1,720,955 research outputs found
“Pero no basta ser valiente”: más allá del coraje, o el heroísmo como premeditación en la narrativa de Jorge Luis Borges
No full textNingún mito borgeano ha tenido más injusta y escandalosa difusión que el del culto al coraje. Según esta visión, aceptada por la mayoría de los lectores tanto legos como académicos, Jorge Luis Borges (1899-1986) no sería más que un escritor desdichado, dedicado a “las simétricas porfías / del arte” (Borges, “El remordimiento”, La moneda de hierro, PC, 2022, p. 457)1 , que lamenta eternamente no haber sido valiente. Un cobarde que admite no haber vivido (Borges, “Emerson”, El otro, el mismo, PC, 2022, p. 224) o siquiera haber salido alguna vez de la biblioteca de su padre (Borges, “Epílogo”, Historia de la noche, PC, 2022, p. 517), y que idealiza, transmutándolas en (falsas) épicas, las corajudas andanzas de guerreros anglosajones y germanos, malevos y orilleros de su barrio, y sus antepasados militares del siglo XIX. Tenemos, a modo de muestra, la opinión de Víctor Vich, para quien nuestro autor no sería más que un timorato acosado por los espectros de un pasado heroico que le será siempre inalcanzable: “el fantasma del bisabuelo parecería activar algún tipo de falta, o de deuda, que Borges se encargó de glosar, no en uno, sino en varios de sus poemas y prosas” (Vich, 2019, p. 4). Podemos citar también, a modo de ilustración, a Xosé Pereira-Boán, quien entiende que Borges “trasladó a la literatura lo que la vida le había negado: la acción del embate heroico, las gestas del coraje criollo” (Pereira-Boán, 2016, p. 129), como si el heroísmo implicara siempre la acción física o la violencia, y el coraje no pudiera ser algo más intelectual o espiritual, y no solo una potencia meramente corporal o material. Todos ellos ignoran, acaso, que el propio Borges llegó a considerar alguna vez la posibilidad del heroísmo en el silencioso y manso acto de la lectura individual: “De aquel hidalgo de centrina y seca / tez y de heroico afán se conjetura / que, en víspera perpetua de aventura, / no salió nunca de su biblioteca” (Borges, “Lectores”, El otro, el mismo, PC, 2022, p. 203)
“No exageres el culto de la verdad”. Algunas reflexiones en torno a la necesidad del heroísmo en una película italiana de inspiración borgeana
No full textStrategia del ragno, a television film directed by Bernardo Bertolucci in 1970, does not occlude its debt to Jorge Luis Borges’ short story “Theme of the Traitor and the Hero,” originally published in 1944. Both texts explore the paradoxical identity of traitor heroes, or hero traitors: the former an Italian antifascist and the latter an Irish independist. Drawing from Scheler’s anthropological theories (1961), Bauzá’s classic philology (2007), and González’s narratology (2016), this article analyzes Bertolucci’s representation of heroism as a morally complex and aesthetically necessary representation of heroic action and its effects. Thus, we conclude that the filmic hypertext actualizes what was potentially outlined and suggested in the literary hypotext, producing a rich screenplay out of a plot Borges had no intention of writing.A estratégia da aranha (Strategia del ragno), de 1970 e dirigido por Bernardo Bertolucci, não esconde sua dívida com o conto “Tema del traidor y del héroe”, de Jorge Luis Borges, publicado originalmente em 1944. Ambos os textos exploram a identidade paradoxal dos heróis traidores ou traidores heróis: o primeiro, um antifascista italiano, e o segundo, um separatista irlandês. Com base nas teorias da antropologia de Scheler (1961),da filologia clássica de Bauzá (2007) e da narratologia de González (2016), analisaremos as características do heroísmo presentes no filme bertolucciano para demonstrar que elas se encontram mais presentes na obra audiovisual do que no conto borgeano, onde a ação heroica e seus efeitos são em verdade eticamente complexos e esteticamente necessários, pois o que foi apenas potencialmente delineado e sugerido no hipotexto literário é atualizado no hipertexto fílmico, tornando um relato que Borges não tinha intenção de escrever em uma narrativa fértil.Strategia del ragno, telefilm de 1970 dirigido por Bernardo Bertolucci, no oculta su deuda con el cuento “Tema del traidor y del héroe”, de Jorge Luis Borges, publicado en 1944. Ambos textos exploran la paradójica identidad de héroes traidores, o traidores héroes: un antifascista italiano el primero y un independentista irlandés el segundo. A partir de las teorizaciones de Scheler (1961) desde la antropología, de Bauzá (2007) desde la filología clásica y de González (2016) desde la narratología, analizamos las características del heroísmo presentes en la película bertolucciana para demostrar que es en ella, más que en el cuento borgeano, donde la acción heroica y sus efectos son de verdad complejos éticamente y necesarios estéticamente, pues se actualiza en el hipertexto fílmico lo que solo estaba potencialmente esbozado y sugerido en el hipotexto literario, volviendo en narración fecunda el relato de un argumento que Borges no tenía intención de escribir
"It would be good if you keep those clippings": novel and uchronia in "Peter Kampf lo sabía"
Get PDF"Peter Kampf lo sabía" es un cómic creado por Trillo y Mandrafina y publicado en 1988. Se trata de un relato ucrónico en el que Hitler no se dedicó a la política, sino al arte y emigró a los Estados Unidos para
dibujar historietas. Nuestra hipótesis es que la presencia de la ucronía en este cómic aparentemente lo noveliza, un concepto que tomamos de González (2016). Es decir, que su mismo género llevaría a "Peter Kampf lo sabía" a la imposibilidad de lo heroico. Sin embargo, asistimos aquí finalmente a una transfiguración del heroísmo, volviendo al lector en potencial héroe, pues, tal como teoriza Del Percio (2019), la ucronía permite echar luz sobre el presente tanto de la enunciación como del enunciado, lo que convierte a este relato en uno de denuncia y le aporta una actualidad que de otra forma habría perdido con el paso del tiempo."Peter Kampf knew it" is a comic created by Trillo and Mandrafina and published in 1988. It is a uchronic tale in which Hitler did not pursue a career in politics but arts and he emigrated to the United States to draw comic strips. Our hypothesis is that the presence of uchronia in this comic seemingly turns it into a novel, a concept derived from González (2016). In other words, the very genre of "Peter Kampf knew it" would lead to the impossibility of the heroic. However, we finally witness a transfiguration of heroism here, turning the potential reader into a hero. Uchronia, as Del Percio (2019) suggests, sheds light on both the enunciation and the enunciated, transforming this narrative into one of denunciation while imbuing it with a relevance that would otherwise have been lost over time
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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