1,721,706 research outputs found
Public Service Motivation : eine Analyse von Studien der letzten Jahre
No full textDavid Simon WritzlMasterarbeit Alpen-Adria-Universität Klagenfurt 202
Public Service Motivation : eine Analyse von Studien der letzten Jahre
No full textDavid Simon WritzlMasterarbeit Alpen-Adria-Universität Klagenfurt 202
Who Loves Ya, David Simon? Notes towards placing The Wire’s depiction of African-Americans in the context of American TV crime drama
Get PDFThis essay surveyed a number of key shows from the past that purported to convey a liberal viewpoint, and which made race a focus. This was in order to suggest ways in which 'The Wire' might be part of a genre tradition – and equally how it might be seen as expanding the parameters of that tradition
La ficcionalidad, los mundos posibles y el true crime sobre el narcotráfico: el caso de David Simon
No full textIn this work, the fictional status of David Simon's works related to drug trafficking is analyzed, which can be considered within the subgenre of true crime, an evolution of the non-fiction novel or new journalism. The theoretical-critical instrument used is based on the theory of possible worlds, more specifically, on a modern interpretation of this where the syntactic components of transformation are also considered fundamental, along with the semantic and pragmatic ones, for the fictional construction. of a text, sometimes contradicting the authors' claims to establish pacts of factuality with the readers of their works. In the case of the works of David Simon that are taken into consideration,
Homicide: A Year on the Killing Streets
and The Corner: A Year in the Life of an Inner-City Neighborhood
, origin of the famous TV series The Wire, the author uses the paratext to justify the non-fictional status of its works. Our purpose is to confront these paratexts with the main texts based on the previously mentioned theoretical developments with the objective of elucidating whether such claims can be sustained from the field of literary theory, concluding that this type of works should be assigned to the field of realistic fiction.En este trabajo, se analiza el estatus ficcional de las obras de David Simon relacionadas con el narcotráfico que pueden ser consideradas dentro del subgénero del true crime, evolución de la novela de no ficción o del nuevo periodismo. El instrumental teórico-crítico que se emplea está fundamentado en la teoría de los mundos posibles, más concretamente, en una moderna interpretación de esta donde los componentes sintácticos de transformación se consideran fundamentales también, junto con los semánticos y los pragmáticos, para la construcción ficcional de un texto, contradiciendo en ocasiones las pretensiones de los autores de establecer pactos de factualidad con los lectores de sus obras. En el caso de las obras de David Simon que se toman en consideración, Homicidio. Un año en las calles de la muerte y La esquina. El año que David Simon pasó en las trincheras del negocio de la droga, origen de la famosa serie The Wire, el autor se sirve del paratexto para justificar el estatus no ficcional de dichas obras. Nuestro propósito es confrontar esos paratextos con los textos principales a partir de los desarrollos teóricos anteriormente mencionados con el objetivo de dilucidar si tales pretensiones pueden ser sostenidas desde el ámbito de la teoría literaria, concluyendo que este tipo de obras deben adscribirse al ámbito de la ficción realista
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
Fictionality, possible worlds and true crime on drug trafficking: The case of David Simon
Get PDFIn this work the fictional status of David Simon's works related to drug trafficking is analyzed, which can be considered within the subgenre of true crime, an evolution of the non-fiction novel or new journalism. The theoretical-critical instrument used is based on the theory of possible worlds, more specifically, on a interpretation of this where the syntactic components of transformation are also considered fundamental, along with the semantic and pragmatic ones, for the fictional construction. of a text, sometimes contradicting the authors' claims to establish pacts of factuality with the readers of their works. In the case of the works of David Simon that are taken into consideration, Homicide: A Year on the Killing Streets and The Corner: A Year in the Life of an Inner-City Neighborhood, origin of the famous TV series The Wire, the author uses the paratext to justify the non-fictional status of its works. Our purpose is to confront these paratexts with the main texts based on the previously mentioned theoretical developments with the objective of elucidating whether such claims can be sustained from the field of literary theory, concluding that this type of works should be assigned to the field of realistic fiction.En este trabajo, se analiza el estatus ficcional de las obras de David Simon relacionadas con el narcotráfico que pueden ser consideradas dentro del subgénero del true crime, evolución de la novela de no ficción o del nuevo periodismo. El instrumental teórico-crítico que se emplea está fundamentado en la teoría de los mundos posibles, más concretamente, en una moderna interpretación de esta donde los componentes sintácticos de transformación se consideran fundamentales también, junto con los semánticos y los pragmáticos, para la construcción ficcional de un texto, contradiciendo en ocasiones las pretensiones de los autores de establecer pactos de factualidad con los lectores de sus obras. En el caso de las obras de David Simon que se toman en consideración, Homicidio. Un año en las calles de la muerte y La esquina. El año que David Simon pasó en las trincheras del negocio de la droga, origen de la famosa serie The Wire, el autor se sirve del paratexto para justificar el estatus no ficcional de dichas obras. Nuestro propósito es confrontar esos paratextos con los textos principales a partir de los desarrollos teóricos anteriormente mencionados con el objetivo de dilucidar si tales pretensiones pueden ser sostenidas desde el ámbito de la teoría literaria, concluyendo que este tipo de obras deben adscribirse al ámbito de la ficción realistaEste artículo es resultado de investigación realizada en el proyecto de I+D+i de Generación de Conocimiento titulado “Transferencias en literatura y discurso: Poética, Retórica y perspectivas comparadas. Construcción y propuesta de una
Teoría y Crítica Transferencial” (Acrónimo: TRANSFERRE. Referencia: PID2023-148361NB-I00), financiado por la Agencia Estatal de Investigación, el Ministerio de Ciencia, Innovación y Universidades y cofinanciado por la Unión Europe
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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