1,720,953 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
The Grammar of Pitch in South Gyeongsang Korean
No full textMost Korean dialects are non-tonal, and one way of knowing that is that is to ask,\ud
say, a woman from Incheon about the tones of the word !" saram "person." She will\ud
not have any notion of them. However, her tonal indifference does not mean that she\ud
will always produce the same general F0 pattern for all sentences of a given structure,\ud
even if corresponding words in the different sentences have the same number of\ud
syllables, and even in an elicitation setting. Particular phonemes can cause a lot of\ud
variation.\ud
We see lexical tone in the Korean of #$ (Gyeongsang), a southeastern region of\ud
South Korea, and again, a persuasive diagnostic is just the fact that we can ask speakers\ud
about tone and see that they associate information with it. A Gyeongsang woman would\ud
tell us that the first syllable of saram has low tone and the second high tone. We expect\ud
more, though. We can, of course, find minimal pairs for tone, and other pairs close\ud
enough to definitively show contrast, which we would be unable to do in other regions.\ud
Yet resulting from environmentally conditioned variation, we do not always easily find\ud
any one pitch contour at the narrow phonetic level that is exclusively characteristic of a\ud
certain speaker-perceived tonal configuration. Can it be true that the phonetic behavior\ud
of tone is too elusive to be of any straightforward, independent worth in informing our\ud
idea of the phonology underlying it? Can tonal phonology only emerge through internal\ud
comparison within the morphological paradigm? If we had to define high tone\ud
phonetically, could we? Perhaps we could define it for a certain language, but not in\ud
general. If that's the case, if it's so variable, should we even be using the terminology of\ud
high and low tone at all?\ud
Consider another issue. Adjacent nominal roots can band together so that they\ud
exhibit tonal behavior as a unified prosodic phrase. When this occurs, it is sometimes\ud
true that the lexical tone of both original nominal roots affects the tonal pattern of the\ud
unified prosodic phrase—that's as we would expect. However, noun roots with certain\ud
tonal patterns invariably neutralize the tonal influence of the roots following them,\ud
insisting on deciding the tonal contour of the prosodic phrase by themselves. These\ud
roots seem to strip the tones from the subsequent root.\ud
There is a certain category of root that is only one syllable long, yet without fail,\ud
it dismantles the tonal specification of any root that follows it. Here is just such a root:\ud
%\ud
mul\ud
The underline indicates that the root's one syllable forms a summit approach,\ud
which basically means that it's fairly high-pitched, though we'll spend a lot of time\ud
defining that more clearly later.\ud
Now here is another root, much bigger than mul.\ud
!&'\ud
samagwi\ud
Again, the underlined syllables constitute a summit approach and are higherpitched.\ud
When mul precedes samagwi in a prosodic phrase, not only does mul strip samagwi\ud
of its pitch approach, it imposes a tonal pattern on the syllables of samagwi that is the\ud
exact opposite of the original tonal pattern.\ud
%!&'\ud
mul-samagwi\ud
What determines which nouns trigger this neutralization? It seems that nouns\ud
like mul have the power both the strip the tones off a following root and to govern a\ud
specific tonal pattern that extends beyond the scope of their own syllables, such that\ud
they can impose it on the roots they have neutralized. We ask how we might connect\ud
those two phenomena.\ud
The most I can say about Gyeongsang tonal phonology without adopting a certain\ud
ethos of interpretation is that there are some tonal classes wherein one syllable is\ud
encoded, at least at the surface level, as having high tone, and other tonal classes that\ud
do not conform to that system. In deciding how to pin Gyeongsang tonal phonology\ud
down from there, I will compare two thoroughly different analyses, both focusing on\ud
South Gyeongsang Korean.\ud
Russell G. Schuh and Jieun Kim (2008) propose a segmentally-minded scheme\ud
wherein each lexical item is encoded with a certain number of high tones on syllables,\ud
with a default tonal category encoding zero high tones. The placement and behavior of\ud
these underlying tones is divined mostly through a view of what happens to each\ud
syllable across the morphosyntactic paradigm. Akira Utsugi (2007), on the other hand, is\ud
more concerned with word-level tonal behavior and is willing to use word-boundary\ud
tones as an element in the tonal phonology.\ud
I will thus undertake my own reconciliation of their approaches, based on their\ud
data. I will consider other scholarship in the process, and will give more attention than\ud
they have to figuring out just what they mean when they assign high tone to syllables
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
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
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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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