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How to signify otherness and diasporic bodies through puppetry. Two dramaturgies by Kossi Efoui
No full textAuthor of various theater plays, French-speaking writer of Togolese origin Kossi Efoui transfers in his texts, relying on the puppet’s medium, his experience of political exile from his native country and statelessness, as well as search for an identity in his adoptive country, France.
Reluctant to embrace a Western view that tends to relegate authors of African origins to an exotic aesthetic, Kossi Efoui puts a complex concept of identity at the center of his dramaturgy.
This chapter is centered on two different texts by Kossi Efoui, "Io (tragédie)" (2006) and "En guise de divertissement" (2013). The latter was conceived as a stage writing together with the puppet theater company Théâtre Inutile, during a collaboration lasting twenty years.
Analyzing the two texts, I aim to demonstrate how the basic themes of Efoui’s dramaturgy - the trauma of exile and the expropriation, on the one hand, and the rehabilitation of a human feeling, of one’s own history and identity, on the other - find their best concretization in the staging carried out with puppets
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
Personal Papers (MS 80-0002)
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Personal Papers (MS 80-0002)
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Personal Papers (MS 80-0002)
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Personal Papers (MS 80-0002)
No full textAccount statement prepared for Jeane Bertig Kempner by Robt. I. Cohen listing previous balance, itemized charges, credits and total balance
Personal Papers (MS 80-0002)
No full textAccount statement prepared for Jeane Bertig Kempner by Robt. I. Cohen listing previous balance, itemized charges, credits and total balance
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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