1,721,133 research outputs found
La guerra civile americana vista dai contemporanei europei
No full textTraduzione della sezione francese della parte antologica del volume, con testi di V. Hugo, A. de Lamartine, E. Laboulay, A. Poussielgue, A. Carlier, P.J. Proudhon, P. Vésinier, C. de Montalambert, C. de Polignac
Il grido, la voce, il canto
No full textIl testo ripercorre e mette in questione lo statuto della voce in Lacan e a partire da Lacan, reinterpretando la vexata quaestio dello statuto primordiale della voce nei processi di soggettivazione
Mitopoiesi della Rivoluzione francese: la guerra civile americana e le origini della Francia contemporanea
No full textRicostruzione del dibattito politico e intellettuale francese sulla guerra civile americana e suoi riflessi sulla politica interna sotto il Secondo Impero
Unità della nazione, libertà e indipendenza. Il Risorgimento italiano e la guerra di secessione americana
No full text
Maylis de Kerangal: l'écriture et le réel
No full textFrom Corniche Kennedy, the literary horizon of Maylis de Kerangal has been enlarged by giving us the opportunity to read the intimate and collective adventure of a true human epic with a writing in direct contact with the real. But what are the relations between reality and fiction in the work of M. de Kerangal?
Seeking to identify the subjective impasses of present-day society, while extracting new forms of self-construction from the other, his writing seems to unite in a single movement reality and fiction to tell the world. The real that emerges from the texts of M. de Kerangal is a real "created", "worked", the real of fiction, in the context of a writing at the same time precise (by the exploration of all the proper lexical fields To each subject) and fast, spreading over the page and crossing the present with a lucid look at the complexity of human relationships. Seized in the energy of the movement, the emotions felt by the characters turn out to be tensions which, from pleasure to suffering, are often experienced in the flesh, and eventually surpass it, confronting itself with matter and seeking to Transform or capture the energy it releases. Nurtured by meticulous information about the real, his sentences describe a flow, both corporeal and mental, by means of a multiple, palpitating and just writing that evolves in the course of his novels, notably from Corniche Kennedy to Réparer les vivants, through Naissance d’un pont.
Thus, in the context of the current novel, which has become « protéiforme, polymorphe, transformiste, omnivore », as the writer noted in his intervention in the collective Devenirs du roman (Inculte, 2007), while diving into the heart of the human condition, M. de Kerangal's writing becomes the place of observation and discussion around the act of writing, as well as a tool for reflection on some features of contemporary prose.Depuis Corniche Kennedy l’horizon littéraire de Maylis de Kerangal s’est s’élargi en nous donnant à lire l’aventure à la fois intime et collective d’une véritable épopée humaine avec une écriture en prise directe avec le réel. Mais, quels rapports entretiennent-ils le réel et la fiction dans l’œuvre de M. de Kerangal ?
Cherchant à cerner les impasses subjectives de la société actuelle, tout en extrayant de nouvelles formes de construction de soi et de l’autre, son écriture semble réunir en un seul mouvement réalité et fiction pour dire le monde. Le réel qui émerge des textes de M. de Kerangal est un réel « créé », « travaillé », le réel de la fiction, dans le contexte d’une écriture à la fois précise (par l’exploration de tous les champs lexicaux propres à chaque sujet) et rapide, qui s’étale sur la page et traverse le présent avec un regard lucide sur la complexité des rapports humains. Saisies dans l’énergie du mouvement, les émotions ressenties par les personnages s’avèrent des tensions qui, du plaisir à la souffrance, s’expérimentent souvent dans la chair, et finissent par la dépasser, se confrontant à la matière et cherchant à la transformer ou à capter l’énergie qu’elle dégage. Nourries par une information minutieuse du réel, ses phrases décrivent une coulée, à la fois corporelle et mentale, au moyen d’une écriture démultipliée, palpitante et juste, qui évolue au fil de ses romans, notamment de Corniche Kennedy à Réparer les vivants, en passant par Naissance d’un pont.
Ainsi, dans le cadre du roman actuel, devenu « protéiforme, polymorphe, transformiste, omnivore », tel que l’écrivaine le remarquait dans son intervention dans le collectif Devenirs du roman (Inculte, 2007), tout en plongeant au cœur de la condition humaine, l’écriture de M. de Kerangal se fait lieu de l’observation et de la discussion autour de l’acte d’écrire, ainsi qu’un outil de réflexion sur quelques traits de la prose de l’extrême contemporain
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
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