1,721,058 research outputs found
TERRECOTTE CINESI DALLA 48 BIENNALE DI VENEZIA
No full textCatalogo della mostra, cura e saggio introduttivo, edizione italiana e inglese;
Museo della ceramic
"...l'amato fecondo Manifesto" cenni sulla diffusione del futurismo in Italia nel febbraio del 1909
No full textRom
Ottocento veneto. Il trionfo del colore
No full text(Saggio introduttivo, 50 schede scientifiche, cronologia, 100 pagine, curatela della mostra BE del catalogo
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
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
«All We Are Saying Is Give Pizza Chance»: L’effetto YBA e l’irruzione di una nuova generazione alle Biennali degli anni Novanta del Novecento
Full text linkThe chapter addresses the rise of the Young British Artists (YBA) in their home country and their subsequent international spread during the 1990s as seen in connection with the Venice Biennale occurring between 1993 and 2003. Particularly, the author argues that the Aperto ’93 section devoted to young artists at the Arsenale for the 45th Biennale was an unexpected starting point for the YBAs on the global stage and their first Venetian appraisal convinced home institutions such as the British Council to finance a large program of international exhibitions for this new artistic generation. Throughout the 1990s the Biennale thus became a major stage for the rising YBAs, which in turn deeply influenced the artistic language and installation practices shown at the Venetian exhibition. In conclusion, the chapter intends to present the 1990s at the Biennale as a decade of progressive struggle between different artistic generations – of both artists and curators – that climaxed with the 50th Biennale in 2003 and eventually shaped the new face of the Venetian exhibitions for the new millennium
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