1,721,209 research outputs found
Les Empires de l'Atlantique XIXe-XXIe siècles : figures de l'autorité impériale dans les lettres d'expression européenne de l'espace atlantique
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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
Africa from north to the south : poetic of space in the maghreban and african subsaharian literature
No full textÀ l’instar des romans africains et maghrébins qui s’inscrivent pour la plupart dans une perspective de confrontation avec le colonialisme, les textes que nous avons choisis peuvent se lire dans la perspective novatrice que Bertrand Westphal a significativement baptisée “géocritique”. Ces œuvres reflètent une esthétique qui puise sa particularité et sa richesse dans des origines hybrides, entre langue maternelle, d’éducation et langue de l’occupant ou de l’exil. Cette thèse est donc l’occasion de parcourir l’espace africain, créant ainsi un panorama de son horizon littéraire, notamment par l’étude des particularités de l’Afrique du nord et de l’Afrique subsaharienne ainsi que les rapports qu’elles entretiennent depuis la plus haute antiquité jusqu’à aujourd’hui.Like most of African and Maghreb novels which are mostly enrolled with the confrontation of colonialism, the texts we have choosen can be read the original perspective that Bertrand Westphal has significantly named "geocritics". These works share an aesthetics of a richness which owes its originality to hybrid origins, between mother or learned tongue and occupant or exile language. This thesis is therefore an opportunity to explore the African space, shaping a panorama of its literary horizon, mainly by studying the particularities of North Africa and sub-Saharan Africa and the relationships that they maintain from the highest Antiquity until today
From the Atlantic to the Mediterranean : Fréjus and Marseilles as alternative capitals of Black France?
Full text link[More recently, however, pioneering work, most notably by French historians associated with the ACHAC collective, as well as by cultural and literary scholars, not least Lydie Moudileno and Kate Marsh,2 has slowly begun to shift the critical focus towards what is often termed the ‘postcolonial provinces’: although Black Paris may have played a pivotal role in the development of what we might term a Black French Atlantic, there were, in fact, significant black populations in many French port cities, including Le Havre, Bordeaux and Marseilles. This essay will focus on the latter city as well as, perhaps more surprisingly for some readers, its near neighbour, the small Mediterranean town of Fréjus. If Marseilles, as a major Mediterranean port, is already well known as an ‘immigrant’ city, long host to populations from North and sub-Saharan Africa (and further afield), the role of Fréjus in the history of Black France is somewhat obscured. This small seaside town might, however, lay claim to having served as the true capital of Black France in the first half of the twentieth century, for it was there, during the First World War, that the French Army created a major military base for its black African troops, the tirailleurs sénégalais (a base that remained in service until the 1960s).
The writing of the return in some postcolonial and english novels (Chimamanda Ngozi Adichie, Dany Laferrière, Alain Mabanckou, Léonora Miano, Taiye Selasi)
No full textÀ l’évidence, si le monde actuel est parcouru par toute une série d’échanges et de flux humains notamment liés aux diverses migrations, des courants politiques ou idéologiques prônent, à l’inverse, un repli vers le passé national et un retour à la tradition. Dans ce contexte de tensions contradictoires, la thèse se propose d’examiner les conditions d’écriture d’un roman du retour par des écrivaines et écrivains africains ou d’ascendance africaine de la période contemporaine. Le corpus est constitué de cinq romans postcoloniaux écrits par des auteurs qui ont connu le départ, le retour et parfois l’aller-retour. Il s’agit de Dany Laferrière (L’énigme du retour), Alain Mabanckou (Lumières de Pointe-Noire), Léonora Miano (Tels des astres éteints), Chimamanda Ngozi Adichie (Americanah) et de Taiye Selasi (Ghana Must Go). La réflexion porte sur la nature des rencontres coloniales ou postcoloniales dans le triangle Afrique, Europe, Amérique, les modalités d’échange et de partage entre les mondes traversés. La thèse examine également les mobilités des sujets postcoloniaux et tente de construire une typologie des départs et des retours représentés, entre exil, migration et expatriation. La thèse envisage enfin le roman du retour comme porteur d’une poétique susceptible de faire évoluer le paradigme postcolonial. Le recours aux mythes et légendes, l’interrogation sur l’identité à travers les jeux de filiation et d’affiliation, la mise en œuvre de pratiques intermédiales contribuent à renouveler la scénographie postcoloniale des romans du retour à l’étude.Obviously, if the world today is passed by a whole series of human exchange and flows, particularly due to various migrations, some political or ideological currents rather advocate a retreat into the national past and a return to tradition. In this context of conflicting tensions, this thesis examines the conditions of writing a novel of return by African writers or writers of African descent of the contemporary period. The corpus is made up of five postcolonial novels written by authors who have experienced the departure, the return and sometimes the round trip. They are Dany Laferrière (L’énigme du retour), Alain Mabanckou (Lumières de Pointe-Noire), Léonora Miano (Tels des astres éteints), Chimamanda Ngozi Adichie (Americanah) and Taiye Selasi (Ghana Must Go). The study focuses on the nature of colonial or postcolonial encounters in the Africa-Europe-America triangle and the conditions of exchange and sharing between the three worlds. The thesis also examines the mobility of postcolonial subjects and attempts to develop a typology of departures and returns represented as exile, migration or expatriation. Finally, the thesis considers the novel of return as conveying a poetics likely to shift postcolonial paradigm. The use of myths and legends, the questioning about identity through playing on filiation and affiliation, the implementation of intermedial practices participate in renewing the postcolonial scenography of the novels of return under study
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
Family portraits : A comparative study of the family pattern in the Caribbean fictional novels from the XXth and XXIst centuries
No full textTransdisciplinaire et transculturel, le motif familial a toujours entretenu des liens étroits avec le genre romanesque. Dans la littérature de la Grande Caraïbe, il fait l’objet de peu d’études critiques alors que l’espace caribéen se présente lui-même comme une famille géographique complexe, douloureusement marquée par la conquête coloniale, l’esclavage et le système de la plantation. Cette thèse se propose de l’aborder dans toute sa polysémie, de la représentation de la famille biologique aux différentes acceptions figurées – famille de substitution, famille de cœur, affiliations spirituelles, etc. – dans un corpus trilingue composé de quatre fictions romanesques caribéennes des XXe et XXIe siècles : Sartoris de William Faulkner, Cien años de soledad de Gabriel García Márquez, Texaco de Patrick Chamoiseau et La eternidad del instante de Zoé Valdés. Dans ces quatre romans, la représentation de la famille biologique révèle rapidement son caractère dysfonctionnel : rejetée par les personnages ou fragilisée par les événements, elle semble condamnée au délitement. Cet échec permet à d’autres types de relations d’apparaître ; loin de s’opposer au schéma familial initial, elles invitent à penser d’autres façons de « faire famille ». Ce passage d’une famille à l’autre permet ainsi d’engager une réflexion aussi bien sur la question de l’identité familiale des personnages que sur le rapport qu’entretiennent les romanciers caribéens avec les membres de la généalogie littéraire dans laquelle ils choisissent de se placer.An interdisciplinary and transcultural motif, the study of families has taken root in the genre of the novel. In Caribbean literature, there are but a few studies about the family pattern, despite the fact that the Caribbean area already constitutes a complex geographical family, painfully marked by colonization, slavery and the plantation system. This dissertation aims to study the various meanings of the representation of family, biological but also, figuratively, adoptive family, chosen family, spiritual family, etc. – in a trilingual corpus of texts made of four Caribbean fictional novels from the XXth and XXIst centuries: William Faulkner’s Sartoris, Cien años de soledad by Gabriel García Márquez, Patrick Chamoiseau’s Texaco and La eternidad del instante by Zoé Valdés. Within these four novels, the representation of the biological family soon reveals its dysfunctional dimension: rejected by the characters, fragilized by events, the family seems condemned to being dismembered. The failure allows for other relationships to form; far from being opposed to the way the original family was outlined, these relationships offer other ways to think about how to make a family. The passage from one family to the other allows to reflect upon, on the one hand, the question of familial identity on the part of the characters and, on the other, the relationship that Caribbean fiction writers have with the literary genealogy to which they wish to identify themselves
Political Engagement and Fiction Writing at Rachid Mimouni and Ahmadou Kourouma
No full textCette recherche qui se déploie en trois parties constitue une réflexion sur la dimension idéologique, mais aussi esthétique de la littérature francophone postcoloniale en Afrique subsaharienne et au Maghreb. Elle vise précisément à montrer comment s’articulent dans l’œuvre romanesque de l’Ivoirien Ahmadou Kourouma et de l’Algérien Rachid Mimouni un discours politique et idéologique et une pratique littéraire et esthétique. Les deux premières parties sont consacrées à l’examen de différents aspects de l’engagement politique de ces deux auteurs francophones appartenant à des aires géographiques, politiques, sociales et culturelles différentes. Il s’agit précisément de mettre en lumière leurs convictions et prises de positions idéologiques exprimées dans les romans du corpus à propos des phénomènes de dictature, de dérives idéologiques et de violence guerrière, qui ont marqué en Afrique la période allant des premières années de l’indépendance jusqu’à la première décennie du XXIe siècle. Dans la dernière partie, il est question d’examiner comment la poétique peut proposer des modèles appropriés pour penser la politique chez les deux auteurs. Il s’agit précisément, par une étude des modes de narration à l’œuvre dans les romans du corpus, de montrer les enjeux esthétiques de leur écriture politiquement engagée qui s’inspire autant des formes du roman européen que de l’oralité africaine.This research, which unfolds in three stages, provides a reflection about the ideological, but also aesthetic dimension of postcolonial Francophone literature in sub-Saharan Africa and Maghreb. It aims precisely to show how a political and ideological discourse is linked up with a literary and aesthetic practice in the novels of the Ivorian Ahmadou Kourouma and the Algerian Rachid Mimouni. In the first two parts, we examine the different aspects of the political engagement of these two francophone writers belonging to different geographic, political social and cultural areas. It is precisely a question of staging their convictions and ideological positions expressed in the novels of the corpus about the phenomena of dictatorship, ideological drifts and war violence, which marked in Africa the period going from the first years of independence to the first decade of the 21st century. The last part aims at examining how poetics can provide suitable models for thinking politics at both writers. More precisely, studying the structures of narration at work in the novels of the corpus allows to highlight the aesthetic issues of their politically engaged writing which draws as much from the forms of the European novel as from African oral tradition
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