117,467 research outputs found
Social intentions in Parkinson's disease patients: A kinematic study
No full textDysfunction of the dopaminergic system leads to motor, cognitive and motivational symptoms in brain disorders such as Parkinson's disease (PD). Moreover, the dopaminergic system plays an important role in social interactions. The dopaminergic input to the basal ganglia (BG) thought to integrate social cues during the planning and execution of voluntary movements remains, however, largely unexplored. Since PD provides a model to assess this function in humans, our study aimed to investigate the effects of social intentions on actions in non-demented PDpatients receiving dopamine replacement therapy (Levodopa = l-Dopa) and in neurologically healthy control participants. Patients' ability to modulate motor patterning depending on the intention motivating the action to be performed was evaluated both in “on” (with l-Dopa) and “off” (without l-Dopa) states. Participants were instructed to reach for and to grasp an object; they were then told to hand it to another person (social condition) or to place it on a concave frame (individual condition). A ‘passive-observer’ condition, which was similar to the ‘individual’ condition except for the presence of an onlooker who simply observed the scene, was also assessed to exclude the possibility that differences might be due to the presence of another person. Movement kinematics were recorded using a three-dimensional motion analysis system. Study results demonstrated that the controls and the PD patients in an ‘on’ state adopted different kinematic patterning for the ‘social’ and the ‘individual’ conditions; the PD patients in the ‘off’ state, instead, were unable to kinematically differentiate between the two conditions. These results suggest that l-Dopa treatment has positive effects on translating social intentions into specific motor patterns in PD patients
Dopamine depletion affects communicative intentionality in Parkinson's disease patients: Evidence from action kinematics
No full textAppropriate communication is at the heart of successful, healthy social interactions in humans. Deficits in social communication are a hallmark of several neurological and psychiatric disorders. Yet, very little research has been devoted to understanding the mechanisms underlying these issues. It has been suggested that dopamine is a candidate neurotransmitter system involved in stimulating communication in individuals that are not highly motivated to communicate. A typical model to study dopaminergic dysfunctions in humans is represented by Parkinson's disease (PD) patients, who show motor, cognitive and motivational symptoms. Our study aimed to investigate the effects of social communication on actions in non-demented PD patients receiving dopamine replacement therapy (Levodopa = l-Dopa) and in neurologically healthy control participants. Patients' ability to modulate motor patterning depending on the communicative intention motivating the action to be performed was evaluated both in “on” (with l-Dopa) and “off” (without l-Dopa) states. In two main conditions, participants were requested to reach towards, grasp an object, and either simply lift it (individual condition) or lift it with the intent to communicate a meaning to a partner (communicative condition). Movements' kinematics was recorded using a three-dimensional motion analysis system. The results indicate that kinematics is sensitive to communicative intention and that l-Dopa treatment has positive effects on translating communicative intentions into specific motor patterns in PD patients. Although the to-be-grasped object remained the same both the controls and the PD patients in an ‘on’ state adopted different kinematic patterning for the ‘individual’ and the ‘communication’ conditions. The PD patients in the ‘off’ state, instead, were unable to kinematically differentiate between the two conditions. We contend that social and communicative impairments are associated with abnormalities in dopaminergic pathways
The authors reply: Extracorporeal Membrane Oxygenation-Associated Infections: Carefully Consider Cannula Infections!
No full textMACROPHAGES IN HUMAN SENSORY GANGLIA - AN IMMUNOHISTOCHEMICAL AND ULTRASTRUCTURAL-STUDY
No full textThe paper describes the immunohistochemical and ultrastructural features of normal posterior root ganglia in a group of humans aged 1 day to 80 years and compares the findings with those seen in the ganglia of normal rats of various ages, some of which underwent permanent traumatic lesions of the sciatic nerve. In humans, cells with the immunohistochemical reactions of macrophages are present in small number at birth, most of them having an endoneurial position. Subsequently, their number increases and more of them are seen around neurons, where their processes intermingle with those of satellite cells. Ultrastructural studies confirm that, in addition to interstitial cells, a small number of cells in satellite position have features of mesenchymal cells. In this respect, human sensory ganglia differ from those of rodents and this difference may explain why no nodules of Nageotte can be found either in ageing animals or after a permanent damage to the nerve has produced considerable cell loss. Other features observed in human ganglia, but absent in rats, are multiple layers of satellite cells surrounding each neuron and desmosome-like structures between satellite cell processes. Previous studies describing maturation of the satellite-nerve cell complex in animals are confirmed. In addition, the present investigation shows that, in human ganglia, satellite cells acquire a more elaborate structure than in rodents. It is also suggested that mesenchymal cells may play a role in the trophism of nerve cells and their removal after irreversible damage
Soggettività e Quarto Stato. Modalità della rappresentazione interiore nella narrativa realista e naturalista
No full text«La finzione narrativa è il solo luogo conoscitivo in cui l’io di una terza persona può essere presentato nella sua soggettività». È questo l’assunto più importante di Die Logik der Dichtung (1957) di Käte Hamburger, ed è a tali riflessioni che Dorrit Cohn si rifà in Transparent Minds (1978). Nella persuasione che la caratteristica più propria della narrativa di finzione sia la possibilità di rendere trasparente l’interiorità di un eroe epico o romanzesco, permettendo al lettore di partecipare alla soggettività dei personaggi, le due studiose analizzano le modalità attraverso cui la coscienza si manifesta nel dominio narrativo. Si tratta di questioni fondamentali, per anni trascurate dalla critica, che costituiscono lo sfondo teorico del lavoro di tesi, che ha per oggetto la letteratura realista e naturalista. Esso si impernia sulla convinzione che la rappresentazione ʻseriaʼ (nell’accezione auerbachiana) delle coscienze individuali non sia riservata ai personaggi altolocati in maniera esclusiva, bensì accordata, con le dovute differenze di forma e grado, anche agli uomini e alle donne del popolo; e che anzi l’emersione nella diegesi di soggettività socialmente lontane da quella dell’autore sia un aspetto essenziale senza il quale tale produzione non potrebbe intendersi appieno. Tuttavia, sono generalmente necessarie delle condizioni preliminari, che riguardano la caratterizzazione del personaggio di cui l’autore intende condurre l’approfondimento soggettivo.
Tali principi si evincono già nel primo case study: I promessi sposi: l’atto fondativo, nella letteratura italiana, della rappresentazione romanzesca degli umili. Sebbene il capolavoro manzoniano si presenti infatti come un caso tipico di romanzo onnisciente, si sono rinvenuti tratti più o meno ampi, nel testo, in cui la voce narrante si ritrae, affidando a un personaggio la centralità della ʻvisioneʼ. Non che l’istanza diegetica rinunci alle impennate didattiche; tuttavia, l’interiorità è riprodotta per mezzo di un’ampia strumentazione di forme. Significativamente, ciò vale soprattutto per Renzo: un contadino filatore di seta costretto, nel suo viaggio fra il contado e Milano, a una sorta di Bildungsroman; un marginale che diventa un piccolo possidente, ma che non subisce un’acculturazione che lo estranei dal suo strato sociale d’origine e lo liberi dalla sua ingenuità. Un personaggio socialmente ibrido, e al confine tra due mondi. È principalmente a caratteri consimili – personaggi che incarnano l’idea della mobilità sociale (declassati, parvenus etc..), o che eccedono la dimensione del quotidiano (operai intellettuali, orfani etc.), facendosi portatori di una devianza – che gli scrittori campagnoli e naturalisti diedero in dote un plot teleologicamente orientato, la possibilità di un destino individuale e la storia di una coscienza.
I promessi sposi – insieme a Scènes de la vie de campagne di Honoré de Balzac, e soprattutto il ciclo de Les veillées du chanvreur di George Sand, di cui sono presentate le principali possibilità mimetiche della soggettività popolare – costituirono, oltre che un serbatoio tematico e linguistico, anche il canone della soggettivazione della letteratura «rusticale», che si diffuse nel Lombardo-Veneto durante la lunga vigilia del «decennio di preparazione». Tale produzione fu gravemente ipotecata dalle cautele moderate, che si tradussero, specie nella narrativa di Giulio Carcano, nelle forme limitanti dell’idillio. Si materializzava infatti una nuova esigenza: il bisogno, da parte degli intellettuali, di funzionalizzare le masse rurali nel quadro egemonico della borghesia, di cui questi testi erano più o meno direttamente un’emanazione. Tuttavia, nel concreto della scrittura, gli autori non si limitarono ad esternare una generica compartecipazione emotiva – di segno populistico – nei confronti dei contadini; invece, essi ne dipinsero talvolta le condizioni materiali con piglio obiettivo; e soprattutto si avvalsero delle tecniche della rappresentazione della vita psichica, con cui diedero espressione alla loro soggettività: dolori, emozioni, speranze tradite...
Malgrado adotti tutti gli espedienti volti a simulare l’autenticità del loro vissuto interiore, l’autore concede però agli umili un’autonomia narrativa fittizia e tendenziosa. Ciò accade anche in Ippolito Nievo, la cui produzione rusticale, se rapportata al caso di Carcano, è a tratti persino più capziosa, a dispetto del suo fervore democratico e della sua poetica dalla marcata connotazione civile; e ne Le confessioni di un italiano (1857) lo scrittore dedica al popolo uno spazio solo marginale. Ma si sono individuate eccezioni significative: in alcuni racconti di Caterina Percoto l’affiorare della voce dei personaggi popolari mette implicitamente in discussione il sistema valoriale del narratore eterodiegetico, e dunque la Weltanchauung borghese: le istanze pedagogiche convivono problematicamente con la pulsione realistica della scrittrice.
L’ultima sezione della tesi prende in esame la letteratura verista e naturalista, che costituisce una specola privilegiata per osservare una svolta che riguardò la narrativa dell’Ottocento nel suo insieme. Da Madame Bovary (1857) in poi, infatti, l’autore sempre più spesso si occulta nel retroscena del testo, affidando a una soggettività diversa dalla sua il compito di mediare al lettore i sensi del racconto. Si tratta di un personaggio (o più di uno) raccontato in terza persona ma che funge da fuoco della rappresentazione: è la situazione narrativa figurale, nel lessico di Franz Karl Stanzel.
Il mondo esibito dal testo è il mondo quale appare a tale personaggio, osservato dal suo punto di vista, tinteggiato dalle sue emozioni: molti ritrovati di stile sono adoperati dall’autore a rendere queste percezioni, la realtà quale si riflette nello sguardo di questo terzo, non per nulla definito da Stanzel riflettore. Si parlò al tempo di romanzo psicologico, e l’«analisi psicologica» fu considerata da molti, in Francia come in Italia, una metodica legittima del naturalismo; ma gli scrittori la ritennero idonea, nella loro teoria, solo a determinati personaggi: essenzialmente borghesi, artisti e aristocratici. Il prezzo di una differenza e un pregiudizio di classe.
Nondimeno, nella pratica degli autori, la delega al personaggio riflettore non è preclusa ai caratteri del Quarto Stato; e non è infrequente che una soggettività marginale si individualizzi mediante tratti marcati, stagliandosi sulla campitura narratoriale o corale che le fa da sfondo. Attraverso l’analisi di alcuni testi francesi rappresentativi – Germinie Lacerteux (1865) dei fratelli Goncourt, La fortune des Rougon (1871), L’Assommoir (1877), Germinal (1885) e La Terre (1887) di Émile Zola – e una ricognizione della narrativa di Giovanni Verga, Luigi Capuana e Federico De Roberto si è mostrato come i naturalisti attribuiscano, anche ai caratteri del Quarto Stato, un’ʻanimaʼ con cui il lettore è invitato a simpatizzare; scavo analitico che, soprattutto nel caso di Zola, conferisce a tali personaggi una profondità introspettiva autenticamente rivoluzionaria.“Epic fiction is the sole epistemological instance where the I-originarity (or subjectivity) of a third-person qua third-person can be portrayed.” This is the central proposition in Käte Hamburger’s Die Logik der Dichtung (1957), later adopted by Dorrit Cohn as the basis for Transparent Minds (1978). In their view, the most definitive characteristic of narrative fiction is its ability to render the epic or novel hero’s interiority transparent, thus allowing the reader to access the characters’ subjectivity. Through this lens, these two scholars analyze the modalities through which consciousness is manifested in narrative form. These are the fundamental concerns, for years overlooked by criticism, which constitute the theoretical basis of this thesis.
Through close readings of Realist and Naturalist literature, this thesis argues that “serious” representation (in the Auerbachian sense) of individual consciousness is not reserved exclusively to upper-class characters, but is also granted to the men and women of the popolo, with necessary differences in degree and form. The emergence in the diegesis of a subjectivity socially distant from that of the author’s is an essential issue without which such works could not be fully understood. However, some preliminary conditions are necessary, which concern the type of the character entrusted to mediate the story to the reader.
These principles emerge in the first case study: I promessi sposi, Italian literature’s foundational text for the representation of the poor in the novel. Although Manzoni’s masterpiece may appear to be the exemplary omniscient novel, there are many instances found in the text in which the narrating voice withdraws, entrusting the central perspective to a character. Although these diegetic instants do not eschew their typical didactic flourish, interiority is reproduced through extensive formal techniques. This is notably applied to Renzo, the peasant silk-weaver compelled in his journey from the countryside to Milan into a sort of Bildungsroman: he is a figure from the periphery figure who becomes a small landowner. However, he does not ultimately undergo an acculturation which might estrange him from his original social strata and rescue him from aivety. It is mainly to characters similar to Renzo that rustic literature writers and naturalist writers reserved the “serious” representation of character’s subjectivity. These are characters
who embody the idea of social mobility (downgraded, parvenus, etc.) or who exceed the dimension of everyday life (intellectual heroes, orphans, etc.).
I promessi sposi, along with Scènes de la vie de campagne by Honoré de Balzac and the Les veillées du chanvreur cycle by George Sand, demonstrate the scope of mimetic representation of the poor. More than a cistern of themes and style, these works form the canon of subjectivation in rustic literature, which spread in Lombardy and Veneto during the long eve of the decennio di preparazione. These works were severely beholden to moderate safeguards, which appear, notably in Giulio Carcano’s narratives, in the restricting forms of the idyllic. A new demand had materialized. Intellectuals needed to make the rural masses function in the hegemonic framework of the bourgeoisie, from which these texts directly emanated. However, in their writings, these authors do not restrict their representation of the peasantry as a vehicle for general emotions, to a token populism. Often, they portrayed their material conditions with an objective lens. Most notably, they utilized techniques to represent psychic life, with which they granted their characters’ subjectivity expression: their pains, their emotions, and their hopes betrayed.
It becomes a question of other-directed characters. Despite employing countless devices to simulate authentic interior lives, the author gave the poor an artificial and tendentious narrative autonomy. The contents of their thoughts instrumentally serve the purpose which the writer aims to communicate. However, there are significant, individual exceptions: in some stories by Caterina Percoto, the introduction of popular characters’ voices implicitly challenges the heterodiegetic narrator’s value system, and by extension the bourgeois Weltanchauung.
Meanwhile, in the Novelliere campanguolo, Ippolito Nievo assigns the récit to a yokel, who expresses his class grievances in the first person. This narrative phenomenology is later revived, from a bourgeois perspective, in Le confessioni d’un Italiano (1867).
The final section of this thesis examines Verist and Naturalist literature, which constitute an excellent specola for observing a turning point in 19th century narrative at large. From Madame Bovary (1857) onwards, the author increasingly withdrew into the backdrop of the text, entrusting a subjectivity other than their own with mediating the story’s consciousness to the reader. It becomes a matter of one or more characters who, despite being described in the third person, focalize the narrative; in Franz Karl Stanzel’s terminology, this is an instance of figural narrative situation. The world depicted in the text is the world as it appears to a certain character, observed from their point of view, and tinted by their emotions; authors adopt a variety of stylistics to render this perception, the reality reflected in the gaze of this third person,
uncoincidentally named the “reflector” by Stanzel. He discussed this concept in the age of the psychological novel, when the «psychological analysis» was considered by many, in France as in Italy, as a legitimate methodology of naturalism. Writers, on the other hand, conceived that it was only suitable to employ it for specific characters (primarily the bourgeoisie, artists, and aristocrats); this is the price of disparity and a class prejudice.
Nevertheless, in these authors’ writings, numerous points of discontinuity emerged. The delegation of the reflector was not precluded to figures from the Fourth Estate. Moreover, marginal subjectivities are individualized through pronounced traits, silhouetted on a narrative or choral background. Through analysis of some representative French texts – Germinie Lacerteux (1865) by the brothers Goncourt, La fortune des Rougon (1877), L’assommoir (1877), Germinal (1885), and La terre (1887) by Émile Zola – and a survey of the narratives of Giovanni Verga, Luigi Capuana, and Federico De Roberto, it is shown how the naturalists attributed a “soul” to each character, with which the reader is encouraged to sympathize.«La fiction est le seul espace cognitif où le je-origine d’une tierce-personne peut être représenté dans sa subjectivité». C’est là la thèse la plus importante de Die Logik der Dichtung (1957) de Käte Hamburger et ce sont ces considérations auxquelles se réfère Dorrit Cohn dans Transparent Minds (1978). Fortes de la conviction que la caractéristique la plus propre de la fiction est la possibilité de rendre transparente l’intériorité d’un héros épique ou romanesque, en permettant ainsi au lecteur de participer à la subjectivité des personnages, les deux chercheuses analysent les modalités à travers lesquelles la conscience se manifeste dans le domaine narratif. Il s’agit de questions fondamentales, longtemps négligées par la critique, qui constituent l’arrière-plan théorique de ma thèse, qui a pour objet la littérature réaliste et naturaliste.
Elle est axée sur la conviction que la représentation ‘sérieuse’ (dans l’acception d’Auerbach) des consciences individuelles n’est pas exclusivement réservée aux personnages haut placés, mais plutôt accordée également, avec les différences de forme et de grade qui s’imposent, aux hommes et aux femmes du peuple ; et que, au contraire, l’émersion dans la diégèse de subjectivités socialement éloignées de celle de l’auteur est un aspect essentiel sans lequel une telle production ne pourrait pas être pleinement
comprise. Toutefois, quelques conditions préliminaires, qui concernent la caractérisation du personnage dont le rôle est de transmettre les sens du récit au lecteur, sont nécessaires.
Ces principes peuvent être déduits à partir de la première étude de cas : I promessi sposi: l’acte fondateur, dans la littérature italienne, de la représentation romanesque des humbles. Bien que le chef-d’œuvre de Manzoni se présente comme un cas typique de roman omniscient, nous avons repéré des passages plus ou moins longs, dans le texte, où la voix du narrateur se retire pour confier à un personnage la centralité de la ‘vision’. Ce n’est pas que l’instance diégétique renonce aux interventions didactiques ; toutefois, l’intériorité est reproduite au moyen de nombreux instruments formels. Cela vaut surtout pour Renzo : un paysan fileur de soie contraint, lors de son voyage entre la campagne et Milan, de vivre une sorte de Bildungsroman ; un marginal qui devient un petit propriétaire, mais qui ne subit pas une acculturation suffisante pour l’éloigner de sa couche sociale d’origine et le libérer de sa naïveté. Un personnage socialement hybride, à la frontière entre deux mondes. C’est essentiellement ce genre de personnages – des personnages qui incarnent l’idée de la mobilité sociale (déclassés, parvenus, etc.), ou qui dépassent la dimension du quotidien (ouvriers intellectuels, orphelins, etc.), en mettant l’accent sur une déviance – que les écrivains champêtres et naturalistes ont doté de la possibilité du traitement subjectif ‘sérieux’.
I promessi sposi – avec Scènes de la vie de campagne d’Honoré de Balzac et surtout le cycle Les veillées du chanvreur de George Sand, dont les principales possibilités mimétiques de la subjectivité populaire sont ici présentées – ont constitué, en plus d’un réservoir thématique et linguistique, le canon de la subjectivation de la littérature « rustique » qui s’est répandue en Lombardie et en Vénétie à la veille de la « décennie de préparation ». Cette production a été gravement hypothéquée par les précautions modérées qui se sont traduites, notamment dans la narrative de Giulio Carcano, dans les formes limitantes de l’idylle. Une nouvelle exigence venait en effet de se matérialiser : le besoin, de la part des intellectuels, de fonctionnaliser les masses rurales dans le contexte hégémonique de la bourgeoisie, dont ces textes constituaient, plus ou moins directement, une émanation. Toutefois, dans le concret de l’écriture, les auteurs ne se sont pas limités à exprimer une participation émotionnelle générique – d’orientation populiste – à l’égard des paysans : au contraire, ils en ont quelques fois dépeint les conditions matérielles de façon objective ; et surtout ils ont employé les techniques de la représentation de la vie psychique, avec lesquelles ils ont donné forme à leur subjectivité : douleurs, émotions, espoirs trahis...
Bien que tous les moyens visant à simuler l’authenticité du vécu intérieur de ces personnages aient été adoptés, le contenu de leurs pensées est utilisé de manière instrumentale, afin de répondre au but que l’auteur entend propager. Quelques exceptions significatives ont toutefois été décelées : dans certains récits de Caterina Percoto, l’émergence de la voix des personnages populaires remet implicitement en question le système de valeurs du narrateur hétérodiégétique et donc la Weltanchauung bourgeoise.
La dernière section de ma thèse examine la littérature vériste et naturaliste, qui constitue une perspective privilégiée pour observer un tournant de la narrative du XIXe siècle dans son ensemble. A partir de Madame Bovary (1857), en effet, l’auteur se camoufle de plus en plus souvent dans les coulisses du texte, en confiant à une subjectivité différente de la sienne la tâche de transmettre au lecteur les sens du récit.
La narration est à la troisième personne, mais il y a un personnage qui sert de focus à la représentation : c’est la situation narrative figurale, dans le lexique de Franz Karl Stanzel. Le monde présenté par le texte est le monde tel qu’il apparaît à ce personnage, observé depuis son point de vue, teinté de ses émotions : de nombreuses inventions de style sont employées par l’auteur afin de rendre ces perceptions, la réalité comme elle se reflète dans le regard de ce tiers, défini non sans raison réflecteur par Stanzel. A l’époque, on a parlé de roman psychologique et l’ « analyse psychologique » a été considérée par un grand nombre de écrivains, en France comme en Italie, une méthodologie légitime du naturalisme ; mais les écrivains ont estimé qu’elle n’était appropriée, dans leur théorie, qu’à certains personnages : essentiellement des bourgeois, des artistes et des aristocrates. Le prix d’une différence et d’un préjugé de classe.
Malgré tout, dans la pratique des auteurs, de nombreux points de rupture sont apparus : en effet, déléguer la focalisation n’est pas une opération qui exclut les personnages du quatrième état ; et il n’est pas rare qu’une subjectivité marginale s’individualise au moyen de traits marqués, en se détachant du fond choral ou objectif.
A travers l’analyse de certains textes français représentatifs – Germinie Lacerteux
(1865) des frères Goncourt, La fortune des Rougon (1871), L’Assommoir (1877),
Germinal (1885) et La Terre (1887) d’Émile Zola – et une exploration des récits de
Giovanni Verga, Luigi Capuana et Federico De Roberto, nous avons montré que les
naturalistes attribuent, même aux personnages du Quatrième Etat, une ʻâmeʼ avec
laquelle le lecteur est invité à sympathiser, en leur accordant, parfois sur de longues
portions (notamment chez Zola), une profondeur introspective véritablement
révolutionnaire
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe 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
Square Dancing with the Stars to Enhance Dynamic Hirschman Linkages?
No full textIn this Presidential Address, the author takes the reader on a reconnaissance of his life and time as a regional scientist. He points out scenery he found scintillating along the way, hoping that some may pick up the banner and chew on a few of the ideas for a while. He suggests a revisit to Albert O. Hirschman’s notion of key sectors and more empirical analysis related to Marcus Berliant’s and Masahisa Fujita’s notion of knowledge creation and transfer.Presidential Address, San Antonio, Texas, March 29, 2014 (53rd Meetings of the Southern Regional Science Association
Appropriate Similarity Measures for Author Cocitation Analysis
No full textWe 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
Letter from unknown writer to Jesse L. Boyce
No full textLetter to Jesse L. Boyce from unknown author (possibly Jack) about the investigation into the powder magazine located in the Grand Canyon. Some personal news is included in the letter such as the writer's marriage to the daughter of C.A. Taylor, former Supervisor of Cochise County
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