1,720,954 research outputs found
“Her tongue clove to her palette" : dépeindre une langue à double-tranché dans la fiction de Brian Evenson
Get PDFThe tongue of contemporary American writer Brian Evenson did slip and cleave when he wrote “Her tongue clove to her palette” and “Bernt […] found his tongue cleaving to his palette”, respectively in his novel Dark Property(2002) and the short story “Grottor” (2012). By substituting a “palette” for a “palate”, he disfigured his tongue to recall the broad spectrum of sensual possibilities his very musical as well as visual material is endowed with. The violent intrusion of a “palette” in the mouth and in the text makes it possible to brush up and off the art of painting in a work paradoxically so insistent on its desire to break away from mimesis. The double-meaning of “stump” in relation to mutilation and drawing sketches the links between phantom limbs and the remnants of a creative movement – since one cannot radically sever the links with the referent, it must be blurred, even if its ghostly figure comes back, haunting the reader through its painful absence of stability. Its shadow is reflected through these fuzzy lines, the only surviving traces of pictorial and linguistic compositions autonomously decomposing and recomposing themselves.La langue tranchante de l’auteur américain contemporain Brian Evenson fourche à plusieurs reprises lorsqu’il écrit respectivement dans le roman Dark Property (2002) et dans la nouvelle « Grottor » (2012) « Her tongue clove to her palette » et « Bernt […] found his tongue cleaving to his palette ». En substituant une « palette » au « palais », il défigure sa langue pour rappeler le large spectre que recouvrent les possibilités sensibles de son matériau, tant visuelles que sonores. La violente intrusion de cette palette donne l’occasion de peindre tout autant que de dépeindre la langue en soulignant l’enjeu paradoxal du pictural dans une œuvre qui souhaite se détacher de l’idéal mimétique. Le mot polysémique anglais « stump », à la fois moignon et estompe, souligne les rapports qu'entretiennent membres fantômes et vestiges de geste créateur : à défaut de pouvoir radicalement se détacher de la référence, il s'agit de la brouiller, quitte à en conserver une silhouette fantomatique qui revient hanter le lecteur à travers sa douloureuse absence de stabilité. Son ombre mouvante se reflète dans ces contours flous, seuls survivants de compositions picturales et langagières en constantes décomposition et recomposition autonomes
"The lips of the wound" : american writing as strange mutilation in Brian Evenson's works of fiction
No full textAvec des titres aussi explicites que The Brotherhood of Mutilation ou The Wavering Knife, l'œuvre de l'écrivain américain contemporain Brian Evenson laisse peu planer le doute quant au sort qu'elle réserve aux corps, amputés, démembrés et éparpillés tout au long de ses pages. Interrogé sur l'omniprésence d'actes de mutilation dans sa fiction, l'auteur répond avec humour qu'elle découle d'un intérêt tout particulier pour les haches. Lorsqu'il confie cependant choisir les noms de ses personnages en fonction de leurs sonorités, tranchantes une fois encore « telles des haches », la plaisanterie cède le pas à des méditations plus profondes sur le statut de l'œuvre littéraire : le plus tranchant chez Evenson serait en réalité la langue elle-même, et la mutilation la figure d'un manifeste poétique, linguistique et politique. Le lecteur est incité à dépasser le cadre diégétique des représentations de corps suppliciés pour se confronter à la violence primordiale qui sévit dans ce corpus : celle du langage. En montrant dans ses récits l'emprise normalisatrice des discours sur les corps, Evenson donne au-delà de considérations politiques un aperçu du pouvoir d'affect de son médium langagier. Les membres fantômes qui se multiplient par amputations dans les récits figurent avant tout la hantise à laquelle les lettres d'Evenson soumettent leur lecteur. L'étrange mutilation de cette écriture ne réfère toutefois pas seulement à la figuration de la souffrance physique ou à sa communication intensive par le corps de texte au lecteur : elle concerne l'événement d'écriture d'une langue d'autant plus apte à tourmenter et brutaliser son lecteur qu'elle est elle-même étrangisée et défigurée. Cette prose est celle des beaux livres, « écrits dans une sorte de langue étrangère » selon Proust : la langue de la littérature mineure que Gilles Deleuze appelle de ses vœux. Elle ne saurait trouver plus bel écrin que le désert de l'ouest américain, espace en constante désintégration où la Frontière mouvante est propice aux rencontres avec l'Autre. Ainsi entraîné, le langage lui-même est poussé « à sa limite propre pour en découvrir le Dehors », « musique des mots », « peinture avec des mots », « silence dans les mots ». Car le moignon si central dans cette esthétique de la mutilation, « stump » en anglais, révèle par son double-sens d'« estompe » toutes les qualités figurales d'une œuvre réconciliant les arts pour mieux célébrer la plasticité créatrice de son matériau.With one of his collections of short stories and a novella respectively entitled The Wavering Knife and The Brotherhood of Mutilation, contemporary American writer Brian Evenson cannot but acknowledge the recurrence of mutilations and amputations in his work. His playful comment that these themes actually sprang from an obsessive interest in axes echoes his willingness to “move the reader away from something mimetically depicted” by directing the attention to the instrument rather than to the object of representation the mutilated body would be. His choice of names through their sound patterns, some “operating more like axes than contemporary American names do,” reinforces the idea that mutilation might be studied as a metafictional allusion to the literary and linguistic creative process by focusing on the physical and even cutting characteristics of languages. The violence that the reader is presented with is, at the end of the day, that of language itself. Showing the normalising impact of discourses upon bodies, beyond the political stance, enables Evenson to hint at the affective power of his linguistic medium. The characters' phantom limbs primarily stand for the reader's haunting by the text. Nonetheless, the strange mutilation of the writing does not only refer to the textual representation of suffering bodies, nor to the intensive communication of pain from the body of text to the reader's body - it alludes to the way the tongue itself is being disfigured and defamiliarized, in keeping with Proust's and Deleuze's belief that great books are written in a language made to sound off and foreign. That minor literature thrives in the constantly disintegrating desert landscapes of the West, the moving Frontier of which provides the perfect place to encounter the Other. Language is similarly brought to its limits, prompting the reader to discover the music, painting and silence that characterize the outside of words. Indeed, the aesthetics of mutilation centres on a “stump” that polysemically points to the figural qualities of a writing style reconciling visual and musical arts, better to celebrate the creativity of its plastic language
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
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
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
- …
