1,720,957 research outputs found
Geopoetics of landscape in Nicolas Bouvier’s travelogue (The Way of the World) and Julien Gracq’s novelistic writing (The Opposing Shore)
No full textAs the selection of primary sources indicates, the dissertation deals with the problematics of landscape construction within the texts of two divergent genres in the context of the French-speaking narrative literature of the II-nd half of the XX-th century. While relying heavily on the theoretical underpinnings of the geocritical thought applied for the purposes of close reading the dissertation offers a comparative study of the landscape poetics in the novelistic writing of the last recognized classic of the French belles-lettres, Julien Gracq, and in the travelogue by the most renowned globe-trotter in the modern history of Swiss literature in French language, Nicolas Bouvier. Confronting the landscapes depicted in The Way of the World that tells the story of the journey its author had actually completed (together with his fellow traveler, the painter and graphic artist Th. Vernet) on the one hand and the imaginary landscapes of The Opposing Shore on the other hand allows to develop a methodological strategy in line with a twofold comparative logic that can be schematized as follows. The landscapes laid out on the pages of Gracq\u27s exemplary novel strive to be perceived as the product of an unbridled geographic imagination while still allowing to discern behind a number of their constitutive elements a notable geographical inspiration of non-fictional origins. In contrast, the landscapes described by N. Bouvier are, by definition, based on the personal observations and rooted in the author\u27s immediate lived experience of geographical space during his journey across the Balkan, North African, Asian countries, etc. Nevertheless, the landscape poetics of Bouvier\u27s travelogue never limits itself to the impartial and uninvolved documentation confined to a strictly referential register in the precritical sense of the term. At the same time, the prime practical objective of the present study is to get a solid grasp of the poetical properties of the landscape writing by both, the French and the Swiss French, authors by means of a close comparison of the relevant passages characterized by an apparent landscape accentuation
Multimedia platform” of La Théorie de l’Information Inventorising (Inter-)Media Affordances of Aurélien Bellanger’s Flat Novel-Writing
No full textAurélien Bellanger’s La Théorie de l’Information (2012) traces back the history of French telecommunications, recounted principally from an encyclopaedic standpoint, all the while interweaving a factual account of recent advancements in IT with narrative fiction in the strictest sense. Stylistically, Bellanger’s novel is charac-terised by “flat” writing (nearing “zero degree” theorised by Roland Barthes) and by a sustained encyclopaedic interest in technical details reflective of its largely factographic approach to representing the digital through recounting the deve-lopments in computer network technologies. An analysis carried out from an inter-medial standpoint aims at demonstrating that novelistic writing of the specified nature is not, however, exempt from abiding by the general principles inherent to any variety of intermedial dialogue that gets established vicariously in the territory of fiction inasmuch as it involves proportionally both mediums in contact.
Hence, the paper aims to engage with novelistic remediation of the digital by way of interdiscursive means, which entails Aurélien Bellanger’s novel appropriating poeti-cally distinctive elements of marketing discourse introduced textually in the interest of facilitating the interaction between the analogue medium of a traditionally publi-shed novel and some relatively recent computer technologies that have, however, gone nearly obsolete (cf. PC equipped with CD-ROM reader). As he revisits the iconography of the early Internet, Bellanger is brought to mobilise poetic devices belonging to the registry of literary “inventory” deployed in the text in order to faci-litate reinterpreting the represented digital medium in accordance with the novel’s own inherent predispositions that define it as a narrative genre.Dans son roman La Théorie de l’Information (2012), Aurélien Bellanger retrace,d’une façon essentiellementencyclopédique, l’histoire destélécommunica-tions françaises tout en l’entremêlant adroitement avec la fiction au sens strict. Stylistiquement, le roman de Bellanger se caractérise par une écriture « plate » (se rapprochant du « degré zéro » théorisé par Roland Barthes) et par une préoccupation de lafactographie technicienne en tant qu’approche de la représentation du numérique et des technologies de télécommunication. L’ambition de la lecture effectuée d’un point de vue de l’intermédialité serait de démontrer qu’une telle écriture romanesque n’échappe pourtant pas aux régularités et principes inhérents à tout dialogue intermédiatique s’établissant sur le territoire de la fiction en tant qu’engageant à parts égales les deux médiums se mettant en contact.
L’article envisage d’étudier plus spécialement la mise en texte (ou remédiation) des médias numériques par la voie interdiscoursive.Il s’agira, en particulier, d’appro-priation poétique dans le roman d’Aurélien Bellanger des éléments du discours marketing mis à l’œuvre textuellement dans l’intérêt de faciliter l’interaction du médium analogue (celui à la portée du roman d’édition traditionnelle) et des technologies informatiques récentes et pourtant, vite rendues obsolètes suite à l’avancée de l’Internet à haut débit (cf. PC équipé d’un lecteur CD-ROM). En revisitant l’iconographie d’Internet à ses débuts, Bellanger est amené à mobiliser des procédés appartenant au registre du soi-disant « inventaire » littéraire déployés dans le texte afin de retravailler le médium numérique représenté en concordance avec les prédispositions inhérentes au roman comme genre narratif
Visio pixélisée et l’effet diapo: remédiation romanesque d’une téléconférence numérique dans Rétine de Théo Casciani
Get PDFThe paper aims to put forward a reading of a sub-chapter-long episode in Théo Casciani’s novel Rétine (2019), dedicated entirely to relating a prolonged video call between two characters (of which one is the narrator). Drawing solely on the exemplary scenes from the cited case study, the paper offers a methodological examination of the novelistic text under the angle of poetic representation (or remediation) of digital media and, more specifically, of the contemporary means of teleconferencing. Through a combination of textual analysis and theoretical reflection, the paper sets out to demonstrate that literary intermediality is distinguished by its capacity to engage bilaterally with both mediums getting put into contact, novelistic writing thereby being brought to mobilise unconventional poetical resources, while resorting to procedures of synchronisation between the representing and the represented media that are hardly reducible to the non-poetic uses of language outside of the context of intermedial dialogue established vicariously on the territory of fiction (i.e. by proxy of representation).Keywords: poetics; novelistic writing; intermediality; Casciani; remediation; digital media; slideshowThe paper aims to put forward a reading of a sub-chapter-long episode in Théo Casciani’s novel Rétine (2019), dedicated entirely to relating a prolonged video call between two characters (of which one is the narrator). Drawing solely on the exemplary scenes from the cited case study, the paper offers a methodological examination of the novelistic text under the angle of poetic representation (or remediation) of digital media and, more specifically, of the contemporary means of teleconferencing. Through a combination of textual analysis and theoretical reflection, the paper sets out to demonstrate that literary intermediality is distinguished by its capacity to engage bilaterally with both mediums getting put into contact, novelistic writing thereby being brought to mobilise unconventional poetical resources, while resorting to procedures of synchronisation between the representing and the represented media that are hardly reducible to the non-poetic uses of language outside of the context of intermedial dialogue established vicariously on the territory of fiction (i.e. by proxy of representation).Keywords: poetics; novelistic writing; intermediality; Casciani; remediation; digital media; slidesho
Digital media and the 21st-century novel: contemporary perspectives on intermediality in French and anglophone fiction
Get PDFThis study looks at the Internet and digital media representation in French and anglophone contemporary novels published since 2012 from the perspective of intermediality in fiction while also drawing from a variety of tangential disciplines, including media philosophy (media theory), screen media studies (singling out the interactive media problematics), Internet and social media studies, and, to a lesser degree—digital humanities and software studies.
The contemporary (Web 2.0) Internet is virtually synonymous with the “culture” (Jones 2006, p. xvi) in its already quasi-ubiquitous and still ever-expanding global penetration; as such, it is also paradigmatic of today’s digital information society that it both shapes and emblematizes. The Internet’s all-encompassing “mono‑”(“meta-”, “multi-”) medium disrupts boundaries between traditional media by engulfing their digitised instances and collapsing them into one data stream circulating across a “chaotic” (Peters 2015) globalised mediascape (Appadurai 2003). This feature of the digital echoes the novel’s Bakhtinian ambition to accommodate on one textual “unitary plane” (Bakhtin 2003) multiple heterogeneous discourses, each reflective of a worldview conceptualised in words.
Contrary to the late 20th-century criticism equating the Internet to Hypertext, the 21st-century novel shifts the focus of digital media representation to a casual user-oriented software manipulation and computer interface depiction. This calls for literary analysis informed by intermediality studies. The study defines intermediality in fiction as a profoundly reflexive process to demonstrate that portraying such an all-embracing “medium” as the Internet inevitably leads the novel to further explore its inherent intermedial potential. Presented with the challenge of transcribing an interactive multimedia experience with novelistic means, some of the studied authors (Théo Casciani, Aurélien Bellanger, Tom McCarthy) rely on the evocative powers of novelistic writing and appeal to the genre’s extensive palette of expressive means, whereas others (Emmanuelle Pireyre, Darcie Wilder, Patricia Lockwood) experiment with the novel’s capacity to integrate the non-textual elements and test the limits of the genre while relying heavily on the reader’s familiarity with the digital-born culture and fluency in new media literacies the Internet promotes.
The methodological framework of intermediality studies is utilised to chart out and analyse a variety of strategies applied by contemporary authors to novelise digital, web-enabled media, ranging from narrating the interactions with software and ekphrastic accounts of the on-screen multimedia content to integrating into the traditional novel the visuals or inserts taking the form of image-text composites reflective of the multi-modal routines the readers-turned-netizens are currently exposed to through navigation of the “cyber-space,” which is today’s online media sphere
Poétisation des frontières intermédiatiques dans la Théorie de l’information d’Aurélien Bellanger : établissement de la connexion à l’Internet comme site (topos) de transcription romanesque du numérique
Get PDF(Poetizing the Intermedial Boundaries in the Theory of
Information by Aurélien Bellanger: Establishing Connection to the Internet as a Site (Topos) of Transcribing the Digital into Fiction). A major stumbling block for the theorization of the digital, amplified by the Internet, is its tendency to blur the boundaries between the formerly distinct media by “liquefying” those to the point of indiscernibility. Hence, there was a lack of consensus amidst media scholars, whose initial response towards this change of paradigm was reduced to a series of interchangeable umbrella terms: from multi- (or omni-) medium to hyper-medium, etc. The paper aims at demonstrating that one of the best-adjusted sites (or topoï) for the staging of an intermedial dialogue in fiction, as far as the novels – cf. Aurélien Bellanger (2012) –attempting the poetization of the network are concerned, manifests itself in the episodes relating the process of establishing the network connection, since a logical progression of such sequences reiterates diegetically the very principle of interaction between several mediums all the while seeking to articulate those technologically and poetically
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
Intermediality “Ad Minima”: Novelistic Poetization of the Minitel Network in Aurélien Bellanger’s The Theory of Information
Get PDFAs part of an extensive (quasi)-historical Bildungsroman-like panorama of the early precursors of the computer network technology as we know it today – that Aurélien Bellanger’s The Theory of Information (2012) can be equated to, from the point of view of digital media representation in fiction – the novelist attempts to poetize a fairly unique instance of a widely successful national implementation of the so-called “videotex” technology that came to be known in pre-Internet France as the Minitel. The paper looks at the novelistic translation of the rudimentary text-based graphics (or ersatz-graphics) of the Minitel terminals (that would later evolve into a recognizable computer-specific “Ascii”-art form) and engages with a number of theoretical problems raised by the incorporation of such minimalist forms into the literary text from the perspective of the intermediality in fiction as well as through the prism of semiotics in art, etc. The following contention is therefore put to the test: a novelistic text – characterized by a somewhat limited stylistic range of Bellanger’s mainly encyclopaedic in tone, (near-)zero degree kind of writing – that is confronting the problematics of representation of the rudimentary multimedia capacities of the Minitel technology distinguished by its minimalist text-based visuals warrants a detailed study in the methodological spirit of the close reading analysis (i.e. a form of “micro”-technology in its own right as far as the techniques of critical reading are concerned)
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
- …
