1,721,037 research outputs found
After Love: On love and finitude
No full textIn the opening scene of the film After Love (2020, British director Aleem Khan’s debut feature film), is one long take: a middle-aged Muslim couple return home to their darkened kitchen with some leftovers in hand. The man removes his white skull cap and retreats out of sight to the adjoining sitting room. The woman takes off her sequined headscarf, puts on the kettle. Chatting all the while, the woman carries the tea from the dimly lit kitchen to the illuminated distance. We hear her say, “Love? Ahmed, love?”, and see her crouch down to find him dead. The sound cuts out, then the screen goes black, and the story begins. How does love ‘end’ – or shift to become something that is articulated and inscribed even beyond a life? Or is there nothing ‘after love’? Indeed, who or what in Khan’s film is ‘after love’? In what sense has the knot of love been cut, either before or after the man’s sudden death? In the doubled and disjunctive relations of the film, it comes to seem that ‘after love’ may name not a state or condition but a problem, even a paradox. This chapter takes the film After Love as a point from which to reconsider questions of love and finitude. In the first two sections, I grapple with love’s transience. The first explores love’s fate: that, so long as what is loved is mortal or transient, the destiny of love is to end in loss. Here, we trace the activities of mourning that follow from Ahmed’s death at the start of After Love. The second section addresses the inconstancy of love itself. If the loss of love’s object is the destiny of love, the betrayal or failure of love is its drama. In the case of the film After Love, this drama has to do with the discovery of Ahmed’s double life. Finally, the third section reconsiders ‘“the destiny and drama of love” and attempts to hold and endure love’s contradiction in the name of affirming what follows from love’s transience: the afterlove
Introduction: Love's Ruins
No full textA possible motto for Cultural Geographies of Love and Catastrophe, to be read however you desire, might be: ‘To love in ruins!’. After all, we have little choice. As Jacques Derrida asks, “How can one love otherwise than in this finitude?”. In this introduction, we pick through the rubble, finding and losing the thread of love over and over again. We begin with the question of love and geographic knowledge. We argue that the philosophical, ethical, and even empirical problem of what love is and how we know it revolves around an impasse. This impasse reveals itself in the convergence of love’s ambivalence – at once ecstatic and agonising, eternal and fleeting, universal and particular, reactionary and revolutionary – with its multiplicity: the non-unity of love as a field of expression, sociality, and feeling. In this chapter, we argue that it is this ambivalence and disjunctive multiplicity of love that at once subverts any attempt to name a ‘geography of love’ and keeps love on the tips of our tongues. If ‘to speak of love is in itself a [cultural geographer’s] jouissance’, this is precisely because love doesn’t resolve its own contradictions, does not yield to the diminishment of knowledge or become exhausted (or fulfilled) in its actualisation. It is in recognising the impossibility of grounding or fixing love that we begin to bring into focus what a cultural geography of love might do -- or fail to do. We show how it is possible to understand love as at once laying waste to the world and the self and offering the possibility of redemption, restoration, even transcendence. The world – indeed, as some of our chapters show, the ‘geo-’ itself – is what is at stake in love’s catastrophe. Cultural Geographies of Love and Catastrophe cannot fix or ground love; it is not by territorialising that we perform our ‘geography’. Instead, what this volume introduces is a cultural-geographical of spacing, of an opening from which our flickering capacities – for love, for cultural geography - might emanate
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
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
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