1,722,413 research outputs found
Session 3-C: Special Session
No full textMedieval Cosmology in the Work of C.S. Lewis - Michael Ward
Michael Ward summarizes the main argument of his new book Planet Narnia: The Seven Heavens in the Imagination of C.S. Lewis (Oxford University Press, 2008). Ward contends that Lewis\u27s love for medieval cosmology is foundational to his imaginative purposes in the Chronicles of Narnia.
Moderator: Bill Ringenber
Session 5-D: Special Session
No full textReflections on the Movie Prince Caspian - Michael Ward
Michael Ward reflects on Andrew Adamson\u27s recent feature film version of Prince Caspian. Did it succeed as a movie? Did it succeed as an adaptation? How did it compare with The Lion, the Witch and the Wardrobe, and what are the prospects for filming of The Voyage of the Dawn Treader
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
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