1,721,111 research outputs found
Muriel Spark as auto-biographer in <i>Curriculum</i> <i>Vitae</i>
Full text linkExamining Muriel Spark's main aims as an auto-biographer in her work Curriculum Vitae brings important resources in the exploration of the genre of autobiographical writing. This with the theoretical engagement, allows consideration of the critical issues surrounding the roles of author and reader in the construction of the literary self. Spark demands the reader participate in the constructon of textual meaning; overturning the conventions of autobiography, satirising its claims to omniscience and highlighting the impossibility of an authentic voice with regard to the self
The Narrative Dispossession of People Living with Dementia: Thinking About the Theory and Method of Narrative
No full textIn the beginning …
Once upon a time …
This is the story of …
That’s a good story ….
And they all lived ….
Let me tell you a story ….
Narrative, it seems, is all around us. Bruner (2002) states that we are
‘constantly in the process of making narratives’ (p.3) and that narrative is so
much part and parcel of life that ‘human society cannot run without it’. In
everyday life we recount stories about ourselves and others and in so doing
both represent and construct ourselves. We are the heroes and heroines of our
own stories and occasionally of the stories of others. Our experience, lives and
Selves are storied. In academia narrative has also found a place not only in the
humanities but also the social sciences and even the natural sciences. It would
seem there is no escape from participation in the narrative enterprise - it is a
way of experiencing, relating, thinking and, ultimately, being in the world.
Narrative, as Barthes (1977) said, ‘is simply there, like life itself’ (p.79).
To be sure, the development of narrative as a theory and method has
brought (or constructed) insights into all manner of things. Narrative, emerging
as it did from an interest in the experience of powerlessness (MacKinnon,
1996), was seen as a means of giving voice to those previously at the margins
and has effectively, and prolifically, expanded our understanding of what it is
like to be marginalised, oppressed, victimised, ignored and silenced. But even
as this is so, it is my contention, contra Barthes, that narrative and the process
of narration (narrativity) as we currently conceive and operationalise it
excludes certain individuals and groups of people, creating people without
narrative. These people are those I shall call the ‘narratively dispossessed’. In
the first part of this paper I will seek to outline what I mean by this and work
towards a tentative definition. In the latter part I will attempt to suggest some
ways in which we might try to think about narrative/narrativity somewhat
differently so as to narratively ‘re-possess’ these individuals and groups
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
Narrating Personal Moments Through Social Images: Postcards as Souvenirs of Memorable Instances and Places
No full textPostcards are purchased both as souvenirs – objects that authenticate past
experiences and speak through nostalgia – and as collection items – objects
that add to the narration of our personal past. They are sent to relatives and
friends as charismatic views of the sociality and culture of the visited other.
The postcard is purchased as a mass-produced view of a given society,
produced within the given societal borders. The handwriting of the personal
beneath the caption of the social transforms the public into private, the social
image into an individual memento.
This paper examines the role of postcard images as vehicles narrating past
instances. Pinned on one’s notice board, the social image is transformed into a
personal narration – one connected to one’s past and therefore worthy to be
remembered and talked about
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
- …
