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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
"Within and Without": Exploring the Mind in the Novels of George MacDonald
No full textGeorge MacDonald‟s first published novel, Phantastes, is the story of a young man who enters and must negotiate his way through a fantasy landscape. This landscape, it is suggested, is one of the mind, and Anodos‟ journey through it one of self-exploration and discovery. The sustained metaphor of the mind as a territory to be actively explored through the medium of the physical world, furthermore, is argued to be the basis of several of MacDonald‟s novels. While for Anodos the mind is all, forming as it does the basis of the entire fantasy world of Fairy Land, in the author‟s numerous realist texts the interest emerges in more varied ways, including for example, portrayals of depression, madness, and drug (ab)use. While this significant and unifying feature of MacDonald‟s novels has been at times observed by critics with regard to some individual texts, it has not been directly confronted in terms of an inclusive study of his oeuvre.
What this thesis demonstrates is firstly the overwhelming significance of the mind as a focal point for MacDonald‟s novels, as represented by six central texts: Phantastes, Adela Cathcart, Wilfrid Cumbermede, Malcolm, Donal Grant, and The Flight of the Shadow. It is suggested that such a consistent prioritising of the mind over the physical body lies in the author‟s own experience of ongoing physical illness and resulting confrontation with mortality. The mind becomes, for MacDonald, a means of negotiating the relationship between the realms of the physical and the spiritual. In Phantastes, for example, Anodos‟ physical experience (achieved through the genre of fantasy) of his own mind in Fairy Land, concludes with reference to the afterlife. The mind in this (and MacDonald‟s other novels) provides the means by which transcendence is achieved
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
Invention and re-invention: the composition of Mary Robinson's Lyrical tales (1800)
No full textThis thesis is a discussion of Mary Robinson's Lyrical Tales (1800), and is divided into two sections. It contributes to recent critical discussion of Robinson by examining her role as an editor of her own work, and considering Lyrical Tales as a volume, particularly in the context of currently accepted notions of Romantic writing. The first section examines Robinson's place within late eighteenth century and late twentieth century critical discussions. Chapter One discusses recent critical material on Robinson and suggests some potential new directions for research, particularly with regard to Robinson's financial motives when publishing. Chapter Two outlines Robinson's connections with John Wolcot, Samuel Taylor Coleridge, and William Wordsworth. These connections underline her prominence in late eighteenth century literary culture. Chapter Three looks at the reviews of Robinson's 1791 Poems (volume one) and 1793 Poems (volume two) in the major reviewing publications of her time, and compares these criticisms with the reviews of Lyrical Tales, drawing attention to the personal and political motives of the newspapers and magazines that critiqued Robinson. The second section is devoted to the poems of Lyrical Tales. The poems have been grouped to highlight important themes, rather than to constitute definitive groupings. Chapter Four discusses the impact of the literary trends of Sensibility and Romanticism on Lyrical Tales. The two styles are both in evidence in Robinson's work, illustrating the similarities between them, and the commercial flexibility of poetry that incorporates different styles. Chapter Five looks at Robinson's characterisation of compassion, through narrators, parents, and interlocutors, and draws attention to the implicit critique of the 'compassionate' reader. Chapter Six examines the political context of war and exile in the poems, and the ways in which Robinson does and does not resemble other women writers in her handling of these themes. Chapter Seven discusses race and Robinson's place within the anti-slavery literary movement. Robinson's biographical details and the composition histories of her poems about race are drawn on to provide insight into her complex role as an author and a reformer. Chapter Eight examines a group of poems originally published under the pseudonym 'Tabitha Bramble' in the Morning Post, which undermine some of the conventional settings and characters in other Lyrical Tales poems, and are the most obvious departures from both Sensibility and Wordsworth's and Coleridge's 1798 Lyrical Ballads.
Appendix A contains a list of the Lyrical Tales poems and their places of publication
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
Pleasure and power in John Cleland's Fanny Hill or Memoirs of a woman of pleasure
No full textThe scope of this thesis is not intended to provide an entirely coherent alternative reading of the book, but I would like to stretch the boundaries of the critical debate about the Memoirs by considering a small number of issues and one generic characteristic. By drawing attention to the relevance of the picaresque genre to the Memoirs I hope to emphasise the independence, pleasure and humour which Fanny is endowed with. My reading of Fanny as a strong-minded, independent woman sets the tone for the discussion of wealth, women's manners, homosexuality, the picaresque and the sexual body.
In examining the Memoirs' use of the picaresque I hope to illustrate how this feature disrupts the narrative. In doing this the picaresque allows Cleland to portray graphic sexuality without the restrictions of a moral or immoral reading. Freed from these restraints sexuality becomes amoral and a part of the unpredictable landscape of the picaresque novel. Cleland exploits the suspension of morality using humour, while Fanny's marginal position becomes a microcosm in which she thrives and is allowed the room for self growth.
Chapter Three deals with readings of the Memoirs as pornographic, and while an in-depth critical evaluation is outside the scope of this thesis, some attempt to place the term in a historical context will be made. Attention to the male penis has often been marked as a component of pornography while repeated portrayals of the sexual female body (by a male author) have also sparked criticism. My reading argues for the phallus as potentially pleasurable but not all-powerful, while sexual representations of individuals outside conventional stereotypes couch sexuality as salubrious not dominating. For consenting characters sexuality is liberating, countering contemporary fears of the body as weak and sinful.
Fanny's ability to create wealth is a means of empowerment and an outlet for her natural business talents. The utilisation of her skill has the additional effect of promoting Fanny as an individual, the novel never portrays her as a part of an oppressed sisterhood of women, as a character she stands alone and is judged alone. The Memoirs presents Fanny as a woman who increasingly develops her financial skill, her early encounters with money teach her its importance and the benefits of managing it herself. Financial success does not come by chance as it sometimes does for Defoe's Moll Flanders. Fanny's security by the novel's close has been bought about by systematic methods and her pride in her success id testament to its value in establishing her high self esteem.
I will read the major male homosexual encounter as vital to my reading of the text. The incident is part of a larger programme of tolerance and mutuality, which are supported by a series of textual markers both verifying this reading, and unifying the sexual action. Cleland's representation of male homosexuality is genuinely subversive, this trait is reinforced by the extensive attacks made on the novel. Homosexuality is tolerated, if not celebrated as a legitimate aspect of adult attraction while incidents involving sex which is not mutual frame the passage and serve to endorse this view. Finally, homosexuality does not serve (as has been sometimes argued) to accentuate a moral hierarchy which attempts to place heterosexuality as an absolute.
My final chapter addresses Fanny's marriage to Charles. As elsewhere the event is based on choice and mutuality and refutes contemporary portrayals of marriage as a finite and restrictive force against women. In the context of the novel, Fanny's marriage is an absolute rejection of the bonding decorum used to restrict freedom of choice and individual liberty.
Throughout the thesis I have made reference to works by four of Cleland's contemporaries. Daniel Defoe's Moll Flanders, Samuel Richardson's Pamela, Frances Burney's Evelina and Henry Fielding's Shamela. I have no intention of drawing any close textual comparison, and fleeting impressions of these works act only to emphasise points made about the Memoirs. Part of the popular success of these works would have been their seen adherence to established convention and while each abounds with revolutionary ideas (which have been discussed at length by others), it is their conformity that I have accentuated
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