de período de transição entre o neo-realismo e a literatura que desponta a partir de 1974. Vários ensaístas, contudo, como Eduardo Lourenço, Liberto Cruz, Nelly Novaes Coelho, Maria Lúcia Lepecki e Fernando Guimarães, desde os anos 60 assinalaram a especificidade da ficção portuguesa desse período intermédio, apontando para a existência de um impulso claramente modernista na literatura que começa a se afirmar a partir de 1950 sem, contudo, utilizarem a palavra modernismo para a descrever. O propósito deste trabalho é demonstrar que a ficção produzida em Portugal por vários escritores cuja obra começa a surgir (ou a se afirmar definitivamente) na década de 50 do século passado revela a configuração temporal básica e características distintivas do modernismo, instituindo um período específico na literatura portuguesa do século XX um período que denominaria de Modernismo Tardio. De modo a demonstrar essa tese, os romances de José Cardoso Pires, Fernanda Botelho e Augusto Abelaira são aqui analisados em termos das concepções temporais neles configuradas uma abordagem que revelará igualmente que, mesmo ao considerarmos as mudanças detectadas nos seus romances após 1974, as suas coordenadas temporais permanecerão essencialmente intactas ao longo do seu percurso.The end of the postmodern debate, which forced a profound revaluation of the concept of modernism, has cleared the way for a reapreciation of its different international manifestations. A key-concept that emerged in the wake of the dispute was late modernism , a concept that refers to the continuation of specifically modernist impulses at least until the 1970s. In fact, recent histories of 20th century Portuguese literature tend to signal two different periods in the second half of the century: from 1950 to 1974 and from 1974 to 2000 - the latter usually associated with the emergence of postmodernist tendencies and the former described as a sort of transitional period, between new realism and the literature that would emerge after 1974. Several essayists, however, such as Eduardo Lourenço, Liberto Cruz, Nelly Novaes Coelho, Maria Lúcia Lepecki and Fernando Guimarães, have since the 1960s emphasized the specificity of the fiction of this middle period, signalling the existence of clearly modernist impulses in the literature that started to assert itself after 1950 - without, however, using the word modernism to describe it. The purpose of this work is to demonstrate that the fiction produced in Portugal by writers who start to appear (or to finally assert themselves) in the 1950s reveal the basic temporal configuration and distinctive features of modernism, thus constituting a specific period in 20th century Portuguese literature a period that I would call Late Modernism. In order to demonstrate this thesis, the novels of José Cardoso Pires, Fernanda Botelho and Augusto Abelaira are analyzed in terms of the temporal conceptions configured in their writing an approach that will also reveal that, even considering the changes detected in their works after 1974, their basic temporal coordinates will remain essentially intact
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
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
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
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