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SÍMBOLOS DO FANTÁSTICO EM AURA, DE CARLOS FUENTES
Get PDFEste trabajo pretende analizar los símbolos en Aura, de Carlos Fuentes, focalizando en
aquellos que apuntan a lo sobrenatural, al lado fantástico del libro. Para ello, tras una
breve presentación de la biografía y la obra de Fuentes, entramos en el debate teórico
sobre el concepto de literatura fantástica. Algunos estudiosos lo entienden en su sentido
amplio, considerando como fantástica cualquier obra que retrate hechos, figuras o
causalidades imposibles en la vida cotidiana. En el presente trabajo, sin embargo, nos
sumamos a quienes delimitan como fantástico el género específico que surge entre finales
del siglo XVIII y principios del XIX, y que en la década de 1960 se desarrolla en varios
países latinoamericanos. En la segunda parte del trabajo, para situar al lector, exponemos
el argumento y las características generales de Aura y, a continuación, realizamos un
análisis de cinco conjuntos de símbolos emblemáticos: "nombres", "animales", "rituales"
y "otros", siguiendo el orden de aparición de cada elemento en el libro.Este trabalho visa analisar os símbolos em Aura, de Carlos Fuentes, enfatizando aqueles
que apontam para o sobrenatural, o lado fantástico do livro. Para isso, após breve
apresentação da biografia e obra de Fuentes, adentramos o debate teórico sobre o conceito
de literatura fantástica. Parte dos estudiosos a compreende em seu sentido amplo,
considerando como fantástica toda obra que retrate acontecimentos, figuras ou
causalidades impossíveis no cotidiano. No presente trabalho, contudo, nos somamos
àqueles que delimitam como fantástico o gênero específico que surge entre o final do
século XVIII e o início do XIX, e que na década de 1960 se desenvolve em vários países
da América Latina. Na segunda parte do trabalho, a fim de situar o leitor, expomos o
enredo e traços gerais de Aura para na sequência realizarmos a análise de cinco conjuntos
de símbolos emblemáticos: “nomes”, “animais”, “rituais” e “outros”, seguindo a ordem
de aparição de cada elemento no livro
Haicai e poesia visual: tessituras/tecituras da poesia brasileira à luz da semiótica
Get PDFThis research aimed at comparing the visual poetry and haiku, having as investigative impulse the aesthetic contributions of these poetic forms to contemporary poetry in our country. In order to achieve our goal, we chose Augusto de Campos´ visual poems and the Haiku by Paulo Leminski. Then, it was verified which poetics aspects of these authors narrow and / or distance aesthetically, and what the theoretical consequences of such narrowing or distancing are. To compose the corpus of this research it was chosen the poems by Augusto, present in his work: Viva Vaia (2014), which contains poems from 1959 to 1979. It was also used Leminski Haiku´s, which presents visual aids in their constitution, Caprichos & relaxos (2016). The corpus analysis of the research was carried out having as a background the General Theory of Signs, elaborated by the American thinker Charles Sanders Peirce. Thus, it was prioritized the three categories of the sign that form the most important of the trichotomies considered by the North American researcher in his speculative grammar: the symbol, the index and the icon; of this last category, it was emphasized its subclassification: the image, the diagram and the metaphor. It was used as theoretical contributions the studies of Haroldo de Campos (2000), Ernest Fenollosa (2000), Ferraz Jr. (2012), Roman Jakobson (1995), Winfried Nöth (2003), Charles S. Peirce (2015), Décio Pignatari (2004), Ezra Pound (2006) e Lúcia Santaella (2012), among other authors. We found out that one of the biases that narrows the poetics of these authors is an inclination towards dialogue with the Eastern tradition, based on the way of composing inspired by Japanese ideograms whose influence was a “watershed” for many Western poets in the 20th century, reverberating also in the productions of the 21st century.RÉSUMÉ. Cette recherche est dédiée à l’ étude comparative entre poésie visuelle et haiku pour étudier les contributions esthétiques de ces formes poétiques presentes dans la poésie contemporaine du Brésil. Pour cela, nous avons choisi les poèmes visuelles d’Augusto de Campos et les haiku de Paulo Leminski; on vérifie alors sous quels aspects la poétique de ces auteurs approche et ou distancie esthètiquemente et quelles sont les conséquences théoriques de celle approche et ou distance. Pour le corpus de la recherche, nous avons choisi les poèmes d ‘Augusto dans l’oeuvre Viva Vaia (2014) qui a rassemblé oeuvres poétiques de 1959 -1979. Nous utilisons également, haiku de Leninski qui ont des aides visuelles dans leur constituition, publiés dans le livre Caprichos & relaxos (2016). Siècle. Nous avons réalisé l’analyse du corpus de recherche à la lumière de la Theorie Général des Signes, prèparée par le penseur américain Charles Sanders Peirce. Ainsi, nous priorisons les trois catégories du signe qui forment la trichotomie la plus importante envisagée par le chercheur nord-américain dans son gramatique spéculatif: le symbole, l’ index et l’icône; de cette dernière catégorie nous soulignons sa sous-classification: l’image, le diagramme et la métaphore. Nous avons utilisé comme contribuition théorique les études de Haroldo de Campos (2000), Ernest Fenollosa (2000), Ferraz Jr. (2012), Roman Jakobson (1995), Winfried Nöth (2003), Charles S. Peirce (2015), Décio Pignatari (2004), Ezra Pound (2006) e Lúcia Santaella (2012), entre autres. Nous avons constaté que l’ un des biais qui approche la poétique de ces auteurs est la inclination au dialogue avec la tradiction orientale, basée sur la manière de composer inspirée de idiogrammes japonais, dont l’influence a été importante pour de nombreux poetes occidentaux au XXe siècle, egalement dans les productions du XXle.Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESEsta pesquisa dedicou-se ao estudo comparativo entre a poesia visual e o haicai, tendo como motivação investigativa as contribuições estéticas dessas formas poéticas para a poesia contemporânea em nosso país. Para tal fim, elegemos os poemas visuais de Augusto de Campos e os haicais de Paulo Leminski. Verificamos, então, em quais aspectos a poética desses autores se aproxima e ou se distancia esteticamente e quais as consequências teóricas dessa aproximação ou desse distanciamento. Escolhemos para compor o corpus da pesquisa poemas de Augusto de Campos, presentes na obra Viva Vaia (2014), que reúne poemas de 1959-1979. Utilizamos também haicais de Paulo Leminski, os quais apresentam recursos visuais em sua constituição, publicados no livro Caprichos & relaxos (2016). Realizamos a análise do corpus da pesquisa à luz da Teoria Geral dos Signos, elaborada pelo pensador norte-americano Charles Sanders Peirce. Priorizamos, assim, as três categorias do signo que formam a mais importante das tricotomias consideradas pelo pesquisador norte-americano, em sua gramática especulativa: o símbolo, o índice e o ícone. Dessa última categoria, ressaltamos a sua subclassificação: a imagem, o diagrama e a metáfora. Além da referência à obra de Peirce, utilizamos, como aporte teórico, entre outros, estudos de Haroldo de Campos (2000), Ernest Fenollosa (2000), Ferraz Jr. (2012), Roman Jakobson (1995), Winfried Nöth (2003), Charles S. Peirce (2015), Décio Pignatari (2004), Ezra Pound (2006) e Lúcia Santaella (2012). Dentre os resultados dessa pesquisa, constatamos que um dos vieses que aproxima da poética desses autores é uma inclinação para o diálogo com a tradição oriental, baseada no modo de compor, inspirado nos ideogramas japoneses, cuja influência foi um “divisor de águas” para muitos poetas ocidentais, no século XX, reverberando igualmente nas produções do século XXI
O conceito peirceano de metáfora e suas interpretações: limites do verbocentrismo
Get PDFThis paper aims to discuss the concept of metaphor as an iconic sign, as it was proposed by Charles Sanders Peirce in his Theory of Signs. Next to a brief introduction consisting in recalling the description of the hypoicons (signs whose representative function is based on the similarity between the representamen and its object), we consider the strong tendency to what we call the verbocentric reading of the Peircian metaphor, evidenced in some essential works for the dissemination of semiotic studies. With this expression, we refer to the exclusive, or even preferential, linkage of the metaphorical iconic sign to the linguistic code, which emphasizes its discursive character, making this semiotic concept coincide with the figure of speech that we know from classical poetics. Admitting the existence of metaphorical constructions that go beyond verbal expression and considering that the Peircean writings do not make any explicit restriction on the type of language that should materialize the metaphorical hypoicon, we adopted a range of divergent interpretation from the dominant reading, in which, through theoretical reasoning and by analyzing some illustrative cases, we attempt to demonstrate the extension of the concept under consideration to forms of non-linguistic representation. To this end, we undertake an interpretation of the Peircean concept strictly based on the analysis of his original description, in which we emphasize the meaning of some key-expressions as “representative character” and “representing a parallelism”. We also explore the concept of "third firstness", which is associated by inference to the metaphorical iconic sign, questioning one of its developments, namely the subordination of the Peircean metaphor to the symbolic mode of representation — which we presume to be the basis of the verbocentric reading.O presente trabalho tem por objetivo discutir o conceito de metáfora como signo icônico, conforme proposto por Charles Sanders Peirce em sua Teoria Geral dos Signos. Após uma breve introdução, em que revisitamos na origem a descrição dos signos icônicos ou hipoícones (aqueles cuja função representativa se baseia na semelhança entre representâmen e objeto), passamos a examinar a forte tendência, constatada em obras essenciais para a divulgação dos estudos semióticos, ao que chamamos de leitura verbocêntrica da metáfora peirceana. Com essa expressão, referimo-nos à vinculação exclusiva, ou mesmo preferencial, do signo icônico metafórico ao domínio do código linguístico, a qual lhe enfatiza certo caráter discursivo, fazendo coincidir essa categoria semiótica com a figura de linguagem que conhecemos desde a poética clássica. Admitindo a existência de construções metafóricas que extrapolam os limites do verbal, e considerando que o texto peirceano não explicita qualquer restrição quanto ao tipo de linguagem em que deve materializar-se o hipoícone metafórico, adotamos uma linha de interpretação divergente da leitura dominante, em que procuramos demonstrar, através de argumentação teórica e também de análises ilustrativas, a extensão do conceito em exame às formas de representação não linguísticas. Para tanto, empreendemos uma releitura do conceito peirceano a partir da análise de sua descrição original, sublinhando a interpretação das expressões-chave “caráter representativo” e “representação de um paralelismo”. Exploramos ainda o conceito de “terceira primeiridade”, que se associa por dedução ao signo icônico metafórico, questionando um de seus desdobramentos, qual seja a subordinação da metáfora peirceana ao modo de representação simbólico — em que reconhecemos o principal fundamento da leitura verbocêntrica
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
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
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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