1,720,953 research outputs found
Yasmina Reza, the Mirror and the mask
No full textYasmina Reza, auteur de théâtre français, reconnue dans le monde entier, a reçu les prix les plus prestigieux : trois Molières (FR), un Laurence Olivier Award (GB), deux Tony Award (USA), le Die Welt (All), pour ne citer qu’eux. En France, elle est encore souvent considérée comme un auteur à succès, n’offrant au public qu’une forme de théâtre de boulevard contemporain. L’étude précise des textes dramatiques de Yasmina Reza, de sa langue, de ses personnages et des structures de ses pièces, laisse apparaître sous le masque de la comédie une richesse et une complexité plus profondes. Elle met en scène des personnages bourgeois dont la vie se caractérise par une certaine facilité, tout en levant le voile sur des préoccupations métaphysiques universelles. Il s’agit toujours de la confrontation de l’homme avec le monde ou avec ses semblables. Cette pensée de l’individu inquiet s’accompagne dans la forme d’une réflexion sur le pouvoir de l’art dramatique. La caractérisation bourgeoise de son théâtre est autant un miroir tendu au public qu’un masque qui voile une interrogation permanente sur le sens de la vie et de l’art, dans la continuité du travail de l’avant-garde du milieu du XXe siècle dont elle se révèle être une relève inattendue.The Famous French playwright Yasmina Reza received some of the most prestigious prices in the world : three Molières (FR), a Laurence Olivier Award (UK), two Tony Award (USA), a Die Welt (DE). Nevertheless, in France she is still considered as merely a successful author, with some kind of new farce to offer. A specific study of Yasmina Reza’s drama, including her language, her characters and the architecture of her plays, brings out other meaningful and complex colors from under the mask of comedy. She stages middle-class characters whose life is quite easy; in the meantime she reveals universal metaphysical issues. It is always about a clash between a person and the world or a person and his kind. This reflection about the anxious being goes on stage with a reconsideration of the power of theater. The middle-class characterization is a mirror for the audience as well as it is a mask that covers a constant questioning about the meaning of life and art, continuing the work of the avant-garde of the middle of the 20th century, of which she appears to be an unexpected new recruit
Mobilité, espace et temps dans L’Homme du hasard de Yasmina Reza
No full textL’Homme du hasard de Yasmina Reza met en scène deux personnages, un homme et une femme, assis face à face dans un train. L’homme est un auteur, un romancier reconnu, Monsieur Parsky, et Martha, une de ses lectrices assidues. Les deux personnages ne se sont jamais vus. La tension dramatique de la pièce tourne autour d’une question : cette femme va-t-elle faire savoir à cet homme qu’elle sait qui il est ? Le lieu de l’action prend alors tout son sens, il protège les protagonistes (l’extérieur n’est qu’objet de contemplation et ne peut perturber les plans de Martha), mais cet état de grâce est limité dans le temps et à mesure que les kilomètres sont parcourus, l’urgence s’impose. Dans ce temps suspendu et pourtant limité, les personnages se penchent sur leurs passés, donnant à la pièce de Yasmina Reza une dimension mémorielle manifeste. Il s’agit de comprendre comment au-delà de ce cadre situationnel, la construction de la pièce, le développement de l’intrigue et la caractérisation des personnages sont inextricablement liés à ce choix premier. Au sein de l’esthétique théâtrale, boîte noire qui entraîne le spectateur dans un voyage, le confinement dans un wagon en marche conditionne chaque élément de L’homme du hasard.The Unexpected man by Yasmina Reza features two characters, a man and a woman, sitting face to face in a train. The man is an author, a renowed novelist, Mr. Parsky, and Martha, one of his assiduous readers. They have never seen each other. The dramatic tension of the play is focused on one question : Will this woman make this man know she knows who he is ? The location of the action makes sens, it protects the protagonists (the outside is an object of contemplation and can’t disrupt Martha’s plans), but this honeymoon period is limited : as the miles are driven, the urgency is becoming obvious. In this protected and yet limited time, the characters think about their past, giving the play a very important memorial dimension. One shall see how the construction of the piece, the plot development and the characterization of the characters are inextricably linked to this situational framework. Within the treatrical æsthetic, the journey by train determines each element of The Unexpected man
Yasmina Reza, Le miroir et le masque
No full textYasmina Reza, auteur de théâtre français, reconnue dans le monde entier, a reçu les prix les plus prestigieux : trois Molières (FR), un Laurence Olivier Award (GB), deux Tony Award (USA), le Die Welt (All), pour ne citer qu eux. En France, elle est encore souvent considérée comme un auteur à succès, n offrant au public qu une forme de théâtre de boulevard contemporain. L étude précise des textes dramatiques de Yasmina Reza, de sa langue, de ses personnages et des structures de ses pièces, laisse apparaître sous le masque de la comédie une richesse et une complexité plus profondes. Elle met en scène des personnages bourgeois dont la vie se caractérise par une certaine facilité, tout en levant le voile sur des préoccupations métaphysiques universelles. Il s agit toujours de la confrontation de l homme avec le monde ou avec ses semblables. Cette pensée de l individu inquiet s accompagne dans la forme d une réflexion sur le pouvoir de l art dramatique. La caractérisation bourgeoise de son théâtre est autant un miroir tendu au public qu un masque qui voile une interrogation permanente sur le sens de la vie et de l art, dans la continuité du travail de l avant-garde du milieu du XXe siècle dont elle se révèle être une relève inattendue.The Famous French playwright Yasmina Reza received some of the most prestigious prices in the world : three Molières (FR), a Laurence Olivier Award (UK), two Tony Award (USA), a Die Welt (DE). Nevertheless, in France she is still considered as merely a successful author, with some kind of new farce to offer. A specific study of Yasmina Reza s drama, including her language, her characters and the architecture of her plays, brings out other meaningful and complex colors from under the mask of comedy. She stages middle-class characters whose life is quite easy; in the meantime she reveals universal metaphysical issues. It is always about a clash between a person and the world or a person and his kind. This reflection about the anxious being goes on stage with a reconsideration of the power of theater. The middle-class characterization is a mirror for the audience as well as it is a mask that covers a constant questioning about the meaning of life and art, continuing the work of the avant-garde of the middle of the 20th century, of which she appears to be an unexpected new recruit.PARIS4-Bib. électronique (751059905) / SudocSudocFranceF
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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
Full text linkWe 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
Full text linkWe 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
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