1,721,034 research outputs found
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
Staging Poetic Justice: Public Spectacle of Private Grief in the Musical Parade
No full text本篇論文探討劇作家阿佛烈．尤瑞(Alfred Uhry)與作曲家傑森．羅勃特．布朗(Jason Robert Brown)於一九九八年合力譜寫的音樂劇《大遊行》 (Parade) 。 《大遊行》的靈感來自一九一三年的歷史懸案，一位來自紐約在亞特蘭大經營鉛筆工廠的猶太企業家里歐．法蘭克(Leo Frank)，被控謀殺一名十三歲的小女孩瑪莉．范根(Mary Phagan)。在真相仍未完全水落石出之前，這棘手的案件如何能翔實呈現在舞台上呢？戲劇研究者面對根據此近百年來爭議不休的歷史公案所改編的舞台劇，是否有資格置評，甚或有餘地提出翻案？在欠缺法律鐵證的前提下，在兩造訴求正義的抗爭團體前，作者試圖跳脫訴訟爭議，不捲入歷史事件，避免妄作罪愆定論。要言之，本篇論文主要持歷史遺產的觀點──檢視南方如何受南北戰爭失利的震盪，高度工業化的北方與新興工業發展的南方之間的地方嫌隙，鉛筆工廠裡勞資雙方的階級對立，黑人、白人、猶太人間的種族糾葛，以及對猶太人與黑人的情慾偏見等等──以探查此案件背後的構成環境，包括戰爭、階級、種族，情慾等面向。 再者，本文討論美國陪審團的國家司法體制及動用私刑的地方仲裁機制，二者底蘊之強烈戲劇觀看性質。本文認為，舞台上的法蘭克案從裁決、定讞、死刑、減刑到最後私刑，每一步驟都充滿吸引大眾觀看的戲劇張力。音樂劇向來就被視為喜溫情、愛幻想，而它撩人情感又訴諸場面的雙重特質不但強化了受害雙方的私密情緒，且又映照公眾審判和私刑的觀看本質，使得民怨公憤及個人創痛皆得以找到宣洩的出口。 本篇論文的結論是，當司法正義失效時，私了正義就會取而代之，開始以暴制暴的惡性循環。而以戲劇形式呈現的詩的正義，儘管非無可議之處，應加以正視為彌補公冤及傳達私怨的可行方案。This paper makes inquiries into the 1998 musical Parade by playwright Alfred Uhry and composer Jason Robert Brown, based on the historic case of Leo Frank, a Jewish industrialist from New York running a pencil factory in Atlanta and accused of murdering the 13-year-old girl Mary Phagan in 1913. How can the thorny case be represented with any fidelity on stage when all the facts have not come to light? What can a theatre researcher contribute to or comment on a controversial production of a reproduction of a historical incident that has never ceased to produce great furors over the past 90 years? In the absence of irrefutable legal evidence that could close the case and in the face of contending camps that claim justice on each side, the author will stay above the litigation fray and distance himself from any attempt to pass judgment on the innocence or guilt of people involved in the historic case. Rather, the paper first probes the context surrounding the case, including war, class, race, and to a lesser extent, sexuality by examining it from the perspective of historical legacy, such as the post-bellum South reeling from the repercussions of the Civil War defeat, the regional animosity between the highly industrialized North and New Industrial South, the class antagonism of management and labor in the pencil factory, the ethnic strife between blacks, whites, and Jews, and the conventional bias against the perceived sexual perversion of Jews and blacks. Secondly, the paper discusses the embedded theatricality of both the national institution of trial by jury and the regional institution of lynching in the US. Then, it considers the staging of Frank’s trial, conviction, death penalty, commuted sentence and final lynching, each phase of the case presented as public spectacle. Musicals have been conventionally considered a genre that thrives on light-hearted sentimentality and fantasy, but its recourse to spectacle and appeal to emotion paradoxically lends itself to the heightened emotion of the conflicted victims in private as well as the specular nature of the trial and lynching in public, giving utterance to both the public outrage and private trauma. The paper concludes that since vigilante justice takes over and continues the vicious cycle of vengeance where legal justice fails, poetic justice in the form of theatrical representation, albeit not without its problematics, should be rightfully taken into account as a viable means of redressing public wrong and representing private grief
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
Necessary Monster: H. Leivck’s Drama The Golem
No full text泥偶怪高林(golem)的傳奇衍生繁多的文學與藝術改編，其中俄裔猶太作家來維克(Leivick)的意底緒劇作影響尤其深遠。此傳奇須置於反猶太主義的歷史脈絡來觀之，由傳奇起源十六世紀末馬哈拉拉比的布拉格，到來維克二十世紀初共產革命的俄羅斯，在捏造的血誣控訴陰影下，猶太人遂創造出高林傳奇以求自保，但高林是救世主，亦是怪獸，此雙重性造成它們一方面利用高林作為集結反沙皇壓迫的革命動力，另一方面卻又視其為兔死狗烹的暴力工具。高林渾然天成的肢體暴力彌補了猶太人向來引以為傲的純粹精神性，然而猶太人僅專注於其可用之獸性，使得怪獸日增的人性得不到善意回應，受挫的人性因而又惡化為獸性，反將暴力轉化為對付他原本應該保護的猶太主子，釀成悲劇。
來維克刻意將高林形塑為通曉言語，透過其抗議非自願的暴力，藉以突顯猶太人使用暴力的雙面刃僵局：一方面不得不使用暴力已自救，另方面又粗暴地對待巨獸萌發的人性。來維克以社會主義的角度批判猶太人過度唯心的彌賽亞救世論，並以猶太傳統的道德批判強調猶太心的仁者哲學，不應以他者為器，避免造成暴力反噬的悲劇。As one of the earliest precursors of modern android creations, the golem has inspired a plethora of literary creations from Mary Shelley to Michael Chabon. The paper focuses on Jewish poet H. Leivick’s Yiddish “dramatic poem” The Golem (1921), an unstageable 8-scene extended interpretation on the legend.
The golem legend is historicized in its seminal gestation in the late sixteenth century Prague and its dramatic representation in early twentieth century Russia against the background of anti-Semitism. The predicament that the messiah is also a monster are explored historically from Leivick’s own conflicting Russian and American periods, when he perceives the golem as an agent of progressive revolutionary violence and a consequence of the revolutionary horrors respectively; as well as the fictionalized yet historical creator Rabbi Mahral in late sixteenth century Prague. Caught between necessity and contingency, the golem is on the one hand a necessary instrument of self-defense against the slandering blood libel, popular in Leivick’s tsarist Russia as part of the virulent anti-Semitic pogrom, and on the other hand an expendable tool of defensive violence revealing the dark side of instrumental rationality.
Supplementing the purely spiritual Jews, the golem is designated as a purely physical force of violence to combat external assault. Yet his growing humanity is repressed and passion for the Jews unrequited; leading to the tragic end of his unleashing his frustrated passion on his master by turning his violence against the Jews. Leivick renders the monster articulate and through his complaint of unreturned compassion highlights the dilemma facing the Jews in their use of violence. He also offers a socialist critique of the purely metaphysical Judaic messianic redemption, as well as an ethical critique of violence by accentuating the centrality “Jewish heart” (yidish harts) in traditional Jewish thinking. Violent passion used against destruction not only could turn destructive itself, but lack of compassion for monstrous passion could also breed violent monsters of its own
Enacting Repulsive Bodies in Djuna Barnes’s The Dove
No full text一九二十年所謂的「爵士年代」美國婦女終於贏得投票權，成為政治上獲得解放的「新女性」，但幽微的心靈，甚至禁錮的身體解放課題，仍有待文學作品展演。邦斯這位標竿性的美國現代主義／女性主義作家藉由短劇《白鴿》以隱諱的象徵手法探討公領域解放後，女性私領域尚未解放的身體，如何成為權力與慾望抗衡的新戰場。藉由在紐約大都會蟄居的一對未婚姊妹，汲營蒐集知識／武器，卻荒廢探索慾望／身體，收養了神秘年輕號稱「白鴿」的外來女客，視其為救贖她們「惡女」怪誕身體的契機，來企圖探討女性身體自發的能動性，能否打破知與行，權力與慾望的二元對立僵局。我將以反現代主義優深層於表面之偏好為切入點，用邦斯「背佛洛伊德」的反深層心理分析觀，來探究本來無底層的情慾無底洞，點出中產階級對於背德之恐懼嫌惡，與其共生之反面吸引關注，此僵局端賴缺乏行動的語言分析並無法獲致救贖，對身體的自我禁錮及嫌惡，終究導致暴力宣洩的毀滅。1920s marked the unbridled Jazz Age when American women were finally empowered to vote after decades of struggles. Universal suffrage emancipated women on the political and public front, but whether they were liberated in the private and psychological realms remained to be investigated in literary works. The fraught issues of sexual and psychological emancipations are addressed implicitly in Djuna Barnes’s play The Dove, in which the quintessential modernist/feminist writer configures the newly enfranchised women’s bodies as a new battleground of power and desire to inscribe self-defense as well as self-hatred. The grotesque bodies, which borrowing from Barnes’s poem I call “repulsive bodies,” are liberated politically yet sexually charged, and embodied by the spinster sisters in The Dove who thrive on accumulating knowledge/weapons yet skimp on exploring their desires/bodies. Through the introduction and intrusion of an enigmatic figure called the Dove into their exclusive and reclusive lives, the sophisticated Burgson sisters expect to find salvation out of their impasse of sterile knowledge and futile desiring, first through sexuality, then through violence, both enacted on the repulsive bodies. I adopt Barnes’s distinctive modernist yet anti-Freudian approach to explore the limits of psychoanalytic language in dealing with the ambivalence of sexual fear and desire, and examine the options of sexuality of self-loathing and violence of self-destruction as possible means of women’s darker inner liberation
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