1,720,953 research outputs found
イギリス中世演劇とシェイクスピア作品におけるクライマックスの音楽
No full textThe recorded history of British drama begins with the Quem Quaeritis trope used in Christian masses, the name of which is derived from the opening interrogation meaning “Whom do you seek in the sepulchre?” The fact that the oldest extant dramatic text in British drama is connected to liturgy suggests that music was very close to drama even at its earliest stage. Intimate connection between music and drama is also present in Greek tragedy, in which the chorus plays indispensable parts.
Medieval religious drama in Britain gradually changed in the process of incorporating secular aspects in its content. In the 15th century, plays like morality and miracle plays clearly separate speech and music, and different styles of employing music began to be present. The texts of Elizabethan drama show traits of further exploration in the manner of music usage. This study compares the uses of music in seven medieval plays and 37 plays of Shakespeare with a focus on their quantitative aspects and characteristics of functions in their dramatic highlights.
First, a quantitative analysis reveals a contrast in the general characteristics of musical usage in the two groups of plays. The instances of music in the above-mentioned plays are divided into two large categories: “Situational Music” and “Non-situational music”. Formulaic uses of music, which means that similar patterns in the relation of the context and music are observed, fall in the category of “Situational Music”, and other unique usages are grouped as“ Non-situational music”. Each category has several subdivisions, according to the kind of scenes and the relationships between the performers and the listeners of each instance of music. This comparison between the medieval and Shakespeare’s plays being considered here, using a single categorization scheme, reveals two major characteristics. One is that in both the two groups of plays most uses of music are formulaic, approximately 82% and 87% respectively. The other is the differences in the frequencies of subcategories. The medieval plays provide the largest number of examples of these formulaic uses in the subcategory of “Entrance/Exit of Characters”, followed by music sounded with “Change of Scenes”, and both subcategories account for 65% of the uses of “Situational Music”. In Shakespeare’s plays, on the other hand, the largest number of cases of music are found in “Battle Scenes”, with “Entrance/Exit of Characters” as the second, providing 78% of the examples of “Situational Music” altogether. This difference implies that strengthening the transition of actions and scenes, or structure of the plays, is a major function of music in these medieval plays, whereas music largely contributes to the representation and reinforcement of the action on the stage described by speech in these Shakespeare’s plays.
Second, various instances of music in the climaxes of these plays symbolize diverse approaches to musical usage. In the medieval plays examined here, psalms and other religious music are frequently performed during the culmination of the plot. The closing lines of Mary Magdalen and other three plays also suggest that the audience are invited to sing Te Deum with the cast. These practices of using music can be considered as a way of reinforcing a particular ideological framework, specifically Christianity, and incorporating spectators in the system through acoustic stimuli and engaging them in musical activities. In contrast, the styles of music used in the highlights of Shakespeare’s plays range from secular songs to dead marches. An especially noteworthy example is the music in the statue scene of The Winter’s Tale. The music played in this scene outwardly signifies a conventional association of music to therapeutic or supernatural power. However, the dialogue of three gentlemen preceding the scene imply that the resurrection of Hermione is merely a pretense. In this case, the role of the cue music for Hermione’s movement can be seen as creating a dramatic impact. This ambiguity regarding the primary function of the music suggests that this example of music deviates from accepted styles, and thereby weakens an existing framework of music usage. This instance of The Winter’s Tale is considered as a specimen of the transition of the relationship between music and drama from the medieval period and the Elizabethan era.本稿は，日本英文学会中国四国支部第75 回大会（2023年10月29日）におけるシンポジアム「英文学と音楽／音楽性」での発表内容に加筆・修正を加えたものである
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
- …
