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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
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Marginality and Urban Life in São Paulo's Literatura Periférica Movement
No full textThe study that follows is about Literatura Periférica (LPM), a movement that began in the late 1990s centered around the production of poetry by marginalized residents from São Paulo’s periphery who, in some cases, had never considered themselves poets before becoming involved with the movement. This poetry sometimes appears in books or online, but most often is witnessed through poetic performances at community events known as saraus. These saraus occur in local bars and are formatted as open mic-style events where anyone present can step up to the mic and recite their poetry. In addition to the saraus, another component of LPM are the public poetry slams referred to as the Slams de Poesia. Though the format of the slams differs from the saraus, both events promote poetry produced and performed by marginalized residents of the periphery that aims to critique the status quo. Perhaps what is most significant about this movement, as evidenced in both types of events, is that by centering the lives of marginalized Brazilians in and through cultural production, LPM challenges preconceived notions what it means to be of and from the periphery and offers to its participants potential new ways of relating to their community, the city, and the nation.Romance Languages and Literature
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
Ingesta, mirada y rumor : una cartografía de la boca en América Latina y el Caribe
No full textEn esta tesis realizo una cartografía de la boca a partir de tres artefactos culturales latinoamericanos: el performance Como Era Gostoso Meu Antropófago (2013) del colectivo artístico brasileño Indigestão, los ensayos "Misère d'une poésie" (1942) y "Le grand camouflage" (1945) de la escritora martiniquesa Suzanne Césaire y, finalmente, el cuento El matadero (2009) del escritor argentino Martín Kohan.In this thesis I create a cartography of the mouth based on three Latin American cultural artifacts: the performance Como Era Gostoso Meu Antropófago (2013) of the Brazilian art collective Indigestão, the essays "Misère d'une poésie" (1942) and "Le grand camouflage" (1945) of the Martinican writer Suzanne Césaire and, finally, the story El matadero (2009) by the Argentine writer Martín Kohan.Magíster en LiteraturaMaestrí
Ingesta, mirada y rumor : una cartografía de la boca en América Latina y el Caribe
No full textEn esta tesis realizo una cartografía de la boca a partir de tres artefactos culturales latinoamericanos: el performance Como Era Gostoso Meu Antropófago (2013) del colectivo artístico brasileño Indigestão, los ensayos "Misère d'une poésie" (1942) y "Le grand camouflage" (1945) de la escritora martiniquesa Suzanne Césaire y, finalmente, el cuento El matadero (2009) del escritor argentino Martín Kohan.In this thesis I create a cartography of the mouth based on three Latin American cultural artifacts: the performance Como Era Gostoso Meu Antropófago (2013) of the Brazilian art collective Indigestão, the essays "Misère d'une poésie" (1942) and "Le grand camouflage" (1945) of the Martinican writer Suzanne Césaire and, finally, the story El matadero (2009) by the Argentine writer Martín Kohan.Magíster en LiteraturaMaestrí
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
Fadiga, Goce, Funky Butt--Three Views on Polyrhythm
No full textThis essay examines three instances in which polyrhythm serves as a metaphor for thinking through relations of difference. In the thought of Mário de Andrade, polyrhythm serves as a mechanism for situating musical creation within a logic of production and accumulation. In the work of the Cuban writer Antonio Benítez Rojo, polyrhythm becomes a model for thinking about the Caribbean and its geography in relation to the performing arts. Finally, in early twentieth-century New Orleans, the musical feel associated with polyrhythm would contribute to a highly sexualized rhythmic feel that relates musical intensity to the smell of dancers’ bodies
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