1,720,956 research outputs found
Cultural heritage as a political instrument: The Terazije epizode
Get PDFU radu se prikazuju i analiziraju novinski tekstovi o Terazijskoj fontani (1927-1947) nastali tokom 1987. i 1988. godine kao istraživanje novinara koje je bilo obilato potpomognuto dokumentima, sećanjima i tumačenjima iz najšire javnosti. Sagledavaju se sa metodološkog stanovišta, od strategije potrage za fontanom preko utvrđivanja činjenica o njoj do vrednovanja, tumačenja u kulturnom kontekstu i pokušaja rekonstrukcije odnosno vraćanja u savremeni život. Sa teorijskog stanovišta, ova potraga objašnjava se kao primer upotrebe baštine u političke svrhe (u cilju promovisanja izmenjene ideologije i nove strategije političkog establišmenta). U konkretnom slučaju, karakteriše je nepoverenje prema institucijama kulture, nauci i pojedinim stručnjacima a služi kao uvod u kasnije (1989) dešavanje naroda na planu čitavog društva. U širem istorijskom kontekstu, shvata se kao jedan u nizu primera karakterističnog odnosa najšire javnosti prema umetnosti i prema nauci, koji otežava uspostavljanje kompetencije istorije umetnosti.The paper analyzes newspaper articles written towards the end of the 1980ies (1987-1988) about the so called Terazije fountain (which existed between 1927 and 1947 at the Terazije Square in the center of Belgrade, Serbia - not to be confused with the older Terazije fountain from 1860 that still stands). At first glance, this was an example of investigative journalism, where one searched for some lost (removed or destroyed) and 'forgotten' fountain, by using contemporary documents, photographs, recollections, eyewitnesses, etc. Speaking in terms of methodology, this investigation had a strategy to establish facts (descriptions of the fountain, chronology of its removal); to understand the fountain in its cultural and historical context and recognize the changes of its meaning and symbolism during 30ies, late 40ies and in the 80ies; to re-evaluate the fountain; to restore it as a piece of the national heritage and bring it back to the contemporary Belgrade. However, the investigation identified an enormous lack of knowledge in history, art history, architecture, urbanism, anthropology, technology, etc. It was carried out as a patchwork of anonymous comments, so the articles were inconsistent and displayed many controversies. The activity of the author therefore resembled pretty much the job of a moderator on the Internet-based forums or social networks. At the same time, opinions of experts and scientists were eliminated as irrelevant, their books considered as non-existing and cultural institutions as incompetent. The story of the fountain appears to be just a stone for a political stone soup; the point of the paper was to criticize the cultural policy, social policy, political leaders or the post-war basis of the socialist Yugoslavia and to promote a new ideology and a new political strategy that was fully introduced in the 90ies
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
Mask as an image of the world: Anticipation of cyber culture in art history by Oto Bihalji Merin (1904-1993)
Get PDFU radu se analiziraju osnove opšteg pregleda istorije umetnosti Ota Bihalji Merina (1904-1993) i u njegovim tekstovima se prepoznaje koncept maske kao ključni. Razmatra se kako koncept maske utiče na njegovu definiciju umetnosti, određuje (multidisciplinarni) pristup njenom proučavanju, proširuje oblast interesovanja na sve što se može shvatiti kao maska i utvrđuje antropološki smisao istraživanja vizuelne kulture. Sagledava se i kako koncept maske pomaže u redefinisanju umetnosti i strukturiranju novog opšteg pregleda istorije umetnosti, zasnovanog na prikazu vizuelne strane ključnih ljudskih aktivnosti.The study analyses the grounds for the general art history overview by Oto Bihalji Merin (19041993). His texts recognize the concept of the mask as a key one. The paper analyses how the concept of the mask influences his definition of art, determines (in a multidisciplinary manner) his approach to art studying, expends the scope of interest to anything that can be taken for a mask and defines the anthropological meaning of visual culture research. The concept of a mask is studied as an aid in redefining art and structuring a new general overview of art history, based on a display of the visual side of key human activities
Winckelmann on observation of art works: Rediscovery of an early understanding of art as communication
Get PDFU tekstu se sagledavaju shvatanja o umetnosti kao komunikaciji koja su u srpskoj nauci o umetnosti razvijana u drugoj polovini 20. veka, i porede se sa jednim Vinkelmanovim člankom iz 1759, u kom se, na osnovu kasnijeg razvoja nauke, retroaktivno prepoznaje tumačenje umetnosti kao komunikacije. Iz činjenice da je taj članak u prevodu poznat srpskoj javnosti još od 1848, ali da nije shvaćen ni upotrebljavan, i uopšte iz odnosa srpskih teoretičara prema idejama njihovih prethodnika, izvode se zaključci o tokovima razvoja srpske nauke o umetnosti.The idea of art as communication was sporadically present among Serbian artists, critics and art historians, but was rationally developed in the Serbian science on art in the second half of the 20th century. Three major procedures are distinguishable in the context. The critic procedure (Trifunović in art history), where the artist's work is interpreted, evaluated in the context of art, while the discussion with the artist serves more as a role model, example and encouragement for a number of similar but not identical procedures. The theoretical procedure (Ognjenović in psychology) introduces valuable observations about artistic creation to generalizations and statistically validated models, which may serve to a number of researchers in the same, scientifically demonstrable way. The scientific procedure in the narrow sense (Petrović in sociology and culturology) starts from the validated model and in the 'laboratory' conditions (using tests on artists) scientifically confirms the model, as well as some of the critical points of view. What all three procedures share is to find role models, bases, or at least encouragement in a number of researchers of information, communication, semiotics and others who interpret the artistic process using the model: inspiration-artist-work of art-viewer-interpretation. Though the elements of this way of thinking exist in the Serbian art criticism and theory as common place since the early 20th century, they are not studied or used; the idea of art as communication is taken from the current theoretical conceptions of the science in the world. However, if one looks in historiography for some earlier examples, or sources of the idea of art as communication, one could trace a communication 'model' back to the time of Winckelmann, and his article On the observations of works of art (1759). He pointed to the artist's creation, to the content of work of art and to the procedure of the observer in the evaluation and understanding of the work of art. It is interesting that the text was presented in the Serbian culture in a 1848 shortened and adapted translation used merely for entertainment of the public. One could conclude that in the period of century and a half (between the time of the naive translation to the time of introduction of communication theory) the Serbian culture relatively successfully mastered the process of receiving ideas from developed cultural or scientific centers (translation of sources, publishing, scientific interpretation, application, the training of specialists, popularization), but still does not succeed in keeping the continuity of those ideas, as it exists in the centers of their origin
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
Graffitti: Constructing a theory from artists' accounts and some reservations
Get PDFU radu se analiziraju pojedini iskazi umetnika koji su nastali kao govor o sopstvenom radu i umetničkim uverenjima, ali oblikovani široko, kao opšti sudovi o umetnosti. Ovi iskazi postaju teorijske formulacije primenjive na mnogo širi krug dela, pa i na radikalnije umetničke prakse. Pri tome se otkriva pitanje da li su za to odgovorni umetnici ili istoričari umetnosti, koji se pozivaju na njihove stavove.This paper analyses certain artists' personal accounts on their own works and artistic beliefs shaped into broad, general judgements on arts. These accounts have become theoretic formulations applicable to a much wider range of artwork, including more radical artistic practices. A question arises who to hold accountable for these: the artists or the art historians who use their standpoints as reference
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