1,721,012 research outputs found
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
David Peace: Texts and Contexts
No full textDavid Peace is an emerging author who is widely read and taught, and whose novels are increasingly translated into commercial film (The Damned United, March 2009) and television (Channel 4 adaptation of the Red Riding Quartet, March 2009). Dr Katy Shaw's book provides a challenging but accessible critical introduction to his work through a detailed analysis of his writing, as well as the socio-cultural contexts of its production and dissemination. The author explores Peace's attempts to capture the sensibilities of late twentieth century society and contributes to an ongoing debate in the media about Peace's representations. Influenced by critical theory, the text will be the first secondary resource concerning this rising star of contemporary British literature. While UK readers will seek insight into the socio-cultural contexts of England's regions (and in particular his writing on the Yorkshire Ripper and the 1984-5 miners' strike), Peace also has a following in the US where both The Damned United and Red Riding have been released as films. This broad international appeal and readership will be explored and discussed, especially in the context of crime fiction and social engagement. This text is the first critical resource concerning this author and will cover the full body of Peace's writings to date, the debates this work has generated, and the often contentious representations offered by his novels
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
'Dewsbury Noir': Crimes of Times in David Peace's Red Riding Quartet
No full text‘Dewsbury Noir’ This paper suggests that David Peace’s Red Riding Quartet offers contemporary readers an alternative crime fiction, a form of ‘Dewsbury Noir’. David Peace is a twenty first century author who writes about twentieth century crime but, significantly, does not consider himself to be ‘a crime writer’. His novels may concern crime, but offer more than a Yorkshire version of the James Ellroy series. The paper will discuss how and why Peace possesses the framework, tropes and conventions of the genre to articulate an alternative perspective through a recognized form. Offering the Red Riding Quartet as an example of a socially conscious development of British crime fiction, its controversial and explicit content will be analyzed as an anti-sanitisation approach to shifting definitions of crime in contemporary society. The issue of how and why Peace uses his quartet to foreground the shared humanity and morals of hunter and hunter – Ripper and police – is explored through representations of human redemption and salvation. An interest in moral degeneracy is discussed through shifting definitions of criminality and deviancy. Despite a pronounced desire to emphasize their difference, the paper argues that the similarities at the heart of these representations of criminal and victim, accused and accuser, enforcer and deviant, effectively blur and challenge singular notions of good and evil. As a result, the political role of the crime novel is posited as a necessary obligation rather than a personal gratification of the socially conscious contemporary British author
Teaching Utopia Matters from More, to Piercy and Atwood
No full textThomas More’s Utopia will be five hundred years old in 2016, yet the genre and mode which he invented are repeatedly mis-prisioned as non-dynamic blueprints. More’s original consists of two books which act in juxtapositional dialogue: the first recounts discussions between More and friends about practical and philosophical political matters, including the topical issues of enclosures and Royal taxation. The second book consists solely of a detailed description of the politics and sociology of the island “Utopia”, by the stranger Hytholoadeus. “Utopia” thus has two originary meanings: More’s book and the island place. The dialogic frame in which the hypothetical place is imagined is “utopia”, and not the blueprint which is contained within the frame. The semantic joke buried in the Greek meaning of Utopia (no-place) posits the self-consciously serio-comic enterprise as a literary and political thought-experiment in critical analysis of the present juxtaposed against imagined other(s). More’s “invention” of the utopian genre at a moment in history when exploration and communication first became global makes it a perfect prism through which to debate contemporary cultural and literary texts for students, at a time when the global consequences of that historical moment are coalescing in economic, political and environmental crisis. “Utopia” necessitates and includes its opposites, others, contradictions. It offers an open invitation to its reader to join in. More’s original contains what became staple conventions of Utopian content: travel in space and/or time; a meeting with a stranger; representation of the other as both familiar and strange; a dialogue with the reader; and the “blue-print” for the state of Utopia. Sadly, the legacy of nineteenth-century Marxist readings of More’s work was to harness only the latter as though it existed autonomously of the dialogic work. The adjective “utopian” became a term of approbation for the left and critique for the right. The cumulative consequences of the fall of the Berlin wall, the rise of religious fundamentalism, globalisation and the economic crisis have fuelled a Western intellectual scepticism about grand narratives and idealised political projects, and the post-nineteenth century meaning of “utopia” was discredited by both left and right. Similarly, the label “dystopian” has often been used to shut down the formal dialectic between text, world and reader. Yet the silent erosion of the semantics of utopics by the political classes’ neo-liberal consensus can be exposed as precisely that if we return to More’s original text, and read through its structural complexities, its generic self-consciousness, and gain a sense of what Utopia is speaking. By returning to an origin, we can revivify the radical rhetoric of both word and genre, and rediscover its vibrancy in contemporary writing. If we are alert to how other genres evolve and change in political and cultural contexts, how have we not been to utopias? Utopian discourse is not about the articulation of a blue-print or a set of naive ideals, but a sophisticated dialectical mode of rhetorical exploration which perfectly matches the representational and cultural demands of our emergent post-post-post modern globalised culture. Naturally poly-logical because it is self-consciously open-ended and paradoxically celebratory of the possible impossible, the Utopian genre is the perfect embodiment of how generic hybridity can encompass cultural hybridity in a non-authoritarian and open way. Modern theoretical and critical discussions of both genre and the intersection of Literature and globalization (with the notable exception of Frederic Jameson) continue to ignore the radical dialogics and potential of utopian writing. For example, neither the Longman Critical Reader, Modern Genre Theory (ed. David Duff, 2000) and the Routledge reader Literature and Globalization (ed. Liam Connell and Nicky Marsh) have “utopia” in their index. Critics and publishers tend to relegate Utopian writing to fan (s/f) fiction. This chapter uses Marge Piercy’s Woman on the Edge of Time (now nearly forty years old), Atwood’s trilogy (Oryx and Crake, The Year of the Flood and MaddAdam), and some recent young adult fiction (for example Marcus Sedgewick’s Floodlands) to show how utopian generic playfulness in its complex and self-conscious dialogism is a vital contemporary genre and a mode of critical political debate, as well as how frequently this has been represented through female voices (even where ventriloquized by male writers). When Atwood’s work is labelled “dystopian”, we shut down the political potential of her writing’s dialogic nuances intrinsic to the utopian dialectic. As she herself has argued, her recent work is “ustopic”: using possible scenarios through fiction to enable us to conceive of political action about our world. Equally, Piercy’s novel moves fluidly between 1976 and two alternate futures, one disastrous and one ethically and ecologically sustainable: all three spaces and times work in dialogue to create a fourth space – that of the reader’s present. In both authors utopia is a process not a place: although place (here and there) is key in locating our sensibilities and intellects about the failures of our current world. There is no guarantee that humans can avoid the possible disasters envisioned in these novels: but alternative places and times act as distorting mirrors, acting in dialogue with our present to open up a space for thinking and action. Utopia is heuristic. Piercy and Atwood conceive of and construct utopia as a dynamic space between page and reader: not a blue print but a blank page on which we can write our own future.The utopian mode is an open radical genre, self-consciously intertextual and flexible in form and mode. More’s debt to the multi-voiced and moded Mennipean satire has often been remarked, and this hybridised genre (itself the product of an emergent empire) is a perfect match for the twenty-first century conundrum of glocalised identity articulation. The recently popular motif of the newly arrived disruptive stranger in contemporary fiction is a central tenet of utopian (as well as fabular and folk-tale) writing, and suggests that real knowledge of the modals of utopian discourse will enable genuine dialogic political debate about our future(s) amongst student
Genre and its ‘Diss-contents’: Twenty-First-Century Black British Writing on Page and Stage
Full text linkThe designation of genre blending or crossing— as framed by the perception of how certain genres are ‘meant’ to operate for certain creative modes— can signal a writer’s position in relation to mainstream culture and its processes of critical reception, canon-making and ultimately, cultural longevity. While the protean capacities of language as sounded and heard, or written and read, offers two distinctive conduits for creative expression— that are not mutually exclusive but mutually implicated— certain frameworks of cultural reception and critique have accorded differential status to the spoken and the printed word. This is especially identifiable when accounting for the intermediality of dramatic-poetics and the poetics of performance in contemporary black British literature, where the possibilities of trans-generic and poly-generic writing disrupt the straightforward application of critical generic verities.
In considering the intermixing of the genres of both poetry and drama, this chapter explores the dual indebtedness of two (self-termed) contemporary black British writers— debbie tucker green and Lemn Sissay— to both spoken-word and stage-performance contexts, to show how their use of combinational generic categories elicits inter-compositional framings of poetry and plays that acknowledge a text’s performance on and off the page
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