1,721,052 research outputs found
Hans Mommsen, Manfred Grieger, Das Volkswagenwerk und seine Arbeiter im Dritten Reich
No full textRowell Jay. Hans Mommsen, Manfred Grieger, Das Volkswagenwerk und seine Arbeiter im Dritten Reich. In: Genèses, 29, 1997. Sciences sociales improbables, sous la direction de Jean Leroy. pp. 164-166
Kott S., Le communisme au quotidien. Les entreprises d'Etat dans la société est-allemande
No full textRowell Jay. Kott S., Le communisme au quotidien. Les entreprises d'Etat dans la société est-allemande. In: Politix, vol. 14, n°55, Troisième trimestre 2001. Analyses politiques allemandes, sous la direction de Fabien Jobard et Pascale Laborier. pp. 185-188
L'Union européenne : espace de réinvestissement de la problématique de la construction des problèmes
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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
Eléments pour une sociologie de la radicalisation comme catégorie d'intervention publique : débats experts et tâtonnements publics
No full textSciences sociales du politiqu
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
Das Europäische parlament und die öffentlichkeit : Politischer Journalismus in der EU und die Rolle der Europaabgeordneten
No full textScience politiqu
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
Le théâtre d'improvisation : une pratique artistique autonome en voie d'institutionnalisation qui dépasse le cadre du spectacle
No full textCréé en 1977 au Québec, le match d'improvisation met en scène deux équipes de comédiens qui se succèdent sur une série de courtes saynètes théâtralisées et improvisées, encadrées par un cérémonial récurrent et des règles précises. Depuis plus de trente ans, on observe le succès de ce sport-théâtral à travers la multiplication des ligues à travers le monde. A Strasbourg, l'improvisation théâtrale est particulièrement développée, sous sa forme de match mais aussi de spectacles, et mêle amateurs et professionnels.
Nous nous sommes interrogés dans cette étude sur les conditions d'institutionnalisation de cette pratique artistique récente et autonome qui tend à se faire progressivement une place dans le paysage culturel français, malgré une non reconnaissance de la part de la plupart des institutions culturelles et politiques. Nous avons pour cela mené une étude sur les participants au théâtre d'improvisation ainsi que sur son public. Enfin nous avons vu comment les vertus implicites du théâtre d'improvisation lui permettent de dépasser le cadre du spectacle et de s'exporter dans d'autres sphères de la société, notamment dans le monde professionnel par le biais de la formation.Created in 1977 in Quebec, the "match d'improvisation" presents two teams of ectors. They compete in a chain of short sketches theatralized and improvised, restricted by a recurrent ceremonial and precise rules. We observe through the multiplication of improvisation leagues around a part of the world along the last thirty years thet the success of this form of Sport-Theater has been growing up. In Strasbourg, the Improvisation Theater is particulary developed, in the form of a match or in the form of a show, and counts as well amateurs than professionals.
We wondered in this research about the institutionalization conditions of this recent artistic and autonomous activity, which aims to take its own place in the French cultural field, in spite of a lack of interest from cultural and political institutions. We conducted therefore a study about the Improvaisation Theater, its participants ans its audience. We also considered how the implicit virtues of Improvisation Theater enable it to pass the framework of entertainment to be exported in other spheres of Society, especially in the professional field through "training"
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