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La fotografía como documento histórico: la familia proletaria y la vida doméstica en la ciudad de México, 1900-1950. Historias. Revista de la Dirección de Estudios Históricos. Num. 29 (1993) octubre-marzo
No full text1 Esta investigación fue auspiciada por el Fondo Institucional para la Investigación (FIPE) de la Universidad de Puerto Rico, Recinto Río Piedras. Además, fue apoyada por el Decanato de Ciencias Sociales y el Departamento de Sociología y Antropología a través de una sustitución de tareas para la investigación. Los derechos de autor de las fotografías pertenecen a dos archivos, el Archivo General de la Nación y la Fototeca del Instituto Nacional de Antropología e Historia. Agradezco su autorización para utilizar las fotografías para esta investigación.2 Robert Levine, Images of History: Nineteenth and Early Twentieth Latin American Photographs as Documents, Durham, Duke University Press, 1989.3 César González Ochoa, Imagen y sentido: elementos para una semiótica de los mensajes visuales, México, Universidad Autónoma de México, 1986, pp. 7-20.4 Philippe Dubois, El acto fotográfico: de la representación a la recepción, Barcelona, Ediciones Paidós, 1986, pp. 21-32.5 Idem, pp. 32-42.6 Véase John Tagg, The Burden of Representation: Essays on Photographies and Histories, Amherst, University of Massachusetts Press, 1988.7 Manfred Frank, What is Neostructuralism?, Minneapolis, University of Minnesota, 1989, pp. 69· 71.8 Dubois, op. cit., p. 51. El autor argumenta que la fotografía es, según la terminoiogía de Peirce, un “índice”, o sea, una representación por contigüidad física del signo con su referente. Se puede transformar en "icono" o en "símbolo" con significaciones particulares.9 Rafael Reséndiz Rodríguez, Semiótica, comunicación y cultura: notas sobre la teoría de la significación, México, Universidad Autónoma de México, Facultad de Ciencias Políticas y Sociales, sin fecha, pp. 99-159. Este autor utiliza la oposición para estudiar la construcción de "mito" e "historia" en las fotografías revolucionarias. En este ensayo se utiliza la oposición con un fin diferente, más cercano a la perspectiva de Levine, op. cit., pp. 147-187.10 Rosa Casanova, "Usos y abusos de la fotografía liberal: ciudadanos, reos y sirvientes, 1851-1880”, Siempre, núm. 1639, 21 de noviembre de 1984, pp. 36-38; Rita Eder, “El desarrollo de temas y estilos en la fotografía mexicana”, Imagen histórica de la fotografía en México, Eugenia Meyer (ed.), México, Instituto Nacional de Antropología e Historia y Secretaría de Educación Pública, 1978.11 Rita Eder, op. cit., p. 28; Carlos Monsiváis, "Notas sobre la historia de la fotografía en México", Revista de la Universidad de México, 35, núms. 5-6, 1980-1981, sin paginación. La fotografía también se utilizó para el control de ciertos grupos, especialmente los sirvientes y los reos; véase Casanova, op. cit., p. 37.12 Las "tarjetas de visita", introducidas en la década de 1860, eran fotografías de una variedad de temas reproducidas en múltiples impresiones para regalar, intercambiar y coleccionar. Las “tarjetas de visita” se guardaban en álbumes con los retratos familiares. Véase, Francisco Reyes Palma, Memoria del tiempo: 150 años de fotografía en México, México, Museo de Arte Moderno, 1989.13 Flora Lara Klahr y Marco Antonio Hernández, "El poder de la imagen y la imagen del poder: fotografías de prensa del porfiriato a la época actuar, El poder de la imagen y la imagen del poder, Benjamín Araujo (ed.), México, Universidad Autónoma de Chapingo, 1985.14 Archivo General de la Nación, Departamento de Trabajo, "Inventario de fotografías, 1911-1925".15 Archivo General de la Nación, Centro de Información Gráfica, Colección Propiedad Artística y Literaria, C. B. Waite, Oficios, núm. 98, "En el momento con usted y el pulque", ciudad de México, 1905.16 Julio Sesto, El México de Porfirio Díaz, Valencia, Sempere y Compañía, 1909 [?], p. 196.17 Fototeca del Instituto Nacional de Antropología e Historia, Pachuca, Hidalgo, Fondo Casasola, núm. 6114, "Familia tomando pulque", México, ca. 1900 (el catálogo dice ca. 1915).18 Laura M. de Cuenca, "Las necesidades de México: México necesita alimentación", La Mujer Mexicana, tomo II, núm. 5, mayo de 1905, p. 1.19 Fototeca del Instituto Nacional de Antropología e Historia, Pachuca, Hidalgo, Fondo Casasola, núm. 6108, "Personas a la entrada de una pulquería", México, D. F., ca. 1900.20 David H. Strother, "Mexico: Report by ConsulGeneral Strother", Labor in America, Asia, Africa, Australia and Polynesia, United States Consular Reports, Washington, Bureau of Foreign Commerce, 1885, p. 121. La traducción es mía.21 Idem, p. 117.22 Fototeca del Instituto Nacional de Antropología e Historia, Pachuca, Hidalgo, Fondo Casasola, núm. 5711, "Vecindario popular", México, ca. 1920 (el catálogo dice ca. 1930).23 Archivo General de la Nación, Fondo Departamento de Trabajo, "Informe casa de habitación", año 1918, caja 134, expediente 1.24 Fototeca del Instituto Nacional de Antropología e Historia, Pachuca, Hidalgo, Fondo Casasola, núm. 6292, "Ceremonia de velación de un niño", México, D.F., ca. 1935.25 Rita Eder, op. cit., p. 28.26 José Cantú, La mujer a través de los siglos, México, Ediciones Botas, segunda edición, 1946, p. 158.27 Idem, p. 159.28 Archivo General de la Nación, Centro de Información Gráfica, Fondo Hermanos Mayo, núm. 3.334. El título y la fecha se escribió en el sobre que contiene los negativos. Desconozco si se publicaron las fotos con un texto escrito.29 Carlos Márquez, "Nivel de salario y dispersión de la estructura salarial (1939-1977)", Economía Mexicana, núm. 3, cuadro 3, 1981.30 Felipe Ibarra Olivares, “El trabajo y el salario de la mujer”, Trabajo y Previsión Social, tomo 28, núm. 99, abril de 1946, p. 37.En este ensayo me propongo explorar el uso de la fotografía como documento histórico, particularmente en el análisis de la vida doméstica de las familias proletarias en la ciudad de México, antes y después de la Revolución. A pesar de sus amplias posibilidades, la fotografía se utiliza normalmente como referencia a un texto narrativo y no como fuente histórica. De esta forma, se desaprovecha su potencial como documento histórico al obviar el examen y el análisis de la imagen como tal. En este ensayo, me propongo desarrollar un tipo de análisis en el cual la fotografía sobrepase su uso como ilustración y se convierta en un texto visual para la historia social. La imagen se complementará con otras fuentes tradicionales, las textuales, y servirá, al igual que cualquier otro documento histórico, para balancear, corroborar y enriquecer la narrativa. Una de mis primeras observaciones al iniciar la recopilación y el estudio de las fotografías históricas consistió en percatarme de que las mismas, aunque producidas independientemente, complementaban estrechamente discursos de documentos muy distintos
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
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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