1,720,956 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
Generic and Moral Ambiguity in Robert Louis Stevenson's Märchen
Full text linkRobert Louis Stevenson was an enthusiastic experimenter in a variety of genres who viewed the writer’s role as both that of an entertainer of his readers and as a provocateur regarding the moral and ethical. Märchen, patterned on old German folktales, allowed him to amuse his audience and to bring to their attention important issues of his day and how they impacted the cultures in which the stories were situated. While he directed that three of his stories be published together as märchen, his publisher ignored his instructions. The two Polynesian märchen were published with another Polynesian story that he insisted did not belong with the märchen. His Icelandic märchen, an adaptation of a saga, was not even published during his lifetime.
This thesis examines the three stories that Stevenson intended to be published together in one volume of märchen: “The Bottle Imp,” “The Isle of Voices,” and “The Waif Woman.” It claims that these stories, one original and two retellings, should be considered as märchen based on the author’s stated intention and the generic elements of the stories. The study arose, in fact, from questions about critical reluctance to treat Stevenson’s three märchen in terms of his insistence on their generic character and the lack of scholarship examining these stories in terms of fairy tale adaptation. He wrote the works that this study analyzes while he was living in Hawaii during the late nineteenth century, soon before he settled permanently in Polynesia, specifically Samoa, a region that he had come to love. Two of these tales, “The Bottle Imp” and “The Isle of Voices,” reflect his fascination with Polynesian culture and his strong interest in the impact of colonialism and Christianity on native populations. In these two stories, Stevenson explores nineteenth-century Polynesian society precisely in terms of the effects of the meeting of traditional beliefs and practices with European colonialism and Christianity. The third story, “The Waif Woman,” is set in medieval Iceland during the time when Christianity was established there. Based on a saga translated and published by William Morris and Eirikr Magnússon during the time that Stevenson was writing, Stevenson adapts one episode of the saga, transforming its epic narrative into a domestic folktale that features both the magic and supernatural aspects of Icelandic tradition alongside Christian practices.
Employing studies of fairy and folk tales by the Grimms, Propp, Tolkien, Zipes and other theorists of fantasy genres, this study analyzes the features of märchen that made the genre so appealing to Stevenson and suitable to his purposes. Specifically, the genre features elements of folk and fairy tale, allowing Stevenson to write engaging stories that also record vanishing folk ways. It features the fantastic, which appears in Stevenson’s stories as elements of traditional beliefs that he sought to record. Furthermore, märchen employ elements of legends by situating stories in particular cultural times and places, a feature through which Stevenson documented disappearing traditions in Polynesian culture and explored Icelandic heritage that Scotland inherited.
This study looks at how Stevenson’s adaptation of previously existing tales and his subversion of generic elements critique social, economic, and political structures resulting from invasion and colonialism, a historical process that he recognized as pervasive in terms of the formation of national identities. Finally, the märchen genre enabled Stevenson to develop his observations that all humans are capable of good and evil—colonists, natives, missionaries, those in power, and those who are ruled. His märchen demonstrate that all human-constructed systems, whether meant for harm or help, are capable of both good and evil. The world of Stevenson’s märchen is thus a morally ambiguous place where situations and people, like genres and history, do not fit neatly into categories. The study concludes that Stevenson’s insistence that his stories be read as märchen should be taken seriously by scholars since to do so elucidates the complex cultural work they perform.M.A
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
Cameron, Brooke, and Lara Karpenko, editors. The Vampire in Nineteenth-Century Literature: A Feast of Blood. Routledge, 2022.
Full text linkVampire is other, a symbol that inhabits the edges of boundaries and exists in liminal spaces. The vampire is a figure that at once inspires fear and longing within itself and in those with whom the creature comes into contact. The Vampire in Nineteenth-Century Literature: A Feast of Blood outlines the cultural characteristics of the Victorian vampire figure, arguing that John William Polidori’s 1819 The Vampyre: A Tale solidified vague and fragmented folk tales and legends about the walking, life-feasting dead into a new version that set the standard for the Victorian literary vampire and beyond (1). The book also looks at other Victorian iterations of the vampire that contributed to its currently recognized version. Through collected essays focusing on four major themes—race and postcolonization, desire and sexuality, time and history, and adaptation (6)—this volume examines how the vampire represents shifting cultural norms and fears of the Victorians in an era of unprecedented social and economic upheaval. The collection also traces the wanderings of the vampire, “not[ing] the distinctly global exchange of ideas” (3) that contribute to its modern conception, as the volume explores the colonial influences of the monster (4)
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