1,354,116 research outputs found
Antanas Strazdas (1760-1833) in der Biblioteka XX. Czartoryskich
No full textAntano Strazdo 1814 m. 11-os „giesmių“ (9 dainos, 2 religinės giesmės) rinkinio „Giesmies swietiszkas ir szwintas. Sudietas par Kuniga Untana Drazdawska“ anksčiau žinoti tik 2 egzemplioriai. Tarp 1818 ir 1820 m. Antanas Strazdas Lietuvos evangelikų reformatų sinodo buvo apskųstas už savo eilėraštį „Pagrabas Palšio“. Poetas turėjo teisintis, ir bažnytinio teismo nutarimu visi jo knygos egzemplioriai turėjo būti sudeginti. Todėl jų ir išliko labai nedaug. Tie 2 egzemplioriai saugomi Lietuvos Nacionalinėje Martyno Mažvydo ir VU Mokslinėje bibliotekose, abu labai blogos būklės. 1991 m. išleistas „Giesmių“ faksimilinis leidimas. Jam panaudoti trys šaltiniai: vieno spausdinto egzemplioriaus sena kserokopija su geriau įskaitomu tekstu (iš LNB Lituanistikos skyriaus), 1902 m. JAV išleistu leidiniu (Shenandoah, 1902) ir XIX a. vidurio Benedikto Šmigelskio rankraštis (saugomas LNB). 1911m. Jonas Basanavičius išspausdino 26 Strazdui priskirtas dainas, vėliau tas leidimas pripažintas nepatikimu. Tarpukariu išleistas 50 eilėraščių rinkinys (1938 m.) Po Antrojo pasaulinio Strazdo raštai leisti 1952 (A. Rimkūnas = Jurgis Tornau) ir 1957 metais (Leonas Gineitis) ir t.t. Išskirtinas 1963 m. „Poezijos“ leidimas su Vytauto Vanago pratarme. Diskutuota, ar visi Strazdui priskiriami kūriniai yra tikrai jo parašyti. 1991 m. faksimilinis Juozo Tumelio redaguotas „Giesmių“ leidinys yra pirmasis patikimas leidimas, pirmoji tikslesnė teksto rekonstrukcija. Kitas dalykas, kad apskritai Strazdo tekstų rekonstravimo darbas vis dar nebaigtas. Krokuvos Čartoriskių bibliotekoje yra trečioji Strazdo „Giesmių“ kopija. Ji geros būklės, nors kai kurių vietų trūksta. Labai naudingas „Shenandoah-1902“, „Tumelis-1991“ ir Čartoriskių bibliotekoje esančio egzemplioriaus palyginimas (p. 257-261). Reikšminiai žodžiai: Antanas Strazdas; Eil. rinkinys; Juozas Tumelis; Kunigaikščių Čartoryskių Biblioteka Krokuvoje; Leidinys; Lietuvių poezija; Martyno Mažvydo biblioteka; Nežinomas egzempliorius; Tekstologinė analizė; Antanas Strazdas; Book of poems; Dukes Czartoryski Library in Cracow; Edition; Juozas Tumelis; Lithiuanian poetry; Martynas Mažvydas library; Textual criticims analysis; Unknown exemplarThere were only 2 known exemplars of Antanas Strazdas's collection of 11 songs (9 songs, 2 religious psalms) called "Giesmies swietiszkas ir szwintas. Sudietas par Kuniga Untana Drazdawska" of 1814. Between 1818 and 1820, Antanas Strazdas was appealed against to the Synod College of the Evangelical Reformed Church of Lithuania. The court decided that all his books and exemplars had to be burnt down. That is why few of his books remained. These 2 exemplars are kept in Martynas Mažvydas National Library of Lithuania and VU scientific libraries. The both are of very bad condition. In 1991, a facsimile publication of "Giesmies" saw the light. Three sources were used to produce it: an old yet legible Xerox copy of one printed exemplar, a publication published in 1902 in the USA (Shenandoah, 1902) and a manuscript by Benediktas Šmigelskis of the mid-19th c. In 1911, Jonas Basanavičius published 26 songs attributed to Strazdas, but later this publication was recognised as an unreliable source. In the interwar period, a collection of 50 poems was published (1938). After WWII, Strazdas writings were published in 1952 and in 1957. A 1963 publication "Poetry" with a preface by Vytautas Vanagas should be emphasised. The authenticity of all Strazdas works is still discussed. A 1991 facsimile publication of "Giesmies" edited by Juozas Tumelis is the first reliable publication and the first accurate reconstruction of the text. The other thing is that the reconstruction of Strazdas's texts has not been accomplished in general. The third copy of Strazdas's "Giesmies" is stored in a Krakow library. It is of good condition. The comparison of the "Shenandoah-1902", "Tumelis-1991" and the Krakow library exemplars is very useful (p. 257–261)
Tradition of Lihuanian poetical landscape: Strazdas, Baranauskas, Geda: (archetypes and universalities)
No full textStraipsnyje analizuojama lietuvių poetinio gamtovaizdžio tradicija. Į ją žvelgiama tarsi iš modernaus poeto Sigito Gedos (1943-2008) taško, kas jo poezijai buvo svarbu, kuo ji rėmėsi, ką keitė, transformavo. Atraminiais tradicijos vardais laikomi XIX a. poetai Antanas Strazdas ir Antanas Baranauskas. Antano Strazdo reikšmė itin akivaizdi, Sigito Gedos ne kartą pabrėžta, įtvirtinta poema „Strazdas“. Antano Baranausko gamtovaizdžiuose išskiriamas šventumo jausmas, kalbos metaforomis išreikštos dvasinės būsenos. Teigiama, kad Strazdo gamtovaizdžio dominante yra laukas, Baranausko – miškas. Sigito Gedos gamtos vaizduose išskirtiną vietą užima vanduo; pats vadino save vandenžmogiu. Lietuvių poetinio gamtovaizdžio tradicijoje veikia skirtingi archetipų ir universalijų deriniai, priklausomi nuo pasaulėjautos ir poetinės kalbos principų. Reikšminiai žodžiai: Archetipai; Lietuviu poezija; Lietuvių poezija; Poetinis gamtovaizdis; Universalijos; Archetypes; Lithuanian poetry; Lituanian poetry; Poetical landscape; UniversalitiesIn this article the tradition of Lithuanian poetical landscape is analyzed by investigating it as if from the point of view of a modern poet – Sigitas Geda (1943-2008). The analysis aims at revealing the aspects of importance in his poetry, its sources and the transformations they underwent. Antanas Srazdas and Antanas Baranauskas are considered to be the figures that established the 19th century poetic tradition. The significance of Antanas Strazdas is quite evident, conveyed in the poem "Strazdas" and emphasized by Sigitas Geda himself. The feeling of holiness and spiritual states expressed by metaphors are a prominent feature of landscapes in Antanas Baranauskas poetry. Field is the dominant element in Strazdas landscapes, while Baranauskas tends to concentrate on depicting the forest. In Sigitas Geda landscapes water has a special place; he event called himself "the aquaman". The tradition of Lithuanian poetical landscapes features different combinations of archetypes and universalities which are subject to one's world-view and principles of poetic language
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe 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
No full text“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
No full textWe 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
Practice of score rewriting: the case study of Bronius Kutavičius’s opera-poem "Strazdas - žalias paukštis" (Thrush, the green bird)
No full textStraipsnio tikslas – apžvelgti partitūrų perrašinėjimo fenomeną. Neretai kompozitoriai, siekdami perteikti įvairius simbolius, pasitelkia numerologinius kodus metrų, taktų žymėjimui ar, bandydami perteikti gražų grafinį vaizdą partitūroje, aukoja jos praktiškumą ir aiškų perskaitymą. Tokias partitūras dirigentams rekomenduojama perrašyti. Priešingu atveju sudėtingos notacijos įsisavinimas interpretuojant kūrinio metroritminę struktūrą atims daug brangaus repeticijų laiko. Jei nepažeisdami pirminio kompozitoriaus sumanymo galime išgauti tą patį skambesį viską perrašydami muzikams paprasčiau suvokiamu būdu – tai yra rekomenduotina praktika. Kaip konkretus pavyzdys ir tyrimo objektas publikacijoje aptariamas Broniaus Kutavičiaus operos-poemos „Strazdas – žalias paukštis“ partitūros interpretavimo atvejis. Raktažodžiai: partitūrų perrašinėjimas, dirigento analizė, metroritmas, Bronius Kutavičius, „Strazdas – žalias paukštis“Often composers, who themselves are not practising performers, render the music they compose in very complicated notation. To convey symbols, composers use numerological codes to mark metres and bars or sacrifice the practicality of the score and its clear reading in an attempt to convey a beautiful, symbolic graphic image in the score. In such cases, conductors should rewrite the score (along with the parts). Otherwise, the mastery of complicated and complex notation in the interpretation of the metro-rhythmic fabula will take up a lot of precious rehearsal time. Scores of this kind are difficult for musicians to comprehend precisely because of the complete mismatch between the fixed metro-rhythmic fabula and the actually sounding pulsation fabula. For this reason, it is recommended to rewrite the metro-rhythmic fabula by organising the metro-rhythmic events in an easy-to-understand way. Of course, the conductor must respect the dramaturgical codes composed by the author and realise them with precision. Yet if we can achieve the same sound by rewriting everything in a simpler way without violating the original intention, this is the recommended practice. As a specific example, we provide the case study of Bronius Kutavičius’s opera-poem Strazdas – žalias paukštis (Thrush, the Green Bird). Kutavičius used to write down the music he composed in graphic scores. They are very beautiful and deserve attention in their own right as works of visual art. However, graphic notation is quite tricky for performers in terms of practicality. The need to regroup metrotectonic structures in Kutavičius’s opera-poem Thrush, the Green Bird is one of the most important arguments for rewriting the score. From the very first bars of the entry of the first violins, we are confronted with several problematic issues: what value of the sound duration is identical to a conducting beat? how many smaller beat units does a beat contain? what are the support points of phrases? Rewriting the scores allows the metro-rhythmic progression of events, which is particularly difficult to interpret, to be understood by the conductor and the musicians in a much simpler way. First of all, the necessity of rewriting arises when the pulsation fabula, as composed by the composer, does not correspond at all with the metro-rhythmic fabula fixed in the score at the actual moment of performance. The conductor’s interpretation of this type of a metro-rhythmic structure will only disturb the performers with his projection of the movements. Not only is it not enough for him or her to prepare the score for the performance (thus identifying their own movement progression with the pulsation fabula), but it is also necessary to rewrite the performers’ parts. Only then will two radically different pieces of information about the same opus to the performers be avoided: the conductor’s projection of the movements will be identical to the pulsation fabula and not identical to the part of the metro-rhythmic fabula. In the face of the problem of this nature, the practice of rewriting scores and parts is recommended and appreciated. Keywords: score rewriting, conductor’s analysis, metro-rhythm, Bronius Kutavičius, Strazdas – žalias paukštis
Dispelling the Myths Behind First-author Citation Counts
No full textWe 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
Author, publisher and bookseller : a tripartite synergy in Nigerian book industry
No full textThis work is about the roles of Author, Publisher and Bookseller in Book development in
Nigeria. The paper started by delving into the history of Book Publishing in Nigeria after
which it proceeded by defining who an author, a publisher, and a bookseller is and
expatiated on the indispensable roles of these key actors in Nigerian Book Industry and in
the emerging Information Society. Furthermore, the various constraints to book
development were identified while the paper advised on how the Book Industry can be
further promoted in Nigeria. However, the paper concluded and made recommendations
on how the Book sector can help in enhancing scholarship in the country
The Thursday Murder Club: Launching a megabrand author - a publishing case study
No full textIn 2020, the Christmas book charts in the UK made headlines: Barack Obama’s eagerly awaited autobiography, The Promised Land, was beaten to the top spot by The Thursday Murder Club by Richard Osman, a debut cosy crime novel set in a retirement village. Not only did Osman’s book beat the former US president’s expected bestseller, it also broke records, becoming the fastest-selling debut crime novel of all time. Although Osman has a certain level of fame in the UK from his TV appearances on shows such as Pointless, his celebrity status does not entirely explain the novel’s huge sales. This article tracks the acquisition, publication, and promotion journey of The Thursday Murder Club in order to understand the industry and cultural context of its success and to interrogate the role of celebrity in the creation of author brands. The findings suggest that the unexpected scale of the success of the book owed to a number of factors, including in-depth editing by the novel’s agent, editor, and author to tighten up the plot, an extensive and strategic promotional campaign, the pandemic (which drove interest in the book’s genre and themes), and the quality of the writing. We find that the book’s success was accentuated by Osman’s celebrity status rather than being entirely reliant on it. This research adds to the growing scholarship on celebrity authorship by means of an in-depth case study and provides insight into the processes behind publishing a ‘celebrity’ book and launching a megabrand author
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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