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<Originals>On poetry born of “dramatic collisions” with reality: With a focus on Czesław Miłosz during the Nazi occupation
No full text戦後まもなく，詩人チェスワフ・ミウォシュと批評家カジミエシュ・ヴィカとの間に論争が起こる．ヴィカ曰く，ミウォシュの戦時中の詩には《一個人として美を追求すること》と《一市民として倫理的・道徳的価値を追求すること》が見られ，この二つの背反する《追求》のうち，詩人は専ら前者の《追求》の下で現実逃避をしていた．それ故，彼は詩人を非難したのである．こうした見方は現在でもそれほど有効性を失っていないが，他方でミウォシュは，背反する二つの《追求》など存在しないと応酬した上で，当時自らが書き得たものは現実との「劇的な衝突」によって生まれた「最も複雑な詩」だったと結論づけた．本稿では上記の論争を起点とし，二つの《追求》が背反して存在するということのない「最も複雑な詩」の内実を確認する．詩人が《一個人として美を追求》しているのだとヴィカが挙げる詩を中心に取り上げ，ミウォシュの応答にも注目しながら，とりわけ作品内のアイロニー表現や対比関係，抒情詩の主体を検討する．これによって《美を追求すること》と《倫理的・道徳的価値を追求すること》，そして《一個人》と《一市民》という枠組みがそれぞれ繋がっていることを明らかにする．最後にこのような特徴を持つ「最も複雑な詩」を，現実との「劇的な衝突」から生み出そうとしたミウォシュの目的を確認する．Shortly after the war, a controversy arose between the poet Czesław Miłosz and the critic Kazimierz Wyka. According to Wyka, Miłoszʼs wartime poetry was marked by ʻthe pursuit of the beauty as an individualʼ and ʻthe pursuit of ethical and moral values as a citizenʼ, and of these two antithetical pursuits, the poet was exclusively escaping reality in the former. That is why he condemned the poet. This view is not less valid today, but Miłosz, on the other hand, argued that there are no two ʻpursuitsʼ that are in opposition to each other, and concluded that what he could write at the time was “the most complicated poetry”, born of “dramatic collisions” with reality. This article take s the above argument as a starting point to confirm what is the ʻmost complicated poetryʼ in which the two ʻpursuitsʼ do not contradict each other. Focusing on the poems in which Wyka thought that the poet is ʻpursuing beauty as an individualʼ, and paying attention to Miłoszʼs response, this paper examines, among other things, the ironies, contrasts in the works and the subject of the poem. In this way, it will be made clear that the frameworks of ʻthe pursuit of beautyʼ and ʻthe pursuit of ethical and moral valuesʼ, and of ʻanindividualʼ and ʻa citizenʼ, are linked to each other. Finally, it will be confirmed that why Miłosz tried to create the “most complicated poem” out of “dramatic collisions” with reality
<Статья/ Article>Was “A Poem on Frozen Time” а Failure?: An Essay on Czesław Miłosz's First Collection of Poems
No full textCzesław Miłosz's first collection of poems, “A Poem on Frozen Time, ” has often been called a “failure.” Miłosz also judged it to be a “failure” because it included too strong “social elements.” The “social elements” has conventionally been thought to refer to Marxism and socialism. Certainly, Miłosz was devoted to these ideas at the time, and he wrote articles and poems which criticize capitalism. On the other hand, if we read the first collection, we will notice that there are not so many poems that directly discuss politics and society. We wonder what, then, were the “social elements” that Miłosz disliked. This paper will reveal the real story of the collection that Miłosz called a “failure.” First, we took up the poems in the collection that have been said to be “social poems, ” and revealed that what is depicted in them is not merely a criticism of capitalism, but also a criticism of patriotism and a cold attitude toward Marxism/ socialism, which aspires to revolution. The “social elements” that Miłosz referred to are the attitude critical of capitalism, distancing itself from totalitarian ideas that don't allow an individual's freedom and from the groups that embody these ideas, but also respectful of the individual. Poland's traditional Catholicism is also often described by Miłosz as a threat to an individual's freedom, and in this collection, Catholicism is also portrayed as decadence. It is also linked to the corruption of capitalism and militarism, with which human activities oppress nature and the created world, causing them to “freeze.” Furthermore, the anomaly of nature also affected the temporal structure of the collection. Not only is the present and the past dying, but history has been “paralyzed.” In “frozen” nature and “paralyzed” history, the collection's protagonist distances himself from the group, seeking a safer world, and observes reality through the “study of forms.” However, he only explored the “beauty” of the world with his five senses and had no “love” for the world. Hence, his research failed. In order for a human being to confront the “frozen, ” he must share his “love” for the world with the things of the world. Love is important because it transcends death and the passage of time. When we have love for the world, we recognize the greatness of life, and we no longer fear our own death. Love also makes us aware of history, allowing us to connect with the future humanity that will be born after our death. In this way, history, with its continuous past, present, and future will be restored, and “frozen” nature will be melted. The protagonist found “love” for the world, and in the end, he found a safer world, connecting with the crowd and with the future humans. He didn't prefer individualism by any means; he was trying to create a collective with future humans who shared his “love” across time. After all, the “social elements” that Miłosz disliked was the attitude of respect or the collective that Marxism and socialism demanded
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
<Статья/ Article>On the ‘lyrical subject’ in Czesław Miłosz's debut poems
No full text本稿は、2021年度に筆者が人間・環境学研究科に提出した修士論文の第1章を大幅に加筆、修正したものである。Czesław Miłosz's poetry is generally said to be characterized by its ‘lyrical subject'. Many researchers have associated the ‘I’ in the poem with the poet himself. However, his earliest poems were not taken up to examine this point. This article discusses the ‘lyrical subject’ in his debut poems, “Composition” and “Journey”. At first, in the poem “Composition”, a change from a religious space to a theatrical space can be seen. An important factor in this change of space is the “Christian bridge” （pons christi） from earth to heaven. In the religious space, now that the biblical “flood” is foreseen, the “bridge” suggests the expectation of salvation by God, but its salvation cannot be realized. This “Duality” is also demonstrated by the “bridge”. In such a situation, Miłosz tries to make people realize their own depravity by showing them the history of man since “Genesis” in order to seek “salvation”. Secondly, I pointed out that in the poem “Journey”, the place where ‘we’ should live changes from vertical space to horizontal space. It was also confirmed that this poem also shows a ‘Duality’ in the future of ‘we’. Next, focusing on the form of this poem, I confirmed that this poem （and the poem “Composition”） shows a lack of punctuation and “a lack of conventional versification”. These structural features of the poems are connected with its content. The poet thinks that reading of formulaic poetry in which nature is the object of description is no longer beneficial to reality. These views overlap with the poet's later interest in the avant-garde. Third, based on the above considerations, I addressed the question of the ‘lyric subject’ of poetry. In two poems, the ‘I’ is not a complete individual, but a marginal being who belongs to the group ‘we'. The ‘I’ alone foresees the approaching flood and “Duality” and must tell ‘we’ the desperate future. Miłosz writes a poem without rhyme, in so doing he informs ‘I’ of the approaching flood, and commands ‘I’ to lead ‘we’ into a hopeful world. In the two poems, ‘I', ‘we’ and poet Miłosz appear as ‘lyrical subjects’ and create a vivid polyphony of speech
<Статья/ Article>A Reconsideration of the Poem “After the End of the World”: with a focus on Anna Świrszczyńska's “Building the Barricade”
No full textIn the 20th century, known as “the century of war, ” “war poetry” has become “personal poetry” that shows personal experience. On the other hand, the poetry could very well be interpreted as “common poetry” that appeals to a nation or a people. One of Poland's “war poetry, ” Anna Świrszczyńska's Building the barricade, has been interpreted as a “common poetry, ” but at the same time, the limitation of such an interpretation has been pointed out. One researcher has taken up the work and tried to read in it a “personal” message, focusing on the concept of “After the End of the World”. Also in this paper I take up Building the barricade to see how the loss of the real world and the image of the Apocalypse are related and changed in the text. By doing so, the purpose of this paper is to clarify what the poem “After the End of the World, ” is all about. In Chapter 1, I give some information about the poet Świrszczyńska and her works. Then, in Chapter 2, we are focusing on the ‘life and death’ depicted in the poems, pointing out that fire symbolizes not only the destruction of the city but also the change of human's existing values. Death as ‘nothing’ is then replaced by the ‘not thing’ of life. In the following Chapter 3, I focused on ‘The Last Judgment’. The ‘Last Judgment’ has no validity in this collection. Not only because death as ‘nothing’ is impossible, but also because the faith has been overwhelmed by the intensity of the uprising in Warsaw, which seems to be like in the Gray zone (La zona grigia). Therefore, it is not by Judgment but by the uprising that punishment is meted out for sins committed during the latter. In Chapter 4, the living must leave Warsaw because it becomes a city for the ‘not thing’ of life. At this point, the separation from the ‘not thing’ is experienced as a connection to the life of ‘not yet thing’ for the living. In Chapter 5, we confirmed that in this collection, the loss of the real world is depicted as the recovery of the ‘not thing’ of life by living the life of ‘not yet thing’ at the same time. This is a model of the poem “After the End of the World, ” and Świrszczyńska's “personal” message is the creation of a peaceful “After the End of the World” along with the mourning of the dead
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
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
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