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Depicting imaginary authorship On authority and unreliability in 18th century French pseudo translations
No full textMimicking translational practice, pseudotranslations— original texts that present themselves as translations— hold the potential of laying bare some literary conventions that shaped the literary context in which they appear. This is also illustrated by the ambivalent nature of pseudotranslations—seen as translation by some, and as original by others—which challenges the idea of authorship in relation to modes of textual transfer. This article proposes to investigate the depiction of authorship in eighteenthcentury French pseudotranslations. The analysis will illustrate how their paratextual staging of both imaginary author and (pseudo-)translator conveys a (meta)fictional commentary, based on a playful oscillation between construction and dismantlement. This hypothesis will be addressed through close-readings of Mylord Stanley, ou le criminel vertueux (1747), Histoire de Miss Honora (1766) and Le philosophe anglois, ou histoire de Mr. Cleveland (1731). These novels, all part of the ‘Anglomania’ movement, critically engage with images of authorship and translatorship. A comparative reading of their paratexts will bring out the interplay between the imaginary author as an embodiment of the cultural authority of the source text and the creative impetus drawn from his alleged unreliability as an author (and narrator), as well as that of the translatorstatus: Publishe
Les podcasts du colloque visibilité, invisibilité des savoirs des femmes
No full textLes podcasts du colloque visibilité, invisibilité des savoirs des femmes Colloque international organisé les 8 & 9 novembre 2018 à Université Paris-Est Marne-la-Vallée par Claire Delahaye, Isabelle Mornat et Caroline Trotot Jeanne CHIRON, Université de RouenLeprince de Beaumont : stratégies et prises de positions d’un « auteur femelle » dans le Londres des années 1750 Beatrijs VANACKER, Université Leuven ; Research Foundation Flanders (FWO)« De la part de l’auteur » Réseaux, stratégies ..
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
Poétique de l’épistolarité romanesque dans l’oeuvre de Jeanne-Marie Leprince de Beaumont
No full textAu sein de son oeuvre impressionnante, le rôle de Beaumont romancière, peu étudié jusqu’à présent, se déduit d’une importante série de romans publiés à des moments-clés de sa carrière. Dans ce parcours, c’est bien la période 1765-1767 (entre le Magasin des Jeunes Dames [1764] et le Magasin des Pauvres [1768]) qui marque l’intérêt de l’auteure pour la fiction romanesque. Pendant ces trois ans, Leprince de Beaumont publie autant de romans, à savoir Lettres d’Émérance à Lucie (1765), Mémoires de Mme la Baronne de Batteville (1766) et La nouvelle Clarice, histoire véritable (1767). Dans cette architecture romanesque en trois étapes, la cohérence interne est en large mesure assurée par la récurrence de passages de « lecture performante », qui servent de marqueurs intradiégétiques d’un projet de mise en récit fictionnelle. De ce fait, Leprince de Beaumont se montre d’une part une observatrice perspicace des stratégies narratives en vigueur à son époque, à travers sa mise en oeuvre d’un processus de négociation fictionnelle qui prépare et légitime la publication à proprement parler. Mais chez Leprince de Beaumont, la scénographie légitimante s’intègre en outre dans une poétique romanesque à forte orientation didactique. Les nombreuses scènes de lecture, que l’auteure prend soin d’attribuer à des héroïnes-narratrices exemplaires, marquent en même temps l’empreinte d’un programme éducatif qui passe outre le registre purement romanesque. En effet, si les rédactrices en question se décident à rédiger et faire circuler les récits de vie de leurs correspondant(e)s, Leprince de Beaumont les fait bien insister sur la logique d’édification qui justifie ce passage d’histoire privée à récit public. Dans sa capacité de prêter la voix au(x) lectrice(s)-romancières intradiégétique(s), le mode épistolaire s’avère ainsi particulièrement propice aux enjeux didactiques de Leprince de Beaumont romancière.Within Leprince de Beaumont’s impressive oeuvre, her role as a novelist has remained largely unexplored so far, even if her literary career was marked by a continuous interest in novel writing. This was especially the case during the three year-interlude (1765-1767) between Magasin des Jeunes Dames (1764) and Magasin des Pauvres (1768), when she published three novels: Lettres d’Émérance à Lucie (1765), Mémoires de Mme la Baronne de Batteville (1766) and La nouvelle Clarice, histoire véritable (1767). The internal coherence of this novelistic “triptych” is due mainly to the recurrence of performative reading scenes, which serve as intradiegetic markers of a fictionalization of the novel writing process, appearing in all three of the novels. By doing so, Leprince de Beaumont certainly proved to be an acute observer of the narrative strategies at play in the literary field of her time, which informed a widespread process of inner-fictional legitimation, facilitating the novels’ actual publication. Yet, in Leprince de Beaumont’s oeuvre, this “scénographie légitimante” also fits in with the author’s predominantly didactic view on novel writing. The numerous reading scenes, which she cleverly attributes to exemplary feminine narrators/heroines, at the same time designate the outline of a didactic program surpassing the novelistic regime. In Leprince de Beaumont’s fiction, the motivation for writing and publishing the life stories of some of the main characters arises from within the fiction itself, thus being informed by their edifying nature which, in itself, serves to justify the inner-textual transition from private history to public story. In its capacity to lend a voice to intradiegetic readers (turned writers), the epistolary form thus functions as an ideal fictional platform for Leprince de Beaumont’s educational purposes
Relational authority and Female Sovereignty. Fanny Burney’s Early Court Journals and Letters
No full textstatus: Publishe
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
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