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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
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Single Sit
No full text'Single Sit' is a fiction short story of 5500 words. It won the Galley Beggar Press Prize, 2021. It was published in the Brixton Review, and performed on stage for WORD Theatre, at the Crazy Coqs, London (Sept 2022, dir: Cedering Fox). It tells the story of Frank McCann, a salesman who goes on a house call in an attempt to sell a conservatory to a single mother, Mrs Cortez. He and Mrs Cortez sleep together, but when he wakes in the early hours he finds that her son, Esteban - who has a sleep condition - has wandered onto the South Downs.
The story is part of a cycle which explores masculinity and work in contemporary Britain. In this case, Frank's career has surfed the almost random opportunities of Thatcherite Britain - his capitalising on the home improvement boom initiated by Thatcher's 'Right to Buy' scheme - before being swallowed up by the recession of the 2000s, leading Frank into divorce and family estrangement
The Many
No full textIn this Booker-nominated literary novel, Timothy Buchannan buys an abandoned house on the edge of an isolated village on the coast, sight unseen. When he sees the state of it he questions the wisdom of his move, but starts to renovate the house for his wife, Lauren to join him there.
When the villagers see smoke rising from the chimney of the neglected house they are disturbed and intrigued by the presence of the incomer, intrigue that begins to verge on obsession.
The longer Timothy stays, the more deeply he becomes entangled in the unsettling experience of life in the small village.
Ethan, a fisherman, is particularly perturbed by Timothy’s arrival, but accedes to Timothy’s request to take him out to sea. They set out along the polluted coastline, hauling in weird fish from the contaminated sea, catches that are bought in whole and removed from the village. Timothy starts to ask questions about the previous resident of his house, Perran, questions to which he receives only oblique answers and increasing hostility.
As Timothy forges on despite the villagers’ animosity and the code of silence around Perran, he starts to question what has brought him to this place and is forced to confront a painful truth.
The Many is an unsettling tale that explores the impact of loss and the devastation that hits when the foundations on which we rely are swept away
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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