to the discussion around the JIF. In these studies we investigated the effect of several versions of one and the same manuscript published by a journal on its JIF.
Bornmann et al. ( 2011 ) took the case of the interactive open access journal
Lindsey recently examined the precision of the manuscript review process using a stochastic model. The study reported that the low reliability found by previous studies results in journals publishing a large number of papers that should otherwise be rejected and rejecting an equally large number of papers that should be accepted.Hargens andHerting have criticized this view. This paper addresses their criticisms. The paper includes an examination of sociology journals usingimpact scores. The differences between journals is noted. Part of the variation between sociology journals derives from their editorial operations. Central to their editorial operations is the reviewing of manuscripts for publication. Not all journals perform this task equally well. The consequences of poor editorial management are discussed. To improve the quality of published work journals need to reduce the low reliability of the current manuscript review process.
To examine the dynamics of incompletion that characterizes many writings by twentieth century authors, the following essay
investigates the possibilities to visualize (1) switches, (2) shuffles and (3) shifts in modern multilingual manuscripts with
digital philological tools. (1) Jerome McGann’s notions of the bibliographical and the linguistic codes were originally not
coined in relation to manuscript studies, but they can be applied to a particular form of “code switching” between an image-based
and a text-based approach. (2) Another phenomenon that typically marks the writing process of literary texts is the practice
of shuffling textual segments when their definitive position has not yet been fixed. (3) Finally, transtextual shifts in multilingual
manuscripts are not only limited to intertextual references, but often have a language-related dimension as well.
The question of authenticity in the creation of Bartók’s Viola Concerto has been one of the most enigmatic in the viola repertoire. Inconsistencies among revisions of the work by different scholars since the first attempt by Tibor Serly in 1946 reveal that the task of uncovering an authentic final version by scrutinizing the manuscript itself is not always a clearcut or “purely mechanical” endeavor. Following a brief overview of the manuscript’s layout, this article addresses some ambiguous details based on a number of puzzling indications. Some of these questions can only be resolved by acquiring an in-depth knowledge of Bartók’s musical language. The manuscript draft is thereby approached not only by studying the primary-source materials alone, but also by means of a theoretic-analytical approach. The latter takes into account principles of modality, polymodal combination, and more abstract types of pitch sets, such as hybrid modes, the octatonic scale, and other more chromatic configurations. General types of scalar or modal construction are discussed as basic determinants in performing certain figural details. Such principles as diatonic expansion, chromatic compression, and polymodal chromaticism are shown, for instance, to be essential for understanding the content and function of the trill figures and the larger linear constructions to which they belong. Thus, we may assume that the combined levels of research and analysis suggested above are essential in arriving at Bartók’s authentic conception.
Authors:Lutz Bornmann, Hanna Herich, Hanna Joos, and Hans-Dieter Daniel
public peer review (PPR), electronic publishing offers new possibilities of quality assurance that cannot be realized in traditional closed peer review. Whereas traditional peer review of submitted manuscripts involves the use of designated reviewers
In this article I use ‘Tibullus’ as shorthand for ‘Tibullus and the rest of the Corpus Tibullianum ’, as the manuscripts discussed here attribute all these texts to the Augustan elegist. — The Budapest codex was
The occurrence of the isolated pressus in the Gregorian Mass Proprium chants was examined in 11 early manuscripts. The early written tradition for the pressus in isolation is not at all uniform. The frequency of a pressus notation varies widely from one source to another. The author sketched the potential power of standard non parametric statistical theory in order to overcome the problem of contamination that until now hampered the study of relationships between manuscripts. The notation of the pressus in isolation is used as an illustration.
In his edition of Pro Milone A. C. Clark has misreported numerous readings of two Florentine manuscripts: Laur. XXIII Sin. 3 and BN J.IV. 4. This paper presents a list of mistakes and the relevant true readings of the MSS.