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Yang Cheng-zhai's poetry
Full text linkYang Cheng-zhai, a poet of Nan-Song 南宋 dynasty, was known for his peculiar styles which made him stand out in the history of Chinese classical poetry. In this paper, I shall review his nine compilations of poetry and inquire into the change of his style and analize the specific characteristics of his style which is known as Cheng-zhai-ti 誠齋體. Yang Cheng-zhai's earliest works which were compiled into the Jiang-hu-ji 江湖集 are, as he himself confessed, no better than imitation of his predecessor's works, though the personification of nature is an important feature in his techniques, it is not anything unique because it was also frequently used by his contemporaries. Concerning the form of his poetry, the use of Qi-yan-jue-ju (the seven-character quatrain) which was known to be his strong point was much less frequently used in Jiang-hu-ji as in his second compilation of poetry Jing-xi-ji 荊溪集. Jiang-hu-ji can be regarded as Yang's works during his apprenticeship. Fundamentally, there had not been much great changes of his style since his second compilation of poetry. The distinctive features in Yang Cheng-zhai's poetry are: 1. the use of personification; 2. witty or dexterous simile; 3. humor; 4. sharpness in observation; 5. the use of daily experiences in his creation. I shall focus on these five points and comment on his poetry. Generally speaking, Yang Cheng-zhai always used his everyday life as material for his poetry, although such a style had already existed since the Tang 唐 dynasty, Yang was the poet who made the best and most use of it. Moreover, he did not touch on the view that there was a Creator behind all forms of life and the world, such a view can often been seen in the works of his contemporary poets. Su Dong-po 蘇東坡, for example, wrote that life was but "children's play" in which the Creator eternally changed his destiny. There is, however, no such expression in Yang's poetry. He was rather more interested in the innocence of children in everyday's life. And unlike other poets in the Song dynasty, Yang did not like to discuss or argue. The main theme of his poetry was fun and wit in daily life. Yang was particularly skillful in sketching a scene in daily life. His poetry did not always impress or move the readers. But in terms of the history of Chinese literature, the use of everyday life had almost become excessive in the Nan-Song dynasty, and poets during or after the Yuan 元 dynasty had returned to the lyricism as in the poetry of the Tang dynasty. So we can conclude that Yang's works represented the turning point of classical poetry from a more narrative to the lyrical mode
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
Object memory and change detection: Dissociation as a function of visual and conceptual similarity
No full textExperiment and Theory on the Nonlinear Vibration of a Shallow Arch under Harmonic Excitation at the End
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