1,720,955 research outputs found
José Gomes Ferreira: o gosto de falar de mim ou o “paradigma da invenção ideal” através da palavra
No full textWe read José Gomes Ferreira’s The word’s memory or the pleasure of talking about me, particularly the chapter “The memory of words”, contemplating two main concepts: invention and word. The basis of the autoral poetics relies on the formulation of the concept of invention “understood as a process of creation” that embraces “memory”, processes already existing “in the subconscious” and the “originality (ingenium)” of the “artist” (Lausberg, 2004:91), to which “audacity” is linked (Ferreira, 1965:17). From the relationship between the rhetorical foundation and the written word arises a peculiar way in which the author speaks about himself incurring in a “search for his own identity” (Morão, 2011:367) and a progressive self-knowledge that brings him together into a kind of “I-author-poet”.Analisamos A memória das palavras ou o gosto de falar de mim, de José Gomes Ferreira, particularmente o capítulo “A memória das palavras”, contemplando dois conceitos fundamentais: invenção e palavra. A base da poética autoral assenta na formulação do conceito de inventio “compreendida como um processo de criação” que abarca a “memória”, processos já existentes “no subconsciente” e a “originalidade (ingenium)” do “artista” (Lausberg, 2004:91), à qual se liga a “audácia” (Ferreira, 1965:17). Da relação entre o fundamento retórico e a palavra escrita nasce um modo peculiar de o autor falar de si incorrendo numa “busca da identidade própria” (Morão, 2011:367) e num consequente conhecimento progressivo que o metamorfoseiam numa espécie de “eu-autor-poeta”
O elogio do acto narrativo: encenação e artifício em Contes de la bécasse de Maupassant
Get PDFWe intend to prove that the unity of Guy de Maupassant’s Contes de la bécasse relies on the compliment of the narrative act. In order to demonstrate that argument we enumerate the narrative artifices used by the author to conceive his fictional work. The concept of artifice is used as the technical ability to serve the narrative act and it appears in the “employment of ingenious means or processes” more obvious in some contes such as: “La bécasse”, “La folle”, “Menuet”, “La peur”, “L’aventure de Walter Schnaffs” (initially published in Gil Blas, 1882), “En mer” and “Ce cochon de Morin”.Pretendemos fazer uma leitura de Contes de la bécasse de Guy de Maupassant que nos permita esboçar a hipótese de que a unidade da obra reside num elogio do acto narrativo. Para tal enumeramos os artifícios narrativos usados pelo autor para conceber o seu trabalho ficcional. O conceito de artifício, entendido como a capacidade técnica ao serviço do exercício narrativo, manifesta-se no “emprego de meios ou processos engenhosos” mais evidentes em alguns dos Contes de la bécasse, tais como: “La bécasse”, “La folle”, “Menuet”, “La peur”, “L’aventure de Walter Schnaffs” (publicados inicialmente no Gil Blas, 1882), “En mer” e “Ce cochon de Morin”
A engrenagem de produção de Mário-Henrique Leiria
No full textPartimos de expressões de Mário-Henrique Leiria para demonstrar que o sistema
de composição dos seus materiais funciona como uma engrenagem de produção. Esta
recorre ao uso de conceitos móveis e adaptáveis estabelecidos pelo autor e trabalhados
ao longo do tempo e constrói um esquema de recorrências e combinatórias disposto
nos materiais produzidos que suplantam, por vezes, o signo estritamente verbal. Para
tal elaboramos um roteiro de produção autoral que percorre uma linha evolutiva e
destaca: a oscilação entre palavra/imagem ou verso/prosa, a construção de esquemas
conceptuais de comunicação e o sistema de combinatórias e recorrências que criam
uma superestrutura aplicável ao corpus reunido. Este percurso permite, ainda, entender
a engrenagem de produção de Mário-Henrique Leiria como um acto de decifração.We start from expressions of Mário-Henrique Leiria to demonstrate that the
composition system of his materials works as a production gear. It resorts to the use of
mobile and adaptable concepts established by the author and worked over time and
builds a scheme of recurrences and combinations disposed in the produced materials
that sometimes supplant the strictly verbal sign. For this purpose, we have created a
route of authorial production that follows an evolutionary line and highlights: the
oscillation between word/image or verse/prose, the construction of conceptual
schemes of communication and the system of combinations and recurrences that create
a superstructure applicable to the assembled corpus. This path also allows us to
understand Mário-Henrique Leiria’s production gear as an act of decoding
The Compliment of the Narrative Act: Staging and Artifice in Maupassant’s Contes de la bécasse
Get PDFNão adoptamos o Acordo Ortográfico de 1990 na redacção deste artigo.Pretendemos fazer uma leitura de Contes de la bécasse de Guy de Maupassant
que nos permita esboçar a hipótese de que a unidade da obra reside num elogio do acto
narrativo. Para tal enumeramos os artifícios narrativos usados pelo autor para conceber o seu
trabalho ficcional. O conceito de artifício, entendido como a capacidade técnica ao serviço do
exercício narrativo, manifesta-se no “emprego de meios ou processos engenhosos” mais
evidentes em alguns dos Contes de la bécasse, tais como: “La bécasse”, “La folle”, “Menuet”,
“La peur”, “L’aventure de Walter Schnaffs” (publicados inicialmente no Gil Blas, 1882), “En
mer” e “Ce cochon de Morin”.We intend to prove that the unity of Guy de Maupassant’s Contes de la
bécasse relies on the compliment of the narrative act. In order to demonstrate that argument
we enumerate the narrative artifices used by the author to conceive his fictional work. The
concept of artifice is used as the technical ability to serve the narrative act and it appears in
the “employment of ingenious means or processes” more obvious in some contes such as: “La
bécasse”, “La folle”, “Menuet”, “La peur”, “L’aventure de Walter Schnaffs” (initially published
in Gil Blas, 1882), “En mer” and “Ce cochon de Morin”
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
A engrenagem de produção de Mário-Henrique Leiria
No full textPartimos de expressões de Mário-Henrique Leiria para demonstrar que o sistema
de composição dos seus materiais funciona como uma engrenagem de produção. Esta
recorre ao uso de conceitos móveis e adaptáveis estabelecidos pelo autor e trabalhados
ao longo do tempo e constrói um esquema de recorrências e combinatórias disposto
nos materiais produzidos que suplantam, por vezes, o signo estritamente verbal. Para
tal elaboramos um roteiro de produção autoral que percorre uma linha evolutiva e
destaca: a oscilação entre palavra/imagem ou verso/prosa, a construção de esquemas
conceptuais de comunicação e o sistema de combinatórias e recorrências que criam
uma superestrutura aplicável ao corpus reunido. Este percurso permite, ainda, entender
a engrenagem de produção de Mário-Henrique Leiria como um acto de decifração.We start from expressions of Mário-Henrique Leiria to demonstrate that the
composition system of his materials works as a production gear. It resorts to the use of
mobile and adaptable concepts established by the author and worked over time and
builds a scheme of recurrences and combinations disposed in the produced materials
that sometimes supplant the strictly verbal sign. For this purpose, we have created a
route of authorial production that follows an evolutionary line and highlights: the
oscillation between word/image or verse/prose, the construction of conceptual
schemes of communication and the system of combinations and recurrences that create
a superstructure applicable to the assembled corpus. This path also allows us to
understand Mário-Henrique Leiria’s production gear as an act of decoding
O elogio do acto narrativo: Encenação e artifício em Contes de la bécasse de Maupassant1
No full textWe intend to prove that the unity of Guy de Maupassant’s Contes de la
bécasse relies on the compliment of the narrative act. In order to demonstrate that argument
we enumerate the narrative artifices used by the author to conceive his fictional work. The
concept of artifice is used as the technical ability to serve the narrative act and it appears in
the “employment of ingenious means or processes” more obvious in some contes such as: “La
bécasse”, “La folle”, “Menuet”, “La peur”, “L’aventure de Walter Schnaffs” (initially published
in Gil Blas, 1882), “En mer” and “Ce cochon de Morin”.Pretendemos fazer uma leitura de Contes de la bécasse de Guy de Maupassant
que nos permita esboçar a hipótese de que a unidade da obra reside num elogio do acto
narrativo. Para tal enumeramos os artifícios narrativos usados pelo autor para conceber o seu
trabalho ficcional. O conceito de artifício, entendido como a capacidade técnica ao serviço do
exercício narrativo, manifesta-se no “emprego de meios ou processos engenhosos” mais
evidentes em alguns dos Contes de la bécasse, tais como: “La bécasse”, “La folle”, “Menuet”,
“La peur”, “L’aventure de Walter Schnaffs” (publicados inicialmente no Gil Blas, 1882), “En
mer” e “Ce cochon de Morin”
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
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe 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
- …
