1,721,139 research outputs found
Oesling et Gutland, Morphologie ardennaise et lorraine.
No full textDion Robert. Oesling et Gutland, Morphologie ardennaise et lorraine. In: L'information géographique, volume 10, n°5, 1946. pp. 206-208
Le « bon » et « beau » pays nommé champagne pouilleuse
No full textDion Robert. Le « bon » et « beau » pays nommé champagne pouilleuse. In: L'information géographique, volume 25, n°5, 1961. pp. 209-214
Effets de l'insécurité sur le choix des sites d'habitat rural
No full textDion Robert. Effets de l'insécurité sur le choix des sites d'habitat rural. In: L'information géographique, volume 10, n°4, 1946. pp. 143-146
Dion, Robert et Frances Fortier. Ecrire l’écrivain. Formes contemporaines de la vie d’auteur
No full textDion, Robert et Frances Fortier. Ecrire l’écrivain. Formes contemporaines de la vie d’auteu
Dion, Robert et Frances Fortier. Ecrire l’écrivain. Formes contemporaines de la vie d’auteur
No full textDion, Robert et Frances Fortier. Ecrire l’écrivain. Formes contemporaines de la vie d’auteu
DION, Robert. Des fictions sans fiction ou le partage du réel. Montréal : Les Presses de l´Université de Montréal, 2018. Collection Espace Littéraire. 222p.
No full textO texto resenha a obra DION, Robert. Des fictions sans fiction ou le partage du réel. Montréal : Les Presses de l´Université de Montréal, 2018. Collection Espace Littéraire. 222p
The Death – and Lives – of the Author
Full text linkWriters’ biographies (written about writers by writers) constitute a genre with very long historical roots, which has flourished in the last twenty-five or thirty years. This is undoubtedly linked to the lifting of the post-structuralist ban concerning the author as a person, so that it became possible, at least in France, to legitimize biographical writing again. We date this revival to the mid-1980s, when Duras, Robbe-Grillet and Sollers all published (auto)biographical texts, whose status is certainly problematic, but nonetheless worthy of careful attention. Immersed in Romantic anthropology, in various transpositions and numerous genre nostalgias, this general ambiguity appears as the key characteristic of biographical productions of the 1980s. What we have here is a kind of a spectacle, in which the figure of the author re-enters the stage. At the same time, it is a “biographical illusion” (Bourdieu). Many contemporary biographers know that the ‘truth’ about the other can only be grasped through a play on forms (or on the memory of forms), if not, to evoke Lacan, in “a line of fiction”
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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