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Construction et préconstruction situationnelles : à propos de l’imparfait dans les débuts de contes
No full textInternational audienc
Construction et préconstruction situationnelles : à propos de l’imparfait dans les débuts de contes
No full textInternational audienc
Contraintes de genre et contraintes de registre dans la rubrique About the Author des romans Harlequin en anglais
No full textInternational audienceThe aim of this article is to differentiate register constraints from genre constraints (Biber & Conrad 2009) in the About-the-author biographies found in Harlequin novels. In previous research on so-called high literature novels (Gournay 2011), the lexico-grammatical features of About-the-author biographies have been analyzed as pertaining to their form, namely that of a short as well as a highly ritualized text, and to their function, namely that of ascertaining the authority in the novel. The linguistic features of About-the-author biographies in Harlequin novels are then compared to those of biographies in high literature novels and their differences are analyzed as pertaining to the specific enunciative protocol at work. Two sets of features are examined : i) the use of quantitative and qualitative variation in thematic items at sentence and predication levels that results in the setting up of a highly cohesive texture; ii) the linguistic markers that indicate shared-knowledge and their role in the building up of an interlocution that resorts to free indirect speech techniques. The discursive specificities of the texts are thus considered in relation to brevity: the goal is here to establish, in a few sentences, a protocol that is valid for the global reading of the novel thus introduced.ハーレクイン小説の作者紹介文おける使用域 register の制約とジャンルの制約ハーレクイン社の小説には英文の「著者について」About the Author 欄に作者紹介文 が付けられている．本稿はこの紹介文における使用域 register の制約とジャンルの制約 (Biber & Conrad 2009）の区別を検証することを目的とする。一般に小説に付随する作 者紹介文では、テクストの言語学的な特性は、紹介文の短さと相関関係にある。すなわ ち，紹介文は決められた形式にのっとった形でいくつかの文を超えない枠に収められ、 伴う小説の著者の主要情報を提示するのであ (Gournay 2011) 。以上を踏まえて，ハー レクイン社の小説の作者紹介文の特性は古典的な作者紹介文の特性との対比の観点か ら考察され、同一の使用域に属す両者の形成する 2 つの集合の間に生起する語彙・文法 的な相違は、共発話的行為におけるプロトコルの相違という形で分析される。本稿では 以下の論点が強調される。すなわち，i) 発話文の構造的および述定的な定位における量 的・質的変化に起因する発話文間の高度な結束性の構成、ii) テクストに自由間接話法的 解釈を付与する，既構築された共発話の領域を前提とするマーカーを通しての対話の設 定、という 2 点である。したがって、テクストの言説の特性は短さとの関わりにおいて 考察される。すなわち数少ない文を用いての、紹介文が導入する作品の全体に有効な読 書のプロトコルが設定されるのである
Construction et préconstruction situationnelles : à propos de l’imparfait dans les débuts de contes
No full textInternational audienc
Contraintes de genre et contraintes de registre dans la rubrique About the Author des romans Harlequin en anglais
No full textInternational audienceThe aim of this article is to differentiate register constraints from genre constraints (Biber & Conrad 2009) in the About-the-author biographies found in Harlequin novels. In previous research on so-called high literature novels (Gournay 2011), the lexico-grammatical features of About-the-author biographies have been analyzed as pertaining to their form, namely that of a short as well as a highly ritualized text, and to their function, namely that of ascertaining the authority in the novel. The linguistic features of About-the-author biographies in Harlequin novels are then compared to those of biographies in high literature novels and their differences are analyzed as pertaining to the specific enunciative protocol at work. Two sets of features are examined : i) the use of quantitative and qualitative variation in thematic items at sentence and predication levels that results in the setting up of a highly cohesive texture; ii) the linguistic markers that indicate shared-knowledge and their role in the building up of an interlocution that resorts to free indirect speech techniques. The discursive specificities of the texts are thus considered in relation to brevity: the goal is here to establish, in a few sentences, a protocol that is valid for the global reading of the novel thus introduced.ハーレクイン小説の作者紹介文おける使用域 register の制約とジャンルの制約ハーレクイン社の小説には英文の「著者について」About the Author 欄に作者紹介文 が付けられている．本稿はこの紹介文における使用域 register の制約とジャンルの制約 (Biber & Conrad 2009）の区別を検証することを目的とする。一般に小説に付随する作 者紹介文では、テクストの言語学的な特性は、紹介文の短さと相関関係にある。すなわ ち，紹介文は決められた形式にのっとった形でいくつかの文を超えない枠に収められ、 伴う小説の著者の主要情報を提示するのであ (Gournay 2011) 。以上を踏まえて，ハー レクイン社の小説の作者紹介文の特性は古典的な作者紹介文の特性との対比の観点か ら考察され、同一の使用域に属す両者の形成する 2 つの集合の間に生起する語彙・文法 的な相違は、共発話的行為におけるプロトコルの相違という形で分析される。本稿では 以下の論点が強調される。すなわち，i) 発話文の構造的および述定的な定位における量 的・質的変化に起因する発話文間の高度な結束性の構成、ii) テクストに自由間接話法的 解釈を付与する，既構築された共発話の領域を前提とするマーカーを通しての対話の設 定、という 2 点である。したがって、テクストの言説の特性は短さとの関わりにおいて 考察される。すなわち数少ない文を用いての、紹介文が導入する作品の全体に有効な読 書のプロトコルが設定されるのである
Contraintes de genre et contraintes de registre dans la rubrique About the Author des romans Harlequin en anglais
No full textNational audienc
Contraintes de genre et contraintes de registre dans la rubrique About the Author des romans Harlequin en anglais
No full textNational audienc
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
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
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