1,720,958 research outputs found
A Comparative Study in the Post-colonial and Post-Soviet Museum: Views from South Africa and Lithuania.
No full textRallying cries associated with the current milieu and crisis in art collecting and museology is “Give it Back!”, reflecting the processes of restitution and repatriation of colonial artefacts from Western museums to the former colonies. Ultimately, the decolonisation of the museum. However, what does it mean to decolonise the museum? The following presentation will delve into this question and present a comparative study on the Post-colonial and Post-Soviet museums in South Africa and Lithuania. Postcolonial and decolonisation processes are often associated with Non-Western former colonies. Though, the process of de-Russification which occurred in Post-Soviet Eastern Europe i.e. Lithuania in the 1990s onwards, engaged with similar postcolonial and decolonisation processes of reaffirming cultural identity after oppressive rule. Lithuania’s independence was reinstated in 1990 after Soviet-rule. Similarly, in South Africa and in parallel, with the release of Nelson Mandela in 1990, began the process of ending Apartheid-rule. During both these instances, the role of the museum in being the custodian of collective and popular history, culture, community and popular memory was being re-evaluated. Poka Laenui (2000), in his writings on decolonisation, stated that the following steps need to be undertaken to decolonise a community/ culture:
1. Rediscovery and Recovery: In order for a community to be revitalized and rebuilt, there needs to be a rediscovery of their culture and identity.
2. Mourning: Acknowledging colonialism and the atrocities conducted.
3. Dreaming: Dreaming/ imagining of the future possibilities of a community and place.
4. Commitment: Commitment in applying these ‘dreams’ into reality.
The paper will refer to these steps in both the context of decolonisation and de-Russification of museums by referring to the following case studies from Cape Town (South Africa): District Six Museum; Zeitz Museum of Contemporary Art Africa; Iziko South African National Gallery, Norval Foundation and the following museums in Vilnius (Lithuania) namely: National Gallery of Art and Vilna Gaon State Jewish Museum. Comparisons will be drawn between these case studies investigating the similarities and differences in the decolonisation and de-Russification of their collections. In addition, illustrating how these museum processes have shifted and differed from their historical and colonial pasts museum practices and displays after political transition. Moving beyond the Russo-Soviet narrative in Lithuania and the Dutch and British colonial rule historical narrative in South Africa. Highlighting the parallels but also interrogating their limits. To further theoretically frame this discussion, the essay entitled “Art History and Postcolonialism: A Lithuanian Case” by Linara Dovydaitytė will be referred to and the article by David Chioni Moore, “Is the Post- in Postcolonial the Post- in Post-Soviet? Toward a Global Postcolonial Critique”
A Comparative Study in the Post-colonial and Post-Soviet Museum: Views from South Africa and Lithuania.
No full textRallying cries associated with the current milieu and crisis in art collecting and museology is “Give it Back!”, reflecting the processes of restitution and repatriation of colonial artefacts from Western museums to the former colonies. Ultimately, the decolonisation of the museum. However, what does it mean to decolonise the museum? The following presentation will delve into this question and present a comparative study on the Post-colonial and Post-Soviet museums in South Africa and Lithuania. Postcolonial and decolonisation processes are often associated with Non-Western former colonies. Though, the process of de-Russification which occurred in Post-Soviet Eastern Europe i.e. Lithuania in the 1990s onwards, engaged with similar postcolonial and decolonisation processes of reaffirming cultural identity after oppressive rule. Lithuania’s independence was reinstated in 1990 after Soviet-rule. Similarly, in South Africa and in parallel, with the release of Nelson Mandela in 1990, began the process of ending Apartheid-rule. During both these instances, the role of the museum in being the custodian of collective and popular history, culture, community and popular memory was being re-evaluated. Poka Laenui (2000), in his writings on decolonisation, stated that the following steps need to be undertaken to decolonise a community/ culture:
1. Rediscovery and Recovery: In order for a community to be revitalized and rebuilt, there needs to be a rediscovery of their culture and identity.
2. Mourning: Acknowledging colonialism and the atrocities conducted.
3. Dreaming: Dreaming/ imagining of the future possibilities of a community and place.
4. Commitment: Commitment in applying these ‘dreams’ into reality.
The paper will refer to these steps in both the context of decolonisation and de-Russification of museums by referring to the following case studies from Cape Town (South Africa): District Six Museum; Zeitz Museum of Contemporary Art Africa; Iziko South African National Gallery, Norval Foundation and the following museums in Vilnius (Lithuania) namely: National Gallery of Art and Vilna Gaon State Jewish Museum. Comparisons will be drawn between these case studies investigating the similarities and differences in the decolonisation and de-Russification of their collections. In addition, illustrating how these museum processes have shifted and differed from their historical and colonial pasts museum practices and displays after political transition. Moving beyond the Russo-Soviet narrative in Lithuania and the Dutch and British colonial rule historical narrative in South Africa. Highlighting the parallels but also interrogating their limits. To further theoretically frame this discussion, the essay entitled “Art History and Postcolonialism: A Lithuanian Case” by Linara Dovydaitytė will be referred to and the article by David Chioni Moore, “Is the Post- in Postcolonial the Post- in Post-Soviet? Toward a Global Postcolonial Critique”
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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
Get PDFWe 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
Get PDFWe 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
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