1,720,955 research outputs found
Els balls de l'ós als Pirineus, estudi teatral d'un ritu europeu d'hivern
Full text linkEn aquesta tesi s’exposa l’evolució de com ha estat vist l’ós al llarg de la història al continent europeu i s’analitzen les
representacions festives tradicionals entorn la seva figura folklòrica més emblemàtiques dels Pirineus Orientals,
Centrals i Occidentals: les Festes de l’Ós d’Arles de Tec, de Prats de Molló i de Sant Llorenç de Cerdans (Catalunya
Nord), el Ball de l’Óssa d’Encamp (Andorra), el Carnaval de Bielsa (Aragó) i els Carnavals d’Ituren i Zubieta (País
Basc).
“Els balls de l’ós” són representacions de teatre popular de carrer que pertanyen als anomenats “balls parlats”
profans, lúdics i burlescs ubicats al cicle festiu de les “mascarades hivernals”. Són unes manifestacions festives
típiques als Pirineus, als Alps, als Carpats i a altres poblacions de l’Europa rural. Els testimonis més representatius se
celebren per Cap d’Any, la Candelera o la fi del Carnaval. Generalment es desenvolupen al llarg d’un passacarrer que
acostuma a iniciar-se als afores de la població i clou a la plaça de la vila. Essencialment escenifiquen una lluita entre
l’home i l’ós –imatge elaborada a partir del domador d’óssos zíngar– recolzada en arguments de temàtica heroica que
narren la cacera de l’ós, i que sovint alimenten el mite del salvatge que ha de ser civilitzat. L’espectacularitat d’aquests
balls és generada per diversos grups de mascarats que fan soroll i empaiten a l’audiència, principalment les noies.
Resulten ser unes representacions del despertar i la mort de l’ós carregades de sentits rituals que els balls mésEn esta tesis se expone la evolución de como ha sido visto el oso a lo largo de la història en el continente europeo y
se analizan las representaciones festivas tradicionales torno a su figura folclórica más emblemáticas de los Pirineos
Orientales, Centrales y Occidentales: las Fiestas del Oso de Arles de Tec, de Prats de Molló y de San LLorenç de
Cerdans (Cataluña Norte), el Baile de la Osa de Encamp (Andorra), el Carnaval de Bielsa (Aragón) y los Carnavales
de Ituren y Zubieta (País Vasco).
"Los bailes del oso" son representaciones de teatro popular de calle que pertenecen a los llamados "bailes hablados"
profanos, lúdicos y burlescos ubicados en el ciclo festivo de las "mascaradas invernales". Son unas manifestaciones
festivas típicas en los Pirineos, los Alpes, los Cárpatos y en otras poblaciones de la Europa rural. Los testimonios más
representativos se celebran en Nochevieja, la Candelaria o el fin del Carnaval. Generalmente se desarrollan a lo largo
de un pasacalle que suele iniciarse en las afueras de la población y cierra en la plaza de la villa. Esencialmente
escenifican una lucha entre el hombre y el oso -imagen elaborada a partir del domador de osos zíngar- apoyada en
argumentos de temática heroica que narran la caza del oso, y que a menudo alimentan el mito del salvaje que debe
ser civilizado. La espectacularidad de estos bailes es generada por varios grupos de enmascarados que hacen ruido y
persiguen a la audiencia, principalmente las chicas. Resultan ser unas representaciones del despertar y la muerte del
oso cargadas de sentidos rituales que los bailes más hablados utilizan para hacer sátira de costumbres y un repasoThe current thesis explores the evolution on the views about the bear along Europe’s history and analyzes the most
significant traditional festive representations around it in the Pyrenees: Festes de l’Ós in Arles de Tec, de Prats de
Molló i de Sant Llorenç de Cerdans (Northern Catalonia), Ball de l’Óssa in Encamp (Andorra), Carnival in Bielsa
(Aragon), Ituren and Zubieta (Basque Country).
Bear dances are folkloric theater plays belonging to the so-called “spoken dances”, that is, versified. They are profane,
fun and burlesque, placed in the festive cycle of the “winter masquerades”, typical to the Pyrenees, the Alps, the
Carpathians and other rural areas in Europe. Their most significant representations take part around New Years’ Eve,
Candlemas or the end of Carnival. They generally take the form of a passacaglia starting in the town’s outskirts and
ending up at its main square. They essentially portray a fight between man and bear – an elaborated representation
from the Gipsy bear tamer – supported by heroic narratives of a bear hunt, contributing to the myth of the wild and its
need for civilization. Dances are spectacular for there are different masked groups making noise and chasing the
audience, basically female. They end up being representations of the bear’s own awakening and death, full of ritual
meanings, used as a means of satire and cutting review of last year’s highlights
Escenografia i participació en el teatre festiu tradicional: la Festa de l’Ós, la Dansa de la Mort i el Salt de Plens
No full textAnàlisi contemporani de la teatralitat i l’espectacularitat de tres festes populars: la Festa de l’Ós de Prats de Molló, de la Dansa de la Mort de Verges i del Salt de Plens de la Patum de Berga. S’aprofundeix en l’escenografia, la plàstica, de les tres figures complexes que s’hi representen: “la bèstia” en la Festa de l’Ós, “la Mort” en la Dansa de la Mort i “el geni de la Naturalesa” en el salt de Plens. El que es pretén amb aquest estudi és observar fins a quin punt la plasticitat de la indumentària i de l’escenografia influencia en la relació actuant-espectador i com l’estètica de cadascuna d’aquestes obres esdevé una eina socialitzadora
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
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe 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
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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