1,720,954 research outputs found
te ‘ori tahiti e te ‘ahu: Public Performances of Tahitian Dance and Costuming Innovations During the Height of French Colonialism in Tahiti, 1880-1910
Full text linkIn Tahiti in 1956, Madeleine Moua founded the Heiva dance troupe and made bold costuming changes, replacing the modest Western clothes worn throughout the last century of dance. Historians and cultural scholars attribute this moment as one of the central components that kickstarted the indigenous mā’ohi cultural revival of the second half of the 20th century. What do scholars miss in skipping over the cultural innovations exhibited during the colonial period? While Moua’s contributions to Tahitian dance attire and public performance are undoubtedly important, the notion that Moua was the first to lay claim to “authentic” indigenous dance practices in the “post-colonial” period obscures the creative cultural activism of the early colonial period from 1880-1910. This thesis makes this visible by examining Tahitian dance costuming, the externalization of Tahitian dance as a symbol of cultural and political identity, and the public performance of various types of ‘ori tahiti (Tahitian dance) at a time when it was not perceived as decent by authorities, many indigenous elites, and even lower-class locals. Building on debates about the invention of tradition (Hobsbawm, Linnekin, Plant, etc.) and anthropological work on Tahiti and Hawai’i (Tcherkézoff, Imada, etc.), this research problematizes the scholarly assumption that Tahitian material innovation and public dancing did not occur under French colonial rule at the turn of the 20th century. Instead, this thesis demonstrates how the Fête de Tiurai helped popularize Tahitian dance and costuming innovations decades before the dance and cultural revivals of the 1950s-1970s. Additionally, while Hawai’ian dance performances abroad were more frequent in the period from 1880-1910, a one-of-a-kind Tahitian dance troupe from 1906 centers Tahiti in a field where the mā’ohi are often lumped in with the sexualization of Hawai’ian hula or the pan-Polynesian experience. Despite Western feminization of Polynesian cultures and the theatricalization of cultural performances, Tahitians at the turn of the 20th century made their mark on their indigenous cultural traditions, their innovations paving the way for Moua and cultural “revivals” decades later
te ‘ori tahiti e te ‘ahu: Public Performances of Tahitian Dance and Costuming Innovations During the Height of French Colonialism in Tahiti, 1880-1910
Full text linkIn Tahiti in 1956, Madeleine Moua founded the Heiva dance troupe and made bold costuming changes, replacing the modest Western clothes worn throughout the last century of dance. Historians and cultural scholars attribute this moment as one of the central components that kickstarted the indigenous mā’ohi cultural revival of the second half of the 20th century. What do scholars miss in skipping over the cultural innovations exhibited during the colonial period? While Moua’s contributions to Tahitian dance attire and public performance are undoubtedly important, the notion that Moua was the first to lay claim to “authentic” indigenous dance practices in the “post-colonial” period obscures the creative cultural activism of the early colonial period from 1880-1910. This thesis makes this visible by examining Tahitian dance costuming, the externalization of Tahitian dance as a symbol of cultural and political identity, and the public performance of various types of ‘ori tahiti (Tahitian dance) at a time when it was not perceived as decent by authorities, many indigenous elites, and even lower-class locals. Building on debates about the invention of tradition (Hobsbawm, Linnekin, Plant, etc.) and anthropological work on Tahiti and Hawai’i (Tcherkézoff, Imada, etc.), this research problematizes the scholarly assumption that Tahitian material innovation and public dancing did not occur under French colonial rule at the turn of the 20th century. Instead, this thesis demonstrates how the Fête de Tiurai helped popularize Tahitian dance and costuming innovations decades before the dance and cultural revivals of the 1950s-1970s. Additionally, while Hawai’ian dance performances abroad were more frequent in the period from 1880-1910, a one-of-a-kind Tahitian dance troupe from 1906 centers Tahiti in a field where the mā’ohi are often lumped in with the sexualization of Hawai’ian hula or the pan-Polynesian experience. Despite Western feminization of Polynesian cultures and the theatricalization of cultural performances, Tahitians at the turn of the 20th century made their mark on their indigenous cultural traditions, their innovations paving the way for Moua and cultural “revivals” decades later
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
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
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