1,720,976 research outputs found
Andersen et La Fontaine : deux écrivains représentatifs des cultures danoise et française ?
No full textAuchet Marc. Andersen et La Fontaine : deux écrivains représentatifs des cultures danoise et française ?. In: Le Fablier. Revue des Amis de Jean de La Fontaine, n°18, 2007. Formes brèves: la fable (actes d'Aveiro, 25 avril 2005) pp. 77-85
Ce sont les temps actuels, les gens de notre époque que nous allons voir!:Les romans d'Andersen et leur esthétique
No full textTvesyn og tøven i Ordet
No full textAnker Gemzøes læsning af Ordet viser, hvorledes det på de fleste punkter lever op til Aristoteles’ klassiske krav til tragedien om et sammenhængende, velmotiveret handlingsforløb – men uden at være en tragedie. Hovedfokus ligger på det sammensatte i stykket, angivet med nøgleordene tvesyn og tøven. Med ”tvesyn” sigtes der på den usædvanligt afbalancerede skildring af forskellige religiøse retninger, sociale grupper og professioner. Med ”tøven” fremhæves den dybere tvivl, det uafgjorte valg mellem videnskabelig fornuft og undertro, som Ordet hensætter sin tilskuer i. Til denne tøven svarer også en udfordrende blanding af dramatiske traditioner. Folkekomedie i en realistisk landlig ramme er blandet op med idédramaet og det kristne mysteriespil. Som formidlere i Munks afgørende vigtige forhold til middelalderteatret fremhæver artiklen Shakespeare, men især den voldsomme og eksperimentelle Strindberg, hvis betydning for Munk ofte er undervurderet. Netop forståelsen af middelalderteatret som modvægt til naturalismen forbinder ifølge Gemzøe Kaj Munk med samtidige teatermodernister som den sene Strindberg, Pär Lagerkvist og Svend Borberg
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
Ce sont les temps actuels, les gens de notre époque que nous allons voir!:Les romans d'Andersen et leur esthétique
No full textDobbeltloyalitet og de metafysiske ord i Ordet
No full textAnalyse af Kaj Munks drama Ordet, sammenholdt med Dreyers filmatiserin
Kaj Munks skuespil "En Idealist" som 1920´r-drama - under hensyntagen til andre versioner af stoffet
No full textVariations 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
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