1,720,955 research outputs found
Écrire l’environnement du point de vue féminin : Étude de la nouvelle « Toutes les nuits du monde » de Chi Zijian au prisme de la critique littéraire écoféministe
No full textInternational audienceLe néologisme « écoféminisme » créé par la Française Françoise d’Eaubonne dans les années 1970, s’est largement diffusé au-delà des frontières françaises jusqu’à être théorisé en Amérique du Nord. Aujourd’hui employé dans la critique littéraire, l’écoféminisme analyse la manière dont la littérature représente le rapport entre les humains et la nature, enrichi par un regard croisé avec les études de genre. Si cet angle d’analyse dépasse les frontières, c’est parce qu’il est le témoin d’enjeux centraux dans nos sociétés industrialisées : notre rapport à l’environnement et aux minorités de genre. Afin d’illustrer la pertinence de ce prisme d’analyse en littérature, notre propos sera mis en application direct sur la nouvelle « Toutes les nuits du monde » (世界上所有的夜晚), récompensée du prix Lu Xun en 2007. Son autrice, Chi Zijian 遲子建, est attachée à dépeindre les paysages et les modes de vie locaux de sa province natale du Nord de la Chine, souvent du point de vue de ses personnages féminins. Notre analyse ambitionne donc de mettre en lumière le croisement entre ces deux thématiques afin de développer une compréhension plus complète et détaillée des représentations des femmes et de l’environnement dans ses textes. Au-delà de cette analyse, cet article vise à faire connaître la critique littéraire écoféministe, discipline de l’écocritique, ainsi que sa pertinence d’application à la littérature chinoise qui nous permet de discerner comment ces thématiques transnationales l’inscrivent dans un tissu de textes par-delà la scène littéraire sinophone
Le phénomène Yu Xiuhua 余秀华: Médiatisation frénétique d’une poétesse paysanne en marge des standards poétiques
No full textInternational audienceA disabled female poet from rural Hubei, Yu Xiuhua 余秀华 made her mark on Chinese news with the dazzling success of her poem “I crossed half of China to sleep with you” (Chuanguo daban ge Zhongguo qu shui ni 穿过大半个中国去睡你) in 2014. Now described as the “most widely read Chinese poet in the world”, she leads us to consider two aspects of analysis: on the one hand, as a star persona, Yu Xiuhua has experienced frenzied media coverage, a phenomenon rare enough for a poet that it is worth taking a closer look to understand the reasons for this; on the other hand, the use of a both refined and plain style to paint descriptive fragments of her daily life questions us about this movement of reappropriation of poetic standards sometimes considered as elitist and unsuitable for carrying the voice of marginalized lives in the Chinese countryside. From an anonymous person who publishes poems on the internet to a popular guest at literary salons, the starification process that erected her at the heart of Chinese media life for a short time raises questions. While the Chinese internet is full of publications by amateur poets, why did the “Yu Xiuhua phenomenon” make headlines from television shows to the lecture halls of the most prestigious Chinese universities? What is it about these poems and this persona that can explain the interest of such a wide readership? A poet from the margins, not only by her social origin, but also by her limpid style that addresses the banalities of her daily life in the countryside, without rudiments of poetic norms. The success of this simplistic style reflects a broader trend in contemporary Chinese poetry that highlights an experience of life from the perspective of the lower strata of society. Yu Xiuhua’s poems invite us to reflect more broadly on the emergence of these “grass poets” (caoben shiren 草本诗人) who appropriate the poetic medium to make their voices heard, however dissonant they may be with the national discourse on the prosperity of Chinese society.Femme poète, handicapée, originaire du Hubei rurale, Yu Xiuhua 余秀华 a marqué l’actualité chinoise lors du succès fulgurant de son poème « J’ai traversé la moitié de la Chine pour coucher avec toi » (Chuanguo daban ge Zhongguo qu shui ni 穿过大半个中国去睡你) en 2014. Celle qui est désormais qualifiée de « poétesse chinoise la plus lue dans le monde » nous fait envisager deux volets d’analyse : d’une part, le « personnage » Yu Xiuhua a connu une médiatisation frénétique, phénomène assez rare pour une poétesse qu’il mérite de s’y arrêter pour en comprendre les raisons ; d’autre part, l’emploi d’un style épuré et simpliste pour peindre des fragments descriptifs de son quotidien nous interroge sur ce mouvement de réappropriation des standards poétiques parfois jugés élitistes et inaptes à porter la voix des vies marginalisées de la campagne chinoise. D’une anonyme qui publie des poèmes sur internet à une invitée prisée des salons littéraires, le processus de starification qui l’a érigée au cœur de la vie médiatique chinoise pendant un court moment interroge. Alors que l’internet chinois regorge de publications de poètes amateurs, pour quelles raisons le « phénomène Yu Xiuhua » a-t-il fait les grands titres des émissions télévisées jusqu’aux amphithéâtres des plus prestigieuses universités chinoises ? De quoi sont porteurs ces poèmes et ce personnage permettant d’expliquer l’intérêt d’un lectorat aussi large ?Poétesse de la marge, non seulement par son origine sociale, mais aussi par son style limpide qui aborde les banalités de son quotidien à la campagne, sans rudiments des normes poétiques. Le succès de ce style simpliste reflète une tendance plus large de la poésie chinoise contemporaine qui met en lumière une expérience de la vie du point de vue des couches inférieures de la société. Les poèmes de Yu Xiuhua nous invitent à réfléchir plus largement à l’émergence de ces « poètes de l’herbe » (caoben shiren 草本诗人) qui s’approprient le medium poétique pour faire entendre leurs voix, aussi dissonantes soient-elles avec le discours national sur la prospérité de la société chinoise
Trois poèmes de Li Ye 李冶
No full textInternational audienceThis article offers the unprecedented French translation of three poems from the female poet Li Ye, each of which will shed light on a particular aspect of her poetic expression. The first poem selected "Cong Xiao shuzi ting tanqin, fu de Sanxia liuquan ge" has been praised by critics and is considered as one of her masterpieces. The second poem selected "Ganxing" is characteristic of her intimate style of composition and reveals a plethora of metaphors she uses to make emotions tangible to her readers. Although most of her poems offer a display of emotions, romantic love is rarely explicitly mentioned, with the exception of "Song Yan ershiliu fu Shanxian" -the third poem translated here- whose reference to the legend of Ruanlang leaves no room for doubt about the romantic nature of the feelings described.Nous proposons ici la traduction de trois poèmes, chacun révélateur d’un aspect de son expression poétique. Le premier poème « Cong Xiao shuzi ting tanqin, fu de Sanxia liuquan ge » (« En écoutant Xiao Shuzi jouer de la cithare, composition sur l’air des sources des Trois Gorges ») a reçu de nombreux éloges par les critiques et est considéré comme son chef-d’œuvre. Le poème « Ganxing » (« Élan d’émotion ») est caractéristique de son expression poétique la plus intime et de la richesse des métaphores poétiques qu’elle manie pour rendre ses émotions palpables aux lecteurs. Tandis que la plupart de ses poèmes donnent lieu à des démonstrations d’émotions, l’amour romantique y est rarement explicitement mentionné, à l’exception du poème « Song Yan ershiliu fu Shanxian » (« Au revoir à Yan le vingt-sixième en partance pour Shan ») par sa référence à la légende de Ruanlang qui ne laisse aucun doute quant à la nature amoureuse des sentiments décrits
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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