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Compilation and Influences of Quan Ming Zaju
No full text》和《中国近六十年来元明杂剧之发现》）组成。《全明杂剧》编订原则明确,条理清晰,非常谨严、细致,具有很强的学术性和相当高的文献价值。该集的出版对中国台湾以及大陆的戏曲研究产生了积极的影响,不仅使学界研究明杂剧的信心和热情显著提升,相关著述成倍增长;而且研究的角度、层面以及提出的问题都更为丰富、深入、细致。Quan Ming Zaju is a comparatively important sylloge of traditional Chinese operas. It is edited by Professor Chen Wannai and was published by Taiwan Tingwen Bookstore in 1979. This book is produced with photocopy and hardback technologies. It consists of 12 volumes which are comprised with two parts： the one includes 168 Zaju works and the other includes two long essays： Synopsis of Quan Ming Zaju and Discovery of Zaju in the Yuan and Ming Dynasties in the Last 60 Years in China. The editing principle of Quan Ming Zaju is certain,the logic is clear,and the work is very careful and precise,which displays high academic and archival values. The publication of this sylloge results in positive influences for studies of traditional Chinese opera in both Taiwan and mainland China. These implications not only promote the confidence and enthusiasm of the academia of the studies of Ming Zaju to produce multiple publications but also help scholars propose various,in-depth and meticulous questions from different aspects and levels.2017年度教育部人文社会科学研究基金项目《明清文士戏曲编刊活动研究》（项目编号：17YJA760069）的阶段性成
[[alternative]]Several issues on the process to supplement Quan-ming Ci
No full text[[abstract]]《全明詞》出版後，筆者即開始了輯補工作，輯補所得五千多首，彙成《全明詞補編》出版，其後仍繼續明詞輯補工作。因為多年從事這項工作，有所體會，現就所遇到的幾個問題如詞人作品存佚問題、現存詞作校勘問題、易代之際詞人詞作如何處理問題、竹枝詞和柳枝詞要不要收入問題、明代小說戲曲中的詞作如何處理問題等提出來向大家請教。[[abstract]]After the publication of Quan-ming Ci , a series of completed work was in process. And the Supplement to quan-ming Ci , including more than five thousands pieces of Ci which is not included in the Quan-ming Ci,was published. Engaging in this work for many years, several issues are encountered and wish to consult every expert, such as the problem of the works exsitent and exact or not, the problem that how to deal with the Ci written between dynastic changes and the Ci appeared in novels and opera of the Ming dynasty, and the problem whether the Zhuzhici and Liuzhici should be taken in or not
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
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