1,720,981 research outputs found
Elephantine Resilience. The Case of Joseph Merrick
No full textJoseph Merrick, also known as The Elephant Man, is one of the most iconic figures of the Victorian Era. The many studies, biographies and disparate works devoted to his life and story, have made Merrick a symbol of human dignity. Surviving a tragic fate sealed by his severe physical deformities, he managed to escape an existence of pain and humiliation thanks to his extraordinary endurance and adaptability. My paper aims at analyzing Merrick’s story in this perspective, basically considering the accounts of the era (the biography written by Frederick Treves – the surgeon who took care of Merrick and saved him from a humiliating life as a freak –, Merrick’s own brief autobiography, letters and newspaper articles of the time) and the many representations of his life in literature, on stage and on film: the well-researched work by Michael Howell and Peter Ford, Bernard Pomerance’s play, Kenneth Sherman’s poems and David Lynch’s acclaimed movi
Trouver une langue / Finding a language
No full textSelon Arthur Rimbaud, la mission du poète est de « trouver une langue ». La poésie est ainsi le laboratoire d’une langue. Mais se définit-elle contre le langage courant ou comme la révélation de ce langage ? « Trouver », est-ce hériter de ce qui s’est décanté dans la langue à travers les siècles ou inventer de l’inouï ? Et que fait la poésie à la langue nationale, locale, traduite, coloniale ou métissée dont elle se sert ? Comment cette langue poétique travaille-t-elle la langue de l’intérieur ?Rimbaud asserted that the poet’s mission was to “find a language”. Poetry is a kind of laboratory of fully modern language: the poet “would define the degree of newness awakening in his lifetime in the universal soul”. Rimbaud thus thrusts the poet’s work towards some utopian horizon, since “the time of a universal language will come!” (letter to Paul Demeny, 15th May 1871). Mallarmé considers language as the inheritance of the mysteries of times gone by and sees the poet as “purifying the dialect of the tribe”. Are we then to understand that poetry irremediably turns its back on current language or rather that it manifests the truth of such language?Ouvrage publié avec le concours de Textes et Cultures (EA4028), de l’Université d’Artois et de l’association Arras Université
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
A study of William Barnes and Thomas Hardy in connection with language : poetry and philology
No full textCette thèse se donne pour but de réfléchir aux œuvres poétiques de deux hommes originaires du sud-ouest de l’Angleterre : Thomas Hardy (1840-1928), plus souvent connu pour ses romans, et l’intérêt certain qu’il porte pour les travaux du philologue contemporain William Barnes (1801-1886), lui-même poète. Ainsi, le précieux rapprochement avec Barnes, souvent tombé dans l’oubli des chercheurs qui étudient Hardy, vise à donner de l’envergure au sujet traité. La considération du glossaire de Barnes A Glossary of the Dorset Dialect with a Grammar, ainsi que ses autres œuvres en prose sert de support de référence à l'argumentation dans l'étude du langage hardyen. Toutefois, même si ces deux poètes sont profondément ancrés dans leur région, leurs poésies ne se limitent pas au patois du Dorset. Nous nous intéressons également aux divers registres de langue, et à l’interface entre la langue (anglo-) saxonne et les formes linguistiques plus tardives, qui, ensemble, constituent la richesse de la langue anglaise. Etant donné leurs possibles convergences, il semble fructueux de voir quel était l’impact des préoccupations philologiques et dialectales de Barnes sur la poésie de Hardy, sans oublier de puiser des exemples dans son œuvre romanesque.The aim of this thesis is to compare the poetical works of two men born in the South-West of England : Thomas Hardy (1840-1928), more often known as a novelist, and his deep interest in the works of his contemporary, the philologist William Barnes (1801-1886), who also happened to be a poet. In this way, the valuable connection with Barnes, often consigned to oblivion among Hardy scholars, aims at giving more prominence to our subject. A thorough study of Barnes’s Glossary of the Dorset Dialect with a Grammar, as well as his other works in prose is the referential linchpin of our exploration of the latter’s language. Nevertheless, even though those two poets’ lives were deeply embedded in their region, their poetries are not restricted to the Dorset dialect. Our interest also lies in the various language registers and the interface between the (Anglo)-Saxon language and later varieties, which, put together, make up the wealth of English. Given their likely convergences, it seems profitable to see to what extent Barnes’ philological research (including his native dialect) impacted upon Hardy’s poetry, without forgetting to cull examples from the latter’s novels
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
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe 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
From a “place in the sun” to the impossible elsewhere : key questions related to the idea of place in William Orpen’s visual and textual œuvre
No full textCette thèse, menée de manière chronologique, examine les questions du lieu et de l’espace dans l’œuvre picturale et textuelle de l’artiste d’origine irlandaise William Orpen (1878-1931).Cette recherche se fonde sur les résultats de différents types d’approche (histoire de l’art, critique littéraire, philosophie, psychologie, sociologie). Son objectif est de mettre en lumière la question de l’origine, synonyme pour Orpen de séparations, de fractures et de ruptures de toutes sortes. Il est également de montrer que les idées de lieu et d’espace ne sont pas étrangères à celles d’entre-deux : à cheval sur deux siècles et sur deux pays (l’Angleterre et l’Irlande) lors d’une période de profonds changements, Orpen était, dans sa pratique littéraire et artistique, à mi-chemin entre tradition et modernité, entre unité et fragmentation, entre centre et périphérie. De la tension entre ces différents pôles résulta inévitablement une crise pour le portraitiste mondain qu’il fut d’abord, puis pour le peintre de guerre officiel qu’il devint en France en 1917 — crise qui exigea qu’il fît des choix, qu’il quittât sa « place au soleil » pour se diriger vers un ailleurs incertain. Cette crise, caractéristique de la période moderne, concerna la représentation visuelle et textuelle, mais fut également humaine, politique, sociale, morale et religieuse.Nous proposons de montrer qu’Orpen n’eut de cesse d’explorer la condition de l’homme moderne, de se rendre attentif aux multiples manifestations de l’ordre et du désordre, aux conflits de l’espace et du vide, à la conciliation de la permanence et de la métamorphose, au combat de l’ombre et de la lumière, aux rapports entre réel et imaginaire, au jeu multiforme des polarités.Conducted chronologically, this thesis examines questions of place and space in the pictorial and textual work of the Irish-born artist William Orpen (1878-1931).This research is based on the results of different types of approach (art history, literary criticism, philosophy, psychology, sociology). Its aim is to shed light on the question of origin, which for Orpen is synonymous with separations, fractures and ruptures of all kinds. It also demonstrates that ideas of place and space are not foreign to those of in-betweenness: in-between two centuries and two countries (England and Ireland) during a period of deep change, Orpen was, in his literary and artistic practice, halfway between tradition and modernity, between unity and fragmentation, between centre and periphery. The tension between these different poles inevitably resulted in a crisis for the society portrait painter he was at first, and then for the official war painter he became in France in 1917—a crisis which required him to make choices, to leave his “place in the sun” and to head for an uncertain elsewhere. This crisis, characteristic of the modern period, concerned visual and textual representation, but was also human, political, social, moral and religious.I propose to show that Orpen never stopped exploring the condition of modern man, considering the multiple manifestations of order and disorder, the conflicts of space and emptiness, the reconciliation of permanence and metamorphosis, the struggle between light and shadow, the relationship between the real and the imaginary, the multiform interplay of polarities
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