1,721,153 research outputs found
Adaptive Multi-Node Incremental Relaying for Hybrid-ARQ in AF Relay Networks
No full textThis paper proposes an adaptive multi-node incremental relaying technique in cooperative communications with amplify-and-forward (AF) relays. In order to reduce the excessive burden of MRC with all diversity paths at the destination node, the destination node decides if it combines signals over the first N (< K) time slots/frames or over all of the K times slots, where K is the number of relay nodes. Our analytical and simulation results show that the proposed adaptive multi-node incremental relaying outperforms the conventional MRC in terms of outage probability in AF based cooperative communications since the proposed scheme effectively reduces the spectral efficiency loss. Our asymptotic analysis also shows that the proposed adaptive multi-node incremental relaying achieves full diversity order K + 1.The authors would like to thank to Mr. JunPyo Hong
for his help in simulations. The authors also appreciate the
helpful comments of anonymous reviewers which significantly
improved the quality of this paper
A COMPARISON OF THE MOTIFS OF ARTIST'S OBSESSION IN "THE TATTOOER" BY TANIZAKI JUN'ICHIRO AND "TALE OF A MAD PAINTER" BY KIM DONG-IN
No full textSpeaking about Japanese modern literature, Tanizaki Jun'ichirō's name is one of the first names that undoubtedly has to be mentioned. One of the most popular Japanese prose writers in the West, Tanizaki Jun'ichirō is well-known for masterfully portraying psychological situations in his novels and plays. A brilliant virtuoso of stylization and aestheticism, he is one of the most important figures in the history of Japanese literature. His significance in Japanese modern literature could be compared to the significance of the author Kim Dong-in in Korean modern literature. Kim Dong-in's opus is one of the most interesting phenomena in Korean literature of the first half of the 20th century. He is famous for innovating Korean fiction's language and for playing an important role in the development of Korean modern literature. Both writers were active on the literary scene of East-Asia in the first half of the 20th century, though Tanizaki started writing earlier since he was born 14 years earlier than Kim Dong-in. Though not major works of either author, both Tanizaki Jun’ichirō and Kim Dong-in at one point in their literary careers had written short stories in which the plot centers around a main character who is an artistic persona driven by a bordering-on-madness desire to create a masterpiece: Tanizaki Jun’ichirō’s The Tattooer (Shisei) in 1910, and Kim Dong-in’s Tale of a Mad Painter (Kwanghwasa) in 1935. After reading these two short stories anyone would notice some similarities in their plot, motifs, and structure. While Tanizaki Jun’ichirō’s The Tattooer and Kim Dong-in’s Tale of a Mad Painter are individual artistic works with their own uniqueness, it seems like there is a connection between them. This assumption is also briefly mentioned in the works Empire of texts in motion: Chinese, Korean, and Taiwanese transculturations of Japanese literature (2009) by K.L. Thornber and Kim Tongin Yeongu (1985) by C. Kim. However, since this assumption is not elaborated in detail, the purpose of this research is to try to reveal the connection between the short stories by comparison of the common literary influences on both authors through analysis of the stories’ structures, motifs, and plot development. The hypothesis of the author of this thesis was that these two stories have a connection, they were written under the influence of the same literary works, and The Tattooer by Tanizaki Jun'ichirō had an influence on Kim Dong-in's Tale of a Mad Painter. A comparison of common literary influences on both authors was made through an analysis of the literature dealing with the oeuvres of the authors. For the analysis of Tanizaki Jun'ichiro's oeuvre the following works were used: Remembering Tanizaki Jun’ichiro and Matsuko: Diary Entries, Interview Notes, and Letters, 1954-1989. (2017) by A.H. Chambers, Tanizaki Jun'ichirō to Kim Dong-in bungaku ni okeru bi no keisei toshite no mozō (2019) by M.H. Gil, Tanizaki Jun’ichirō no seikimatsu (2002) by K. Inoue, The alien within: representations of the exotic in twentieth-century Japanese literature (2009) by L. Morton, and Modern Japanese writers and the nature of literature (1976) by M. Ueda. For the analysis of Kim Dong-in's oeuvre the following works were used: Tanizaki Jun'ichirō to Kim Dong-in bungaku ni okeru bi no keisei toshite no mozō (2019) by M.H. Gil, commentary in the Japanese translation of Kim Dong-in’s anthology (2011) by S. Hatano, Naturalistic sensibility and modern Korean literature: Kim Tongin (2008) by H. Kim, Poetika rasskazov Kim Dong Ina (2012) by I.L. Park, and Twentieth-Century Korean Literature (2005) by N. Yi, C. U, K. Yi and M. Kim. A comparison of the two short stories was made through the analysis of structural units with similar motifs and plot development. Results of the comparison of common literary influences showed that, as assumed in the hypothesis, the two short stories were written under the same literary influences. Tanizaki Jun’ichirō and Kim Dong-in, both among the most prominent representatives of their national literatures, were greatly inspired by Western fiction and non-fiction literature in the early stage of their literary careers, therefore they borrowed some motifs for their works. The theme of the relationship between art and violence and the motif of the artist obsessed with the desire to create an artistic masterpiece in The Tattooer and Tale of a Mad Painter are most likely inspired by Oscar Wilde's novel The Picture of Dorian Gray and Edgar Allan Poe's short story The Oval Portrait. The motifs of sexual perversions in these short stories mirror the deep impression left on the both authors by the scientific work of Richard Freiherr von Krafft-Ebing titled Psychopathia Sexualis. Results of the comparative analysis of structural units with similar motifs and plot development also showed that not only were the writers inspired by the same works, but the story Tale of a Mad Painter itself intertextually reworked Tanizaki’s The Tattooer, whether Kim Dong-in did it intentionally or unconsciously. Both The Tattooer and Tale of a Mad Painter can be divided into smaller structural units that have similar motifs and plot development: 1) setting the historical period where the main character lives, 2) introducing the main character and his passion for art, 3) birth of the artistic desire, 4) looking for the victim, 5) encountering the victim, 6) realization of the main character’s artistic desire. Each of these parts has a similar development of the story – characters commit similar acts and their artistic desire develops into obsession in the same way. Nevertheless, Kim Dong-in adjusted motifs of Edo and its culture to Korean realities, setting his story in Seoul during the period of King Sejong the Great's reign. He also changed the main character's physical appearance and personality, leaving only the crucial common characteristic – obsession hidden in the artist's mind. The length of Tale of a Mad Painter is greater than The Tattooer's length due to more detailed insights into the protagonist's thoughts and more detailed descriptions of every scene. Kim Dong-in also made the narration in his story more complex by introducing the “story within a story” literary device instead of plain third-person narration. Tale of a Mad Painter has a darker and more violent ending than the ending of The Tattooer, probably reflecting tragic events in Korea and in Kim Dong-in’s life. Of course, despite the fact that Kim Dong-in's Tale of a Mad Painter is reminiscent of Tanizaki Jun'ichirō's The Tattooer, it was created as a self-contained unique literary work and therefore should be appreciated as one.Govoreći o japanskoj modernoj književnosti, ime Tanizakija Jun'ichira jedno je od prvih imena koje se nesumnjivo mora spomenuti. Jedan od najpopularnijih japanskih pisaca proze na Zapadu, Tanizaki Jun'ichirō poznat je po majstorskom portretiranju psiholoških situacija u svojim romanima i dramama. Sjajan virtuoz stilizacije i estetizma, on je jedna od najvažnijih ličnosti u povijesti japanske književnosti. Njegov značaj u japanskoj modernoj književnosti mogao bi se usporediti sa značajem autora Kima Dong-ina u korejskoj modernoj književnosti. Opus Kima Dong-ina jedan je od najzanimljivijih fenomena u korejskoj književnosti prve polovice 20. stoljeća. Poznat po inovacijama korejskog književnog jezika, igrao je važnu ulogu u razvoju korejske moderne književnosti. Oba su pisca bila aktivna na književnoj sceni istočne Azije u prvoj polovici 20. stoljeća, ali kako je Tanizaki rođen 14 godina ranije od Kima Dong-in-a, počeo je i ranije pisati. Iako to nisu najpoznatija djela spomenutih autora, vrijedno je spomenuti da su i Tanizaki Jun'ichirō i Kim Dong-in u jednom trenutku svoje književne karijere napisali novele čiji je siže izgrađen oko glavnog lika koji je umjetnik opsjednut suludom željom naslikati svoje remek-djelo: Tanizaki Jun'ichirō je 1910. napisao novelu Tetoviranje (Shisei), a Kim Dong-in napisao je novelu Lud slikar (Kwanghwasa) 1935. godine. U navedenim novelama mogu se pronaći mnoge sličnosti poput izbora sižea, motiva i strukture. Iako su Tetoviranje Tanizakija Jun'ichira i Lud slikar Kima Dong-ina zasebna umjetnička djela sa svojom jedinstvenošću, između njih postoji neka povezanost, što se također nakratko spominje u radovima Empire of texts in motion: Chinese, Korean, and Taiwanese transculturations of Japanese literature (2009.) K.L. Thornber i Kim Tongin Yeongu (1985.) C. Kim, ali budući da ta pretpostavka nije detaljno razrađena, cilj ovog istraživanja bio je pokušati otkriti tu povezanost putem analize zajedničkih utjecaja na oba autora te putem usporedbe strukture i motiva. Pretpostavka autorice ovog rada bila je da su Tanizaki Jun'ichirō i Kim Dong-in bili nadahnuti istim knjiž evnim djelima pišući svoje novele, osim toga je Kim Dong-in između ostalog, bio nadahnut i Tanizakijevom novelom. Usporedba zajedničkih književnih utjecaja na oba autora napravila se putem analize stručne literature koja obrađuje opus navedenih autora: za analizu opusa Tanizakija Jun'ichira koristili su se radovi Remembering Tanizaki Jun’ichiro and Matsuko: Diary Entries, Interview Notes, and Letters, 1954-1989. (2017.) A.H. Chambersa, Tanizaki Jun'ichirō to Kim Dong-in bungaku ni okeru bi no keisei toshite no mozō (2019.) M.H. Gil, Tanizaki Jun’ichirō no seikimatsu (2002.) K. Inouea, The alien within: representations of the exotic in twentieth-century Japanese literature (2009.) L. Mortona, te Modern Japanese writers and the nature of literature (1976.) M. Uede; za analizu opusa Kima Dong-ina koristili su se radovi Tanizaki Jun'ichirō to Kim Dong-in bungaku ni okeru bi no keisei toshite no mozō (2019.) M.H. Gil, pogovor u japanskom prijevodu zbirke novela Kima Dong-ina S. Hatano (2011.), Naturalistic sensibility and modern Korean literature: Kim Tongin (2008.) H. Kim, Poetika rasskazov Kim Dong Ina (2012.) I.L. Park, te Twentieth-Century Korean Literature (2005.) N. Yija, C. Ua, K. Yija i M. Kima. Putem analize strukturnih jedinica sa sličnima motivima i razvojem sižeja napravila se usporedba dviju novela. Rezultati usporedbe zajedničkih književnih utjecaja pokazali su da, kao što je i bilo predviđeno u pretpostavci, razlog sličnosti u novelama Tetoviranje i Lud slikar leži u tome da su Tanizaki Jun'ichirō i Kim Dong-in doista bili inspirirani istim književnim djelima kad su pisali svoje novele Tetoviranje i Lud slikar. Tema odnosa između umjetnosti i nasilja te motiv opsjednutog željom da stvori remek-djelo umjetnika u Tetoviranju i Ludom slikaru najvjerojatnije inspirirani su romanom Slika Doriana Greya Oscara Wildea i kratkom pričom Ovalni portret Edgara Allana Poea. Motivi seksualnog karaktera u tim novelama odraz su dubokog dojma koji je na autore ostavio znanstveni rad Richarda Freiherra von Kraffta-Ebinga Psychopathia sexualis. Rezultati usporedne analize strukturnih jedinica sa sličnim motivima i razvojem sižeja pokazali su kako ne samo da su književnici bili inspirirani istim djelima, već da je i sama novela Lud slikar intertekstualno preradila Tetoviranje, bilo da je Kim Dong-in napravio to namjerno ili nesvjesno. I Tetoviranje i Lud slikar mogu se podijeliti u manje strukturne jedinice koje imaju slične motive i razvoj sižeja: 1) smještanje glavnog lika u određeno povijesno razdoblje, 2) predstavljanje glavnog lika i njegove strasti prema umjetnosti, 3) rađanje umjetničke čežnje, 4) traženje žrtve, 5) susret sa žrtvom, 6) ostvarenje umjetničke čežnje glavnog lika. Svaka od tih jedinica ima sličan razvoj priče - likovi čine slična djela i njihova umjetnička čežnja na isti način prerasta u opsesiju. Međutim, Kim Dong-in je motive Eda i njegove kulture prilagodio korejskoj stvarnosti, premještajući svoju priču u Seul razdoblja vladavine kralja Sejonga Velikog. Također je promijenio vanjštinu i osobnost glavnog lika, ostavivši samo ključnu zajedničku osobinu - opsjednutost skrivenu u umovima umjetnika. Novela Lud slikar duža je od Tetoviranja zbog detaljnije razrađenih misli protagonista i detaljnijeg opisa svake scene. Kim Dong-in je također pripovijedanje u svojoj noveli učinio složenijim uvodeći književno narativno sredstvo "priča u priči" umjesto običnog pripovijedanja u trećem licu. Lud slikar ima mračniji i nasilniji završetak za razliku od Tetoviranja, vjerojatno odražavajući tragične događaje u Koreji tog razdoblja, a i u životu Kim Dong-ina. Naravno, unatoč činjenici da je novela Lud slikar Kima Dong-ina reminiscentna na Tetoviranje Tanizakija Jun'ichira, ona je nastala kao zasebno i jedinstveno književno djelo te zato mora biti cijenjena kao takvo
SLA-driven predictive orchestration for distributed cloud-based mobile services
No full textWe describe a system for performing SLA-driven management and orchestration of distributed infrastructures composed of services supporting mobile computing use cases. In particular, we focus on a Follow-Me Cloud scenario in which we consider mobile users accessing cloud-enable services. We combine a SLA-driven approach to infrastructure optimization, with forecast-based performance degradation preventive actions and pattern detection for supporting mobile cloud infrastructure management. We present our system's information model and architecture including the algorithmic support and the proposed scenarios for system evaluation
An error detection aided GSC/MRC switching scheme in AF based cooperative communications
No full text(A) STUDY ON THE SHORT STORIES OF KIM DONG IN
No full text1919年 東京에서 純粹 文藝同入誌 「創造」를 發刊하고 거기에 첫 作品 ＜弱한 者의 슬픔＞을 발표하면서 文學活動을 시작한 作家 金東仁은 그후 30餘年동안 詩歌를 제외한 모든 분야에 걸쳐 尨大한 著作物을 남겼다. 그 동안 수 많은 評者나 硏究者에 의해 論議의 대상이 되었던 그와 그의 文學은 肯定과 否定이라는 전혀 矛盾된 극단의 評價를 받아왔다. 그런데 이러한 評價가 그의 文學에 대한 惡評이었든 好評이었든 간에 지나치게 文學外的인 要素, 즉 性格, 私生活, 環境 등의 傳記的 要素에 집착하여, 그의 文學 自體에 대한 評價가 아니었다는 結論을 얻었다.
그러므로 本論文에서는 그의 作品 自體만의 分析을 통하여, 그의 文學이 가진 特色을 알아 보았다. 그러나 그의 全作品은 量締으로나 分野로나 너무 尨大하므로 1919年의 處女作 ＜弱한 者의 슬픔＞부터 1941年 ＜곰네＞까지의 短篇 48篇을 對象으로 하였으며, 作品 한편 한편을 따로이 分析하는 方法이 아니라, 그의 全作品에서 그의 文學全體를 性格짓는 몇몇 恒久的 態度, 表現方式, 感覺方式을 알아보려 한다.
具體的인 方法으로는 48篇 全體를 對象으로 하여 人物의 命名, 性別, 나이, 社會的 階層, 婚姻與否, 敎育程度, 職業, 活動舞臺, 葛藤의 樣相이나 要因, 結末, 視點 등을 統計 分析하였으며, 그 結果 다음과 같은 結論을 抽出하였다.
첫째, 東仁은 登場人物에게 命名을 통하여 特性을 부여하는 性格創造의 初步的 方法에 힘써, 이름 하나에도 苦心하는 創作態度를 가졌다.
둘째, 作中 主人公들로 주로 20代의 庶民層 以下를 많이 등장시켜 방황하는 삶으로 그리어, 傳統秩序가 무너진 다음 外勢의 侵入으로 기반을 잃고 혼란된 社會를 作品化했다.
세째, 無力한 40대 男性, 孤兒가 많은 20代를 통하여 父權과 國權의 喪失을 表現했다.
네째, 精神的 支柱를 잃은 삶을 肉體를 통한 삶으로 나타내어 性本能 둥을 자주 作品에서 다루었으나, 많은 評者들의 結論과는 달리 否定的으로 나타냈다.
다섯째, 植民地라는 時代背景을 &quot; K남작&quot; &quot;거칠은 터 &quot; &quot;街頭&quot; &quot;監獄&quot; &quot;눈보라 벌판&quot; &quot;病室&quot; 둥으로 象徵表現하여 참담한 現實觀을 나타냈다.
여섯째, 葛藤의 樣相으로 外的 葛藤을 많이 보였으며, 無知와 貧困 傳統社會의 잔재에, 마구 받아들인 西歐思想이 야기한 병폐를 作品에서 많이 다루었다.
일곱째 , 참담한 現實認識과 함께 주로 敗北하고 挫折하는 人間들을 그렸으나, 都市에서보다는 農村에서 來日에 대한 希望을 發見하여, 否定的으로 그린 곰네에게 아기를 안겨줌으로써 아내와 어머니로서의 女性에게 肯定的 意味를 부여하였다. 自然과 접할 機會가 많기 때문에 어린이들이 자랄 場所로 農村을 택한 듯하며, 또 東仁의 小說에서는 自然이 肉化되고 心化되어 등장하며, 지쳐버린 人間에게 새로이 活力을 주는 要素로 묘사되기도 했다.
여덟째, 東仁은 ＜이 盞을＞을 통하여 기독교 교리가 사랑임을, 또 無能하고 나약한 男性에게 가장 강하고 위대한 父權의 象徵으로서의 예수를 보여 주고, ＜明文＞ · ＜결혼식＞을 통해서는 맹목적이고도 형식적인 信仰을 풍자, 희화화했다.
아홉째, 48篇中 2篇을 뺀 나머지 46篇을 一人稱 또는 作家 관찰자 시점으로 장치하여, 作家 自身의 눈과 입을 통한 사실들만을, 독특한 간결체 文章으로 선명하게 形象化하고 있다. 이러한 作家的 態度는 많은 評者에게서 唯我獨存式의 오만한 태도로 作中入物 및 讀者 위에 君臨한다는 비난을 받고, 삶이라는 現實 全體가 아니라 作家의 趣向에 맞는 一面만을 自己流로 素材化하여, 現實參與意識이 희박한 도피성 내지 敗北의 文學을 지어냈다는 否定的인 評價를 받기도 했다. 그러나 그러한 評價는 評者들이 그의 小說의 표면적인 뜻을 너무 액면 그대로 받아들인 때문이며, 따라서 東仁은 누구보다도 현실을 있는 그대로 그린 작가라는 결론을 얻었다.;Writer Kim, Dong In started his literary activities with the publication of his debut work &quot;Sorrow of the Weak&quot; in the pure literary magazine &quot;Changjo&quot; in 1919 in Tokyo. Since then during 30 years of his literary endeavor he had left behind vest literary heritage in various fields of literature except poetry and songs.
His literary works which have been subjects of controversies by many critics and researchers have received very contradictory reviews from both extremes i.e., one side accepting them wholeheartedly whereas the other side rejecting them categorically.
Through this research the writer has reached the conclusion that such interpretation of his works by both extremes regardless whether they were favorably or unfavorably disposed to Kim, Dong In&apos;s works were usually too deeply involved with extra-literary aspects (for instance, autobiographical elements such as his personality, environment and private life style) thus unable to provide accurate portrayal of them.
Consequently, in this treatise the writer abided by the principle of &quot;Return to the Texts&quot; and analyzed the works themselves and searched characteristics of Kim, Dong In&apos;s works from them only. Since volume of his works are so stupendous and genres are so diverse the writer intentionally confined the subject matter of the study to Dong In&apos;s 48 short stories up to the year of 1941. Instead of taking piece by piece analysis approach the writer took comprehensive one being concerned with search of the author&apos;s consistent literary bearings, his descriptive styles and ways of perceptions as revealed throught his works.
His favorite themes were new societies which stood in a formative stage with nondescript nature after collapse of traditional and feudal society. He portrayed sense of alienation from the established society by means of symbolism expressed through orphans, fatherless child and destabilized homes.
Life in a society where sense of value had been destroyed had been portrayed by him through means of depicting life styles indulgent for gratification of physical desires therefore description of physical environment and sexual instincts were materials of his works which cropped up quite often. Figures who are struggling in the deep morass of degeneracy were frequently introduced and their frustrations, deaths and defeats were part of basic fabric of his yarn. Heroes who lost their paternal authority and who are listless, weak, and incapable but engage in destruction of women rather than maintaining their paternal authority were also described.
In a conceptualized reality of colonial rule as expressed through K Baron, heros writhed in pains and sufferings because they realized that they could not be able to attain even a very simple hope of having a &quot;Harmonious homes&quot; in this desolate world; they sometimes indulge themselves in the manic pursuit of absolute beauty and at other times abandon themselves completely to physical gratification by sexual satisfaction however they were not able to climb over the walls surrounding them in many folds.
It seemed that Dong In discovered sources of his hopes for the future in rural community rather than urban society and also in growing children. In his stories nature was described as revitalizing elements to weary and tired human beings; and he provided positive meaning to womanhood as mother and wife by handing over the baby to Komnae whom he described so negatively in the story.
Dong In troubled himself with such basic trivialities as providing adequate names&apos;&apos; for the figures in his stories befitting to their characters ; he attempted to bring the nature of society into focus through introducing heros of 20s years old. His literary styles of staging the character who experiences frustration and defeats had been butt of criticism which claimed that he produced literature accomodative or sycophanic to the rules of colonialism rather than protesting and resisting them. But the writer considers such criticism about his works stemming from their scanning of superficial structure and furthermore reached the conclusion that Dong In was a writer who described the reality of his contemporary time as it is more than any other writers in his time.論文濫要 = ⅵ
Ⅰ. 緖論 = 1
A. 問題의 提起 = 1
B. 先行硏究 槪觀 = 3
C. 硏究의 目的, 範圈 및 方法 = 11
Ⅱ. 東仁의 作品世界 = 15
A. 作中入物의 性格을 통해 본 東仁의 作品世界 = 15
가. 命名 (Appellation) 을 통한 性格 = 15
나. 性別ㆍ나이 = 22
다. 社會的 階層 및 活動舞臺 = 26
라. 婚姻與否, 家族關係 = 29
마. 職業과 敎考程度 = 31
B. 葛藤의 要因 = 35
C. 時點ㆍ葛藤의 樣相ㆍ結末 = 38
Ⅲ. 東仁作品에 나타난 특색 = 43
A. 傳統社會의 沒落 - 父權 의 喪失 = 44
B. 傳統 秩序의 붕괴와 國權喪失-精神的 孤兒 = 46
C. 敗北와 挫折 = 49
D. 未來指向 - 自我覺醮과 새 세대에 대한 希望 = 54
E. 肉化ㆍ心化된 自然 = 59
F. 새 思潮로서의 基督敎 = 63
Ⅳ. 結論 = 66
參考文獻 = 69
ABSTRACT = 7
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
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
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