1,720,969 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
Viaggi di ritorno. Itinerari antropologici nella Grecia antica, di Laura Faranda, Roma: Armando Editore, 2009
No full textL'ultima monografia di Laura Faranda si propone al lettore nella consueta veste narrativa accattivante, evocativa, non sempre di facile lettura e tuttavia sempre suggestiva. Sulla scia di precedenti lavori come Le lacrime degli eroi (Pianto e identità nella Grecia antica, Jaka Book, Vibo Valentia 1992) e Dimore del corpo (Profili dell'identità femminile nella Grecia classica, Meltemi, Roma 1996), l'autrice affronta nuovamente il discorso sull'antica Grecia - terreno privilegiato di cultura intesa come paideia - per un ritorno alle origini o all'origine, sulle tracce di un'identità che trova nel Mediterraneo antico la propria culla, i propri tòpoi (reali e metaforici, geografici e letterari) di "incubazione antropologica"
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
“Erro lungo la casa dall’ampia porta di Hades”. Configurazioni mitiche dello spazio oltremondano nella rappresentazione greca: il cosmo di Hades come luogo di negoziazione dei significati
No full textNell’architettura escatologica dell’epica eroica il viaggio oltremondano dei trapassati segue apparentemente un’unica direzione, risolvendosi nell’immagine dello «scendere all’Ade», genericamente impiegata per designare la fine della vita. Una certa configurazione dell’aldilà è già presente nell’Iliade, dove il passaggio obbligato per accedere al mondo di sotto è plasticamente visualizzato dalle «porte d’acciaio» e dalla «soglia di bronzo» che segnano l’accesso a un luogo che, in una dimensione ancora decisamente verticale (e non sferica) del cosmo, occupa una posizione di assoluta centralità, situandosi a livello di punto mediano sulla perpendicolare che dalla volta celeste scende al fondo degli abissi (sotterranei e sottomarini). Tuttavia, nell’anatomia del cosmo tracciata da Omero appaiono ulteriori elementi che sembrano suggerire una dislocazione pensata anche in termini di spazialità orizzontale, disegnando un percorso che va dal centro del mondo conosciuto verso territori sempre più periferici, marcatamente decentrati. In Esiodo, la doppia localizzazione dell’Ade appare perfettamente coordinata in una rappresentazione unitaria, cosciente delle reciproche interrelazioni esistenti tra dimensione orizzontale e dimensione verticale, entrambe fortemente qualificate da quei luoghi geometrici (centro e periferia) percepiti come punti o linee nodali nella scansione dello spazio cosmologico. L’immagine che si stava formando si modifica: dal piano verticale su cui era composta essa ruota di nuovo verso un piano orizzontale, annullando i contrasti altobasso. Una tale facoltà di ruotare le rappresentazioni potrebbe essere interpretata non tanto come esempio di mitologie residue che entrano in conflitto, quanto piuttosto come una caratteristica della modalità di costruzione di un certo tipo di rappresentazioni, un modo dinamico di inglobare elementi contradditori, a loro volta testimoni di quel «lavoro della cultura» (Obeyesekere 1990) in cui si rispecchia l’agire di processi tesi a fronteggiare l’ambivalenza suscitata da contenuti ansiogeni (come la paura della morte). Nell’ottica di un rapporto dinamico e dialettico tra margine e centro improntato a una logica descrittiva smaccatamente «contro-intuitiva» (Boyer 1994 e 2001) che fa del regno sotterraneo un vero e proprio spazio «paradoxos», la Soglia dell’Ade può perciò essere concepita e percepita a un tempo come Centro assoluto e Periferia estrema, finendo per rappresentare una vera e propria porta cosmica, identificata anche con le Porte della Notte e del Giorno o con la Porta del Sole. Entro un tale orizzonte concettuale, l’infernale vestibolo d’accesso allo spazio ipogeico dell’Ade si configura, più che come immagine di un luogo effettivo, come concetto dinamico operativo all’interno di un sistema religioso e culturale che riconosce nell’esperienza dell’«attraversamento della soglia» un elemento o momento assiomatico della processualità antropopoietica (Calame 2003).In the eschatological architecture of the heroic epos the otherworldly journey of the dead apparently follows only one direction, resolving itself in the image of the «descent to Hades», that is generally used to designate the end of life. A certain geographical configuration of the other world is already present in the Iliad. In the first of the two Homeric poems, the necessary step to gain access to the Netherworld is materially displayed by the «steel doors» and the «threshold of bronze» marking the entrance to a place that, in a vertical (and not yet spherical) dimension of the universe, fits into place of absolute centrality at a middle point on the perpendicular line going from heaven down to the earth and sea chasms. However, in the Homeric anatomy of the cosmos, there are also further elements that seem to suggest also a horizontal dislocation, forming a seemingly unstable and contradictory image of the otherworldly route from the center of the world to more peripheral, markedly decentralized lands. In Hesiod, the twofold localization of Hades seems to be perfectly coordinated in an unitary representation, where the high-low contrasts are solved. The resultant image seems to be inspired by a conscious vision of the mutual interrelations between horizontal and vertical dimensions, both deeply qualified by those geometrical places (centre and borders) that are perceived as key points in the articulation of the cosmological space. Such a power to rotate representations (from a vertical plane to a horizontal one) could be interpreted not so much as an example of residual divergent mythologies, but rather as a feature of the mode of construction of a certain type of representations, that is to say as a dynamic way to incorporate contradictory elements, in their turn witnesses of that «work of culture» (Obeyesekere 1990) in which one could recognized the action of processes aiming to face up to the ambivalence of anxiety-inducing contents. As part of a dynamic relationship between margin and center – that is inspired by a blatantly «counter-intuitive» (Boyer 1994, 2001) logic making the underground realm an actual «paradoxical» space – the Threshold of Hades can be conceived and perceived simultaneously as absolute Centre and extreme Periphery, ending to represent an actual cosmic Gate that is also identified with the gates of Night and Day or with the doorway of the Sun. Within such a theoretical horizon, the Netherworld’s entrance looks as a dynamic concept operating in a religious and cultural system that recognizes in the experience of «the threshold crossing» an axiomatic item in the self-building process of social man (Calame 2003)
The Greek Gods in Modern Scholarship. Interpretation and Belief in Nineteenth and Early Twentieth Century German and Britain, di Michael Konaris, Oxford: Oxford University Press, 2016
No full textLe livre de Michael D. Konaris (M.D.K.) offre un panorama précis de l’histoire des études et de l’interprétation dans une perspective historico-religieuse du polythéisme grec, concentrant son analyse sur la période comprise entre le XIXe s. — date à laquelle on place conventionnellement l’apparition de la science des religions moderne, liée principalement aux noms de F. Max Müller, Edward B. Tylor, James G. Frazer1 — et le début du XXe s., en privilégiant les lignes de recherche développées principalement par les écoles allemandes et britanniques. De cette étude naît un tableau articulé et raisonné des principales visions théoriques et des approches méthodologiques qui ont dominé l’histoire du philhellénisme tant allemand que victorien, encadré dans une description plus générale du panorama culturel, historique et religieux des deux États-nation à leurs débuts
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