1,720,975 research outputs found
Show Entry: The Taming of the Shrooms
No full texthttps://thekeep.eiu.edu/ediblebook_2015/1014/thumbnail.jp
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
Honorable Mention: Funniest Pun: (De)Canterb(er)ry Tales
No full text(De)Canterb(er)ry Tales by Heather Wohltman was an Honorable Mention in the Funniest Pun category. Heather was a first time participant in Edible Book this year.https://thekeep.eiu.edu/ediblebook_2014/1011/thumbnail.jp
Best in Show Funniest Pun, How to Drain Your Flagon
No full texthttps://thekeep.eiu.edu/ediblebook_2016/1006/thumbnail.jp
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
Best in Show Funniest Pun, Taming of the Shrooms
No full texthttps://thekeep.eiu.edu/ediblebook_2015/1005/thumbnail.jp
Fantasy\u27s weight: A tale of Zaria DeKarthan
Full text linkKurt Vonnegut says in his novel, Player Piano, I want to stay as close to the edge as I can without going over. Out on the edge you see all kinds of things you can\u27t see from the center (84). Laurence Yep, Marie Colleen Cruz, and Kate B. Pollock all argue that fantasy stands as an important vehicle of learning for those who cannot understand reality without taking a step out of it. George Slusser asserts that the concept of \u27reality\u27 [needs] a firm sense of non-reality ( or fantasy) in order to define itself as a distinct entity (24). This assertion lends credence to the idea that fantasy is necessary, if for nothing else, to define the parameters of reality. This puts fantasy in an interesting position of existing as an unrealistic or improbable supposition, but at the same time, an intrinsic part in understanding our own reality. When used in literature, good fantasy can create a duality of what Roland Barthes calls readerly and writerly text (x). A readerly text is one in which the reader is a passive observer following a set meaning, whereas the writerly text invites a reader to join in the creation of the text by interpreting meaning from a non-traditional storyline. However, these two concepts of text are intrinsically linked because, like reality and fantasy, one cannot exist without the other. A readerly text only becomes readerly, having the ability to bring readers back to the text for the sheer enjoyment of reading the novel, by first being a writerly text, a text that allows a reader to think and contemplate an idea or moral. Fantasy accomplishes this duality of readerly and writerly, according to John Dean, by being a form ofliterature in which the imagination is most liberated, in which astonishment outruns reason and the reader is invited both to play truant from the everyday world and to be refreshed by wonder (149). The fantasy genre allows readers to have a liberated sense of escape from the everyday world, yet, it is this liberated imagination that opens the reader to the possibility of discovering something new. This deceptive idleness or enjoyment allows for fantasy to be an ideal vehicle for the issues of reality that hit too close to home. With this in mind, I strive to utilize the fantasy genre in my creative thesis in order to showcase the psychological issue of Post-Traumatic Stress Disorder (PTSD) in my main character, Zaria DeKarthan and the sociological issue of slavery in the realms of my fantasy world. One of the main elements of fantasy that I employ in my work is the use of a parallel universe, which is to say, a universe or world that is different from our own universe/world. The placement of the story into a world different than our own brings with it the ability to put PTSD and slavery in sharper clarity because of its foreign surroundings. Placed in a setting where most aspects are improbable and unrealistic, issues of reality can become more pronounced and central to the story being told without overwhelming the reader with reminders of real world problems. They are invited to play truant from reality, yet they are experiencing that reality through the characters and stories of the fantasy nonetheless
Escape Room
No full textJoin Booth Library in an adventure to foil the plot of Dr. Chaos who has trapped our hero, the Blue Panther, in the library. Solve a series of diabolical puzzles in the ultimate fight of good versus evil. 50% action! 50% adventure! 100% comical
- …
