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«PAR ART MOVER.» INCROCI TRA MERAVIGLIOSO E SAPERE IN TESTI ROMANZI DEL TARDO MEDIOEVO
Full text linkLa presente tesi di dottorato comprende una raccolta di ricerche su una categoria interpretativa del meraviglioso – inteso come tutto ciò che causa stupore in un determinato interlocutore, sia per un fenomeno naturale che per un evento percepito come soprannaturale – detto ‘scientifico’, in quanto comprendente le diverse forme di sapere, le arti meccaniche e l’interpretazione della natura. Tale categoria si inserisce nel quadro delle classificazioni e delle teorie del meraviglioso, delle quali cerca di essere ulteriore tassello interpretativo.
La tesi si compone di un’introduzione, tre capitoli, conclusioni e appendice; nell’introduzione si chiarisce il ruolo dell’artificio e della creazione artificiale nel quadro del meraviglioso, con particolare riferimento al mutamento della concezione della natura tra XII e XIII secolo, ipotizzando che questo cambiamento possa avere influito anche sulla percezione del lavoro meccanico.
Il primo capitolo mostra una panoramica generale del tema. Nel primo paragrafo si presenta il problema del passaggio tra una natura non più metafora morale e allegoria della Creazione Divina, ma realtà fenomenica, da indagare, sovrapponendo questa nuova concezione alla considerazione del lavoro umano; nel secondo paragrafo si offre uno stato dell’arte delle ricerche sul meraviglioso, anche fornendo le coordinate semantiche delle sue diverse articolazioni e una proposta di periodizzazione; il terzo paragrafo analizza alcune ‘strutture antropologiche’ dell’immaginario medievale, relativo al meraviglioso, unitamente ad alcune costanti stilistiche nella presentazione di questi oggetti (descrizione – statica e cinetica – e la digressione).
Il secondo capitolo si concentra sugli automi, oggetti meccanici capaci di muoversi autonomamente, senza che ne sia chiara la causa. Il primo paragrafo espone il tema nelle sue linee generali, individu i tratti ricorrenti di questo particolare tipo di mirabilia e presenta i testi del corpus scelto, che comprendono i romans d'antiquité, il Voyage de Charlemagne, il Girart de Rossillon, la letteratura di viaggio e i testi compilativo-enciclopedici. Il secondo paragrafo è incentrato su un primo tipo di automi: quelli presenti dentro i palazzi, e istituisce una correlazione tra gli automi, le loro componenti e funzionamento e la rappresentazione stessa del potere. Il terzo paragrafo riguarda una tipologia di automi particolari: quelli che raffigurano la figura umana. Si propone una diversa interpretazione di questi ultimi – rispetto agli automi in genere – che si distacca dalla consueta immagine del ‘guardiano’, per avanzare ipotesi maggiormente legate alla considerazione della statuaria.
Il terzo capitolo amplia l’indagine, ponendo una correlazione tra trattamento dell’immagine artificiale negli automi e le tecniche stilistiche legate alla descrizione di opere, come l’ecfrasi. Il primo paragrafo esplicita questa correlazione, considerando il rapporto tra immagine e tecnica stilistica; nel secondo si forniscono alcuni esempi di queste immagini, come catalizzatrici del meraviglioso verso altre forme di sapere, prendendo in esame le ecfrasi presenti in alcuni testi. Il terzo paragrafo è dedicato alle figure degli artefici, motivando, alla luce delle precedenti considerazioni, la differenza di trattamento tra la figura di Virgilio mago e quella di Gerbert d’Aurillac, secondo una diversa contestualizzazione.
Le conclusioni vertono sul passaggio dal concetto di nigromance a quello di science dell’homme in volgare per spiegare l’artificio meccanico all’interno dei luoghi di potere. Si parte da una generale confusione tra XII e XIII secolo, con un atteggiamento ambivalente nei confronti degli artefici – tra
timore e ammirazione – per arrivare a una progressiva razionalizzazione della considerazione delle arti meccaniche. Si ipotizza che questo passaggio coincida con il cambiamento di mentalità tra XII e XIII secolo, che consiste con una maggiore apertura verso Oriente, considerazione dell’individuo e più approfondita indagine dei fenomeni meravigliosi non come eventi casuali, ma ricorrenti in natura.
L’appendice è dedicata a uno dei mirabilia della natura, utilizzati nell’ottica del meraviglioso scientifico, così come esposto nella presente tesi. Si prende in esame la metafora amorosa del ‘magnetismo”, proponendo una spiegazione di due ulteriori implicazioni ermeneutiche: da un lato la spiegazione di eventi meravigliosi e poco comprensibili, attraverso la percezione del fenomeno naturale; dall’altro, l’utilizzo dei mirabilia per la loro valenza conoscitiva intrinseca e al contempo per mostrare una conoscenza maggiore dei classici. La meraviglia in questo caso nasce non per il fenomeno meraviglioso in sé, ma proprio per quella conoscenza superiore delle fonti in merito.
Abstract (English):
The present PhD thesis collects investigations on an interpretative category of wonder – intended as all that causes amazement in a given addressee, both for a natural phenomenon and for an event which is perceived as supernatural – named ‘scientific’, as it includes the different sciences, mechanical arts and the interpretation of nature. This category is included within the general picture of the classifications and theories of wonder, of which it aims to be a further interpretative element.The present PhD thesis collects investigations on an interpretative category of wonder – intended as all that causes amazement in a given addressee, both for a natural phenomenon and for an event which is perceived as supernatural – named ‘scientific’, as it includes the different sciences, mechanical arts and the interpretation of nature. This category is included within the general picture of the classifications and theories of wonder, of which it aims to be a further interpretative element.
The thesis is made up of an introduction, three chapters, conclusion and appendix; within the introduction, the role of gimmick and of the artificial creation within the picture of wonder, with particular attention to the change in the idea of nature between XII and XIII century, by hypothesizing that this change might have affected the perception of mechanical work.
The first chapter shows a panoramic view of the topic.Within the first paragraph, the problem of the transition of nature, which is no more a moral metaphor and an allegory of Divine Creation, but phenomenal reality, is presented, by overlapping this new understanding to the consideration of human work; in the second paragraph, a state of the art of the investigation on wonder is provided, also by giving the semantic coordinates of its different branches, and a proposal of periodization; the third paragraph analyzes several ‘anthropological structures’ of medieval collective image, related to wonder, together with several stylistic constants within the presentation of these items (description, static and kinetics, and digression).
The second chapter focuses on automatons, mechanical items which are capable of moving autonomously, without a clear cause. The first paragraph outlines the generalities of the topic, detects the recurrent characteristics of this peculiar type of mirabilia and presents the texts of the selected corpus, which includes the romans d'antiquité, the Voyage de Charlemagne, the Girart de Rossillon, the travel literature and the summarizing-encyclopedic texts. The second paragraph is focused on the first group of automatons: those located within palaces, and establishes a correlation
between the automatons, their components and functioning and the very representation of power. The third paragraph deals with a peculiar type of automatons: those which represent the human appearance. A different interpretation of these automatons, with respect to the other, is proposed. This interpretation is detached from the usual figure of the ‘guardian’, and the hypothesis which are advanced are more tightly related to the consideration of statuary.
The third chapter extends the investigation, by establishing a correlation between the treatment of the artificial image in the automatons and the stylistic techniques which are related to the description of the product, as the ekphrasis. The first paragraph clarifies this correlation, taking into account the relationship between the image and the stylistic technique. In the second, several examples of these images, as catalysts of wonder towards other sciences, by examining the ekphrasis which are present in some texts. The third paragraph is dedicated to the figure of the maker, by motivating, based on the previous considerations, the difference in the treatment between the figures of Vergil mage, and that of Gerbert d'Aurillac, according to a different contextualization.
The conclusions deal with the passage between the concept of nigromance and that of science dell'homme in vernacular, to explain the mechanical craft, within the places of power. The discussion starts from a general confusion between XII and XIII century, with a bivalent attitude towards the makers – between dread and admiration – to achieve a progressive rationalization of the consideration of mechanical arts. It is hypothesized that this passage coincides with the change in mentality between XII and XIII century, namely, a greater aperture towards the East, consideration of the individual and a more careful investigation of marvelous phenomena, not as random events, but as recurrent in nature.
The appendix is dedicated to one of the mirabilia of nature, used within the scope of scientific wonder, as explained within the present thesis. The amorous metaphor of “magnetism” is examined, by proposing an explanation of two additional hermeneutical implications: on one side, the explanation of marvelous and hardly understandable events, using the perception of the natural phenomenon; on the other side, the use of mirabilia for their intrinsic cognitive significance and, simultaneously, as a display of a greater acquaintance with classics. Wonder, in this case, is not generated for the marvelous phenomenon itself, but for the very greater knowledge of the literary references
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
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe 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
Digital edition of "Libro del Astrolabio Redondo" from the Libro del Saber de Astrología of Alfonso X el Sabio
No full textDigital encoding of "Astrolabio Redondo" from digital edition of "Libro del saber de astrologia".
Regarding the study of the lexicon of the “Libro”, the focus has been on the analysis of astronomical terms and the various lexicalization mechanisms in the case of Arabisms, with the goal of conducting a historical survey of astronomical vocabulary.
The encoding was carried out based on the TEI standard and includes:
- Hierarchical structure of sections and pages;
- Abbreviations (including expanded forms);
- Named entities;
- Technical terms in the field of astronomy, distinguishing between Arabisms and Middle Latin terms
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe 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
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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