Authorial Contributions Research Articles

Identifying authorial roles in research: A Kano model-based bibliometric analysis for the Journal of Medicine (Baltimore) 2023.

The landscape of research roles within academic journals often remains uncharted territory, with authorial contributions frequently reduced to linear hierarchies (e.g., professor and assistant professor). The Kano model, traditionally used in customer satisfaction research, offers a nuanced framework for identifying the multifaceted roles of authors in scholarly publications. This study utilizes the Kano model to dissect and categorize the roles of authors in the medicine field. To conform to the hypothesis, China is the research leader while the US is the research collaborator, as reflected in the publications of the journal of Medicine (Baltimore) in the year 2023. We conducted a comprehensive bibliometric analysis of all research articles published in the journal of Medicine (Baltimore) in 2023. The Kano model was applied to classify authors into 5 categories reflective of their research roles: followers, leaders, partners, contributors, and collaborators. Data on author publications and co-authorship networks with multi-author rates (MARs) were analyzed to assign Kano categories based on the authorship positions of first and corresponding authors. Descriptive statistics and network analysis tools were used to interpret the data, including radar plots, geographical maps, and Kano diagrams. The analysis covered 1976 articles, uncovering a complex network of author roles that extends beyond the conventional binary distinction of lead and supporting authors (i.e., leading, and following researchers). A research leader in China and a collaborator in the US were conformed to support the hypothesis, based on their publications (1148 vs 51) and MARs (12.20% vs 19.61%). The Kano classification was visually adapted to classify authors (or entities) into 5 categories. The combined choropleth and geographical network maps were illustrated to identify author roles in research briefly. The Kano model serves as an effective tool for uncovering the diverse contributions of authors in medical research. By moving beyond the lead and follower dichotomy, this study highlights the intricate ecosystem of authorial roles, emphasizing the importance of each in advancing knowledge within the field of medicine. Future application of the Kano model could foster a more collaborative and inclusive recognition of contributions across various disciplines.

Культурный код Великого Новгорода: современность исторического города. Экспертное интервью

The expert interview is devoted to the analysis of the cultural code of Veliky Novgorod and to the architectural techniques, which represent it in the urban environment. The expert considers the general concept of cultural code and examines the modern situation of Veliky Novgorod, where only a small part of authentic objects has been preserved, as most of the structures were destroyed during the Great Patriotic War. Also, the expert evaluates various city objects and projects in terms of combination of Novgorod architectural motifs and modern solutions in them, and emphasizes that the design code, which has been introduced in Veliky Novgorod since 2024, is very poorly connected with the cultural identity of the city. The key thesis of the interview is that all urban objects that are located outside the historic part of the city (outside the berm boundaries) should be resolved in a modern architectural language. In addition, the creation of new projects in contrast with the existing urban environment is described as one of the possible and productive strategies for working in the historical area of the city. In this way, contemporary architects and urban planners can make their original, authorial contribution to the historical city and leave their mark on the urban texture.

The Composer's Interpretation of yhe State Anthem of Ukraine in the Works of Ukrainian Composers

The article explores various aspects of The anthem of Ukraine as an expression of the national pride and unity, unveiling its role in shaping the national consciousness, the dedication to the national heritage, and Ukrainian mentality.
 By analyzing the state anthem as a national symbol, the article examines its significance and role in Ukrainian identity. The anthem is defined as a musical composition that commemorates socially significant events and becomes the country's brand and national symbol.
 The article pays particular attention to the contemporary use of the anthem in Ukrainian society. It notes that the anthem's sound has become emotionally significant for citizens and is an everyday element of their patriotism. This symbol serves as an expression of national unity and contributes to the preservation and strengthening of national self-awareness.
 The author also analyzes various interpretations of the anthem in the works of Ukrainian artists. Specifically, the influence of the vocal piece "Shche ne vmerla Ukraina" on the creation of Ukraine's national anthem and its translational aspects are examined. The primary focus is on the investigation of the Yuri Shevchenko's work "My Ye!" The article delves into Shevchenko's version of the anthem created as a paraphrase, altering its genre and lexical intonational component. The analysis assesses the level of the individual authorial contribution and the composer's interpretation in the musical text. It establishes the main features of the paraphrase genre and sheds light on the content of the original source "My Ye!" in the context of its historical creation and acquisition of significance as a state symbol.
 Considering the importance of musical translation, the article emphasizes its creative nature by analyzing the typological peculiarities of the original and its embodiment in the new versions. It highlights that the translation takes into account intonational, genre, and stylistic changes, enriching the imagery and thematic content.
 In the conclusion, the article underscores the significance of the national anthem as a symbol of national unity and patriotic sentiments, laying the foundation for the national self-identification and the development of Ukrainian society.

Rethinking the contributions of young people with learning disabilities to iPad storymaking: a new model of distributed authorship

AbstractDigital technologies such as iPads are now ubiquitous in classrooms and family homes, enabling new possibilities for all learners but particularly for those with disabilities. Existing literature explores how children with learning disabilities create and benefit from personalised digital stories but does not unpack theoretical understandings of their ‘authorship’. This paper addresses this gap by proposing an original model of ‘distributed authorship’ with three axes of distribution—interpersonal, technological and temporal—to account for the authorial contributions of young people with learning disabilities. Five families were given an iPad with Pictello storymaking app and instructed to use it with their young person in any way which was engaging for them. Data generation over 12 weeks included weekly diaries, home videos, semi‐structured interviews and story collection. Findings indicated that whilst ability to directly engage with the app varied, all the young people could be said to exert authorial influence on the stories distributed across three axes: support from others, support from the technology itself and incorporation of prior embodied agency. The study has theoretical implications for our understanding of ‘authorship’ as well as implications for pedagogy and practice by reconceptualising severely disabled children as literate learners and co‐authors.

Manuscript Map of Illyricum, 1663, in the Pontifical Croatian College of St Jerome

In the Pontifical Croatian College of St. Jerome in Rome, a manuscript geographic map of Illyricum is kept, drawn in 1663 by the architect and geographer, Pietro Andrea Buffalini of Rome. Cartographic analysis of this map has been carried out on several occasions, and the ecclesiastico-legal and historico-geographic context of its origin analysed. As contribution to previous research on the 1663 map of Illyricum, the depiction of the coast on that map is cartometrically compared with that on geographic maps and nautical charts from the late 16th century and the first half of the 17th. On the basis of these analyses it is confirmed that, with the 1663 map of Illyricum, a qualitative step forward was taken in depicting the northeast coast of the Adriatic. In addition, on the basis of research into available written data sources, it is concluded that Ivan Lučić made a key (co)authorial contribution to the shaping of the geographic content of this manuscript map.

Vladimir Pavlovich Zagorodnjuk and Applied Arts in Belgrade between the Two World Wars

Vladimir Pavlovich Zagorodnjuk (Odessa, 1889 — Sydney, 1976) is one of many Russian artists who arrived in Yugoslavia in the early 1920s, in the first wave of emigration, and contributed to the visual culture of Belgrade in the period between the two world wars. This period is marked by the development in all areas of art and was so fruitful that even today, a century later, it has still not been fully researched and presented, demanding a deeper introspection of authorial contributions and stylistic trends, especially in the field of applied art. With the experience he gained while studying at the Ecole Nationale des Beaux Arts in Paris, he began his work in Belgrade in 1921 as a painter-scenographer of the National Theater. In the period 1923–1940, as an independent set designer for the National Theater, he staged 19 plays and 12 operas and about 20 plays in the period 1945–1950. Along with his scenographic work, in the period 1927–1939, he was noticed as a prolific sculptor, and created reliefs and facade sculptures of numerous public and private buildings in the capital and in other large centers of the kingdom. He cooperated with eminent architects of the period, often in favor of the Art Deco style, and contributed to its reception in Yugoslavia. He exhibited with the Society of Russian Artists (1928), with the group Krug (1929, 1930), at the Salon of Architecture (1931), at The first exhibition of theatrical painting (1938), as well as at the Salon of Russian Artists (1942 and 1943). He was awarded with Diploma de Medaille d’Or at The Exhibition of Industrial Decorative Modern Art 1925 in Paris, high State Decoration of Saint Sava in 1926 and The Medal for Labor Merits of III in 1949. In 1950, he immigrated to Australia, where he continued his artistic work to a lesser extent until his death in 1976 in Sydney. His three prolific decades of work in Belgrade left a considerable contribution, highly praised by contemporaries, but not entirely researched and evaluated by present historiography. Regarding previous researches, preserved edifices and documentation of the artist’s private legacy preserved in his family, as well as parts of his legacy donated to the Theater Museum of Serbia, this article tends to present the artistic oeuvre of V. P. Zagorodnjuk and to initiate its further consideration.

The Author Was Not an Author: The Copyright Interests of Photographic Subjects from Wilde to Garcia

Toward the end of his dissent in Garcia v. Google, Judge Alex Kozinski remarked that “[w]hen modern works, such as films or plays, are produced, contributors will often create separate, copyrightable works as part of the process.” Judge Kozinski’s characterization of plays (or even films) as “modern works” opens the door to an examination of that claim with respect to another genre of modern work: the photograph. This essay focuses on the treatment of claimed authorial contributions by photographic subjects to the photographs in which they are portrayed. It traces the analysis of this issue from the early photography cases (and provides the relevant litigated images) to present times. What emerges is a forceful line of precedent that largely did not consider, accept, or emphasize a photographic subject’s authorial contributions to a finished photographic image. Coming full circle, I argue that longstanding judicial instincts on this front may help explain the outcome in the Garcia case.

Transmedia Theory’s Author Discourse and Its Limitations

Transmedia Theory’s Author Discourse and Its Limitations

Allegory and Psychology in Multi-authorship Writing. The cases of Fuoco grande by C. Pavese and B. Garufi and Pelle d’asino by A. Giuliani and E. Pagliarani

This essay focuses on the critical analysis and comparison of Fuoco grande by C. Pavese and B. Garufi and Pelle d'asino by A. Giuliani and E. Pagliarani as examples of co-authored literature. I define coauthored literature as a literary practice that entails the active and conscious co-operation of two or more authors. This approach leads to an innovative, argumentative and unpredictable interpenetration (compensation), which is the result of the various authorial contributions. In particular, I aim to investigate the links between allegory and psychoanalytical techniques used in co-authored literature. On the one hand, studying these approaches in relation to literary practice helps to reveal the relationship between co-authored writing and the contemporary world; on the other hand, it allows to verify the validity of this very analytical methodology when applied toco-authored texts. This can help to underline both the relationship between the concept of multi-authorship and Modernity, as well as the way dreams and fantasies influence both novels under scrutiny. I found that the psychoanalytic approach could not provide any fruitful results, as it appeared to nullify the creolising process that takes place during co-authored writing, because it is mostly apt to reveal the individual self. In contrast, the allegoric approach (be it intentio operis, or premeditate construction) demonstrated to be useful for the analysis of both works as it is more flexible.

Analyzing Stylistic Patterning in Film to Establish the Cinematographer as a Coauthor

Can the authorial contribution of the individual cinematographer to classical, narrative-based film be identified and attributed? This article addresses this specific question, but the specific case of the cinematographer must acknowledge the wider debates about film authorship. The article examines contemporary attitudes to coauthorship in film, highlighting the fact that, in terms of cinematography, most commentators still defer to directors when discussing the creation of meaning within images. While examining the works of Gregg Toland and William Wyler, the article evaluates authorial attribution by means of a comparison between the films they made together and the films they made separately. In order to do this, the article defines a method for establishing authorship within the film image. Toland is a prime historical example of a cinematographer whose authorial contribution has been severely underestimated in the pursuit of glorifying the directors he worked with (Orson Welles, John Ford, and William Wyler).

Training the next generation of clinical researchers: evaluation of a graduate podiatrist research internship in rheumatology

BackgroundThe aim of this study was to evaluate the effectiveness of the Arthritis Research UK funded graduate internship scheme for podiatrists and to explore the experiences of interns and mentors.MethodsNine new graduates completed the internship programme (July 2006–June 2010); six interns and two mentors participated in this study. The study was conducted in three phases. Phase 1: quantitative survey of career and research outcomes for interns. Phase 2 and 3: qualitative asynchronous interviews through email to explore the experiences of interns and mentors. Interpretive phenomenological analysis (IPA) of coded transcripts identified recurring themes.ResultsResearch outputs included ten peer reviewed publications with authorial contributions from interns, 23 conference abstract presentations and one subsequent ‘Jewel in the Crown’ award at the British Society for Rheumatology Conference. Career progression includes two National Institute for Health research (NIHR) PhD fellowships, two Arthritis Research UK PhD fellowships, one NIHR Master of Research fellowship and one specialist rheumatology clinical post. Two interns are members of NIHR and professional body committees.Seven important themes arose from the qualitative phases: perceptions of the internship pre-application; internship values; maximising personal and professional development; psychosocial components of the internship; the role of mentoring and networking; access to research career pathways; perceptions of future developments for the internship programme. The role of mentorship and the peer support network have had benefits that have persisted beyond the formal period of the scheme.ConclusionsThe internship model appears to have been perceived to have been valuable to the interns’ careers and may have contributed significantly to the broader building of capacity in clinical research in foot and ankle rheumatology. We believe the model has potential to be transferable across health disciplines and on national and international scales.

Views from the analytical angle

This paper presents a clear insight into the rich diversity of the range of texts published in the Analyses section, which indicates its place in the complete pool of papers published in the International Magazine for Music New Sound during two decades of its existence. The authorial contributions are grouped according to the genre peculiarities of the subject (a musical work or works) with which they deal analytically, and the consideration of the particular features of the chosen analytical angle is focused on concisely conveying the most important defining characteristics of all the published papers.

AUTHORSHIP OF POPULAR MUSIC IN UK COPYRIGHT LAW

While the commercial distribution channels of popular music (such as record retailers, radio stations, video channels, web stores), attribute authorship to performers, copyright law requires that a ‘musical work’ be invented ex post facto out of the ‘sound sculpture’ produced by the artist (and others, such as the producer) in the recording studio. This article explains how copyright law came to privilege some types of authorship, discusses the potential effects of recognizing a multiplicity of authorial contributions in the production of music, and argues for a closer correspondence of legal and aesthetic understandings of culture.

Guide to the Year's Work: General Materials

Certainly one of largest, and probably most important, recent works on Victorian is A Companion to Victorian edited by Richard Cronin, Alison Chapman, and Antony H. Harrison, a compilation of thirty-one substantial essays by established scholars on a wide variety of forms and issues. The Companion is an embarrassment of riches for a reviewer since many of essays call out for extended individual attention, but I will focus my attention here on structure and achievement of volume as a whole. Considering both difficulties of articulating a fixed canon of Victorian poets and limitations of looking at poets in isolation, editors have chosen wisely to eschew usual practice of commissioning essays on individual poets, and have instead commissioned essays on wide ranging but more or less discrete topics: genres (from epic to nonsense), traditions (classical and medieval), schools (Tractarian, Spasmodic, and Pre-Raphaelite), market for poetry, and intersections of with elements of Victorian culture (imperialism, nationalisms, religion, science, gender, and sexuality). Obviously parceling out essays to a variety of scholars might lead to artificial boundaries among diverse but connected topics, but editors have trusted various authors to negotiate debatable borders of their topics, with result essays fruitfully overlap, providing coherence and continuity without redundancy. Conspicuously missing from list of topics are poetry by women, Queer Poetry, and and Ideology, but, again, editors have wisely chosen to leave treatment of such concerns to emerge from manner of treatment of topics. As editors point out, absence of a chapter on women poets suggests that work of women poets no longer needs special defence (p. ix). As a result of editorial procedures and consistently high level of authorial contributions, Companion provides myriad critical perspectives and contextualizations of a very wide range of poets and poems, and constitutes an invaluable resource for students of period. Without making invidious distinctions or odious comparisons, and without providing analysis and commentary various chapters deserve, it seems fair to point out some of highlights of volume. Herbert Tucker's discussion of epic calls attention not only to usual suspects, but also to a surprising number of fascinating, though justly neglected, contenders, and Matthew Rowlinson, in his chapter on lyric, offers a compelling argument about how the genre of lyric is in Victorian for first time fully implicated in production of print text as a commodity (p. 60). The volume also contains authoritative yet suggestive essays on Tractarian by Stephen Prickett, on Spasmodic by Cronin, on poetic marketplace by Lee Erickson, on and religion by W. David Shaw, and on and science by Alan Rauch. Surprisingly, Companion rewards careful reading from cover to cover, though it will surely be more valued as a reference text for bringing readers up to date on current thinking about particular topics. A somewhat more specialized topic, not undertaken by Companion, is explored in Orientalist Poetics: The Islamic Middle East in Nineteenth-Century English and French Poetry by Emily Haddad, who offers an ambitiously revisionist view of literary history of nineteenth century as she attempts to show orientalism's centrality to evolution of and poetics in France and Britain (p. 2). More specifically, Haddad argues nineteenth-century aestheticism constitutes Islamic Orient in particular as a fundamentally site (p. 3), an other to European conceptions of nature as object of mimetic representation. Examining both French and English of Romantic and Victorian periods, Haddad traces an engagement with Islamic orient from romanticism of Southey, Shelley, Byron, Hemans, and even Wordsworth in England and Hugo and Musset in France through an increasing emphasis on it as a source and object of aesthetic experimentation with amimetic poetics in Theophile Gautier, Leconte de Lisle, Alfred Tennyson, and, more dubiously, Matthew Arnold, and finally to a culmination of orientalist poetics as aestheticism or art for art's sake in Oscar Wilde's theory and practice. …

Dialogues in the Margin: A Study of the Dublin University Magazine (review)

Wayne Hall's study of the important monthly journal, Dublin University Magazine, will prove essential to students and scholars of the vicissitudes of nineteenth-century Ireland. Dialogues in the Margin presents a carefully researched and exhaustive look at the contents, contributors, and shaping editors of the journal during its tenure between January, 1833, and December, 1877. As Hall points out in adroitly contextualized ways throughout his discussion, the journal published the work of nearly every important Irish writer of this period. In fact, the structure of Hall's argument—following the chronological rise and fall of the journal—allows him to outline equally the development of the literary arts in Anglo-Irish Dublin as well as the development of Ireland from Emancipation to the rise of Parnell. Along the way, Hall's research does well to clear the [End Page 153] murky waters of authorial contribution and editorial practice in the British Isles during this time when the Dublin University Magazine sought to create, as its early editors claimed, Ireland's "first successful attempt at native literature."

Virtuous Labor, Courtly Laborer: Canonization and a Literary Career in Lope de Vega's Isidro

Virtuous Labor, Courtly Laborer: Canonization and a Literary Career in Lope de Vega’s Isidro Elizabeth R. Wright In the course of one of early modern Europe’s longest and most prolific literary careers, Lope de Vega (1562–1635) wrote numerous hagiographies, typically upon commission from a city council, an aristocrat, or a court official. Yet his saints’ lives have received far less critical attention than his cloak-and-dagger comedias or his love lyrics. 1 Scholars, in general, have emphasized questions about how creative authorial energies shaped or altered literary forms that enjoy high prestige in our own time. Lope’s arte nuevo that transformed the comedia de capa y espada fits this preference, while his numerous hagiographies represent a now marginal literary form. Moreover, the devotional works written on commission highlight Lope as a writer whose pen bolstered or depended upon political and religious [End Page 223] authorities. Of course, the dependance of writers upon patrons shaped letters within ancien regime societies, and in this regard, Lope offers an indispensable case study of one such milieu. 2 We can recall the questions that Foucault poses in order to determine “what is an author?”—“where does it come from; how is it circulated; who controls it?” (138). These lines of inquiry underscore why we should assay the poet/playwright’s literary service-for-hire. Commissions rendered the authorial subject a collaboration or even a struggle among these constituting elements. With lives of saints, they included the commissioning patron, the hagiographer, and the royal and ecclesiastical censors who controlled the works’ circulation. Lope’s hagiography devoted to Madrid’s patron saint, Isidro labrador, gives us an excellent vantage point for such an inquiry. 3 As a poet and playwright, he contributed at least two texts that promoted the rustic holy man’s canonization: Isidro. Poema castellano (Madrid, 1599), a ten thousand line hybrid of hagiography and epic; and a play known as San Isidro Labrador, a near-contemporary to the poem. Later he presented two more plays and led two poetic jousts to celebrate the saint’s beatification (1620) and canonization (1622). 4 In recent years, only two scholars have considered the Isidro hagiographies at length; both portray the texts as part of a quest to reintroduce traditional values into a changing society. Noël Salomon’s classic study portrays [End Page 224] this traditionalism as part of a widespread revalorization of manual labor amid severe economic crisis, thus contemplating this traditionalism in the positive light of reform (199–211). Francisco Márquez Villanueva, in contrast, argues that the rustic theme makes Lope part of a reactionary attack on humanist ideals of individual freedom and scholarly inquiry (26–92). But if we reexamine the Isidro with a different theoretical framework, we find that self-writing coexists with or even undercuts hagiography. Here Stephen Greenblatt’s model of Renaissance identity offers a fruitful point-of-departure. His influential theory pivots on a paradox of early modern European society that Lope’s literary career exemplifies: the “increased self-consciousness about the fashioning of human identity as a manipulable, artful process” developed amid powerful, often extreme, limits to individual flexibility (Renaissance Self-Fashioning 2). New Historicist theory bypasses the literary exceptionalism that has often viewed canonical writers as unique figures rather than actors within specific historical and social contexts. Instead of discussing authorial contributions to the longue durée of prestigious genre, this theory asks how individuals navigated the channels of power within their societies. 5 Lope, the son of an embroiderer, parallels Shakespeare, the son of a glover, who serves as a key example in Greenblatt’s study: each writer had a grammar school education, a breadth of readings once limited to nobility and clergy, and a theatrical career that thrived in the shadow of a royal court. 6 Lope, moreover, exemplifies the new limits that came along with the freedom to fashion a new identity. The power of his society’s network of patrons and clients defined his career even from the stellar heights of incredible fame and widespread artistic influence, an incongruence that shapes his letters to the Duke of Sessa. This [End Page 225] article focuses on a historical...