1,721,025 research outputs found
The problem of inferred modality in narrative
Get PDFIn a lecture On the 'Nature of Visions ', given in 1912 Oskar Kokoschka makes the radical phenomenological claim that 'Consciousness is the source of all things and of all conceptions. It is a sea ringed with visions'. I wish to take this view as a point of departure for a critique of a narrow, though precise, d e f i n i t i o n of meaning as found in a current theory of language and juxtapose to it a broader definition of meaning as required for the reading of literary texts and, more generally, all cultural - historical exchange
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
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
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Principles of corporeal pragmatics
Get PDFIn response to recent findings in cognitive linguistics, the paper sums up the principles of ‘corporeal pragmatics’ as they have been developed so far. At the centre of the author’s perceptually oriented investigation of natural language stands the relation between natural language and perception. The paper charges the philosophy of language and linguistics with having for too long committed the sin of Wahrnehmungsvergessenheit, the forgetting of taking for ‘true’ what our senses tell us. The author proposes to redress this imbalance by an argument that linguistic meaning events rely essentially on the activation of empty linguistic schemata by conceptually regulated, iconic sign materials. Such a claim requires a redefinition of the Saussurean signified, the concept, reference and deixis and other terms in the vocabulary of the study of language. The paper concludes by suggesting that corporeal pragmatics has serious implications for disciplines well beyond philosophy, semiotics, and linguistics
Narration/narrative/narration - Review: Point of View in the Cinema, by Edward Branigan (Amsterdam, New York Mouton, 1984).
No full textEdward Branigan's Point of View in the Cinema [1] joins a long list of works on narration and narrative, the more well-known of which are Lubbock's The Craft of Fiction, Stanzel's Narrative Situations in the Novel, Norman Friedman's Point of View in the Fiction', Booth's The Rhetoric of Fiction, Chatman's Story and Discourse, and Uspensky's A Poetics of Composition. [2] Point of View in the Cinema impresses for a variety of reasons. It rests on a broad, sound assumption of narrative being a heterogeneous arrangement of signs which transcends any specific semiotic system, for the description of which the analogue of linguistic signification is useful, but which should be seen neither as the only critical tool nor even as the most privileged one. Narrative is understood as a dynamic structure recognisable independently from its material of expression and requiring for its analysis specific attention to the medium in which it manifests itself. In Branigan's book this medium is 'film' in the sense of 'cinema', not merely a text but also a cultural institution.
The book addresses itself to a large number of detailed problems of film theory and in so doing refers the reader to a rich body of film texts. At the same time the author manages to distinguish between levels of generality and specificity, no mean accomplishment given the complexity of the polysemiotic structures he has chosen to analyse. A particular strength, it seems to me, is the book's foregrounding of the active work of the film viewer. This has as a corollary the diminished responsibility of the author/auteur's construct, filmic images as such, the camera and other profilmic tools (though their importance as cinematic facts is by no means underrated).
In spite of the book's insistence on the generation of filmic meaning in the act of viewing, Branigan avoids a wholly relativist position. The reason for this balance lies in Branigan's view of the systemic nature of all cultural activity and its codes. These are argued to bind individual readers to a semiotic community and provide the relative freedom to generate an infinite number of filmic meanings from a limited set of basic rules. The book also draws our attention to a list of principles which distinguish our construction of narrative in classical film from that in modern film texts, along the lines of Roland Barthes' distinction between the 'readerly' and the 'writerly' composition. Throughout the book Branigan analyses film viewing from the perspective of the five units of classical representation: origin, vision, time, frame, and mind. The author uses these to theorise, among others, the concepts of point of view, subjectivity, narration and narrative, character and representation.
Compared with this general verdict, a recent review of Branigan's study by Seymour Chatman is not a friendly act, to say the least. [3] The book is blamed for its clumsy handling of theory, poor style, a confusion of representation and viewing, an overemphasis on the reader, poor editing, and its exorbitant price. Perhaps Chatman's attack is not so surprising when one recalls the relatively insignificant position which the reader/viewer is granted in his own schema in Story and Discourse. Chatman, it would appear, has misunderstood the fact that from the position of cinema, that is film viewing, all constructions of narrative meaning are primarily acts of reading. My own response to Branigan's work in this article is a detailed and, I hope, fair summary of his argument, followed by a brief, critical commentary
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