1,720,980 research outputs found
O autor contemporâneo e a máquina produtora de mitos
Full text linkAmidst the range of research and work that has been produced in the last decades in Brazil on topics such as author's return, written himself and autofiction, it often has been said about the emergence of an “myth of the author” (or “writer myth”) – and such expressions indiscriminately have appeared in a variety of different texts of different researchers. However, in most cases where these terms are referred little theoretical distinction is made, frequently taking them widely in a dictionary and generic sense most of the times. So, taking as a starting point, the expression myth of the author, this thesis intends to investigate how, considering the heated discussions on the author's figure during the twentieth century and the literary productions of the contemporary, this mythical image has been systematized (especially as a vestige of contemporary mythical behavior), to which or to whom the image has served, what are its purposes and its consequences. Thus, a deepening in relation to a) author notions, from names like Roland Barthes, Michel Foucault, Giorgio Agamben and Roger Chartier; and b) myth, retaking some key concepts such as Mircea Eliade, Paul Veyne and Jean-Pierre Vernant, until you reach the Barthes of Mythologies, which provides a basis for discussions within the contemporary literature. These issues are related to novels by Chico Buarque – Estorvo (1991), Benjamim (1995), Budapeste (2003), Leite derramado (2009) and O irmão alemão (2014) – in search of a detailed analysis of the relationship between the persona who writes the editorial and marketing system, in order to keep up with the author of the myth-building strategies.Parmi de recherches et de travaux qui viennent de paraître dans les dernières décades au Brésil à propos de thèmes comme retour de l’auteur, écritures de soi et autofiction, on parle fréquemment d’un mythe de l’auteur (ou encore “mythe de l’écrivain”) – et telles expressions sont apparues sans distinction dans de divers textes et dans de divers rechercheurs. Pourtant, dans la plupart de cas où ces termes sont mencionnés on fait peu de distinction théorique, en les prennant souvent d’une manière ample, dans un sens presque “dictionnairisé” ou générique. En assumant comme point de départ, donc, l’expression mythe de l’auteur, cette thèse a pour but de mener comment, en considérant les animées discussions sur la figure de l’auteur pendant le XXe siècle, ainsi que les productions littéraires les plus contemporaines, on vient de systématiser cette image mythique (notamment comme un vestige de comportement mythique contemporain), à quoi et à qui cette image a servi, quelles sont ses finalités et ses conséquences. À cette fin, il faut un approfondissement par rapport aux notions de: a) auteur, à partir de noms comme Roland Barthes, Michel Foucault, Giorgio Agamben et Roger Chartier; et b) mythe, en reprenant certains concepts clés comme ceux de Mircea Eliade, Paul Veyne et Jean-Pierre Vernant, avant d’arriver au Barthes de Mythologies, qui fondera nos discussions dans le cadre de la littérature contemporaine. Ces questions seront liées aux romans de Chico Buarque – Estorvo (1991), Benjamim (1995), Budapeste (2003), Leite derramado (2009) et O irmão alemão (2014) – dans la recherche d’une analyse détaillée du rapport entre la persona qui écrit et le système du marché editorial, visant à suivre les stratégies de construction du mythe de l’auteur.Em meio à gama de pesquisas e trabalhos que vêm sendo produzidos nas últimas décadas no Brasil a respeito de temas como retorno do autor, escritas de si e autoficção, com frequência se tem falado sobre o surgimento de um “mito do autor” (ou ainda “mito do escritor”) – e tais expressões têm aparecido indiscriminadamente em variados textos de variados pesquisadores. No entanto, na maior parte das vezes em que esses termos são mencionados pouca distinção teórica se faz, tomando-os frequentemente de forma ampla, num sentido quase dicionarizado ou genérico. Assumindo como ponto de partida, portanto, a expressão mito do autor, esta tese pretende investigar como, considerando as acaloradas discussões sobre a figura do autor durante o século XX, bem como as produções literárias das mais contemporâneas, vem sendo sistematizada essa imagem mítica (em especial como um resquício de comportamento mítico contemporâneo), a que ou a quem essa imagem tem servido, quais são suas finalidades e suas consequências. Para tanto, será necessário um aprofundamento com relação às noções de a) autor, a partir de nomes como Roland Barthes, Michel Foucault, Giorgio Agamben e Roger Chartier; e b) mito, retomando alguns conceitos-chave como os de Mircea Eliade, Paul Veyne e JeanPierre Vernant, até chegar ao Barthes de Mitologias, que fundamentará as discussões no âmbito da literatura contemporânea. Essas questões serão relacionadas aos romances de Chico Buarque – Estorvo (1991), Benjamim (1995), Budapeste (2003), Leite derramado (2009) e O irmão alemão (2014) – na busca de uma análise pormenorizada da relação entre a persona que escreve e o sistema mercadológico editorial, com vistas a acompanhar as estratégias de construção do mito do autor
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
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
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe 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
Confissão e autoficção na obra de Reinaldo Santos Neves
Full text linkIf in 19th and 20th centuries the notion of individual had been shaken by the thoughts of intellectuals like Friedrich Nietzsche, the image of the author has been continuously controlling literary works until the mid-1960s, when it also has suffered a process of decentralization, triggered by the texts of scholars like Roland Barthes and Michel Foucault. Nevertheless, nowadays the author comes back to the stage without its late oppressive presence: after some replacing and resizing, now he participates on the planning of the traps that deceive the reader with referrals to reality that are supposedly true and that mix themselves with fictional material. In autofiction, term coined by Serge Doubrovsky in 1970, the hypothetical boundaries between reality and fiction are erased and the impasse and indecision, even in the face of texts that are self-proclaimed autobiographies, do prevail. Although autofiction has its grounds in French theoretical thought, studies on this literary practice progress in the works of Brazilian authors, as it can be seen in the rising number of texts being published; courses being held; and of researchers taking the matter into account. In this sense, this dissertation proposes to adjust its focus to the work of Reinaldo Santos Neves in an attempt to grasp what lies beyond the coincidence of the name the author, narrator and character have, an intricate game that dim the boundaries between reality and fiction, suspending the beliefs that are pretentiously maintained in autobiographical accounts. In this way, the work of Reinaldo will be analyzed in order to identify how the author biographical data commingle with fictional elements, so that this imaginary other self cannot establish bounds with a solid and stable individual, but that it will nevertheless remain inside an unresolvable zone, where the traps hind the reader of leaning on any alleged truth.Se entre os séculos XIX e XX a noção de sujeito sofreu um abalo por meio de pensadores como Friedrich Nietzsche, a figura do autor continuou dominando as obras literárias pelo menos até a década de 1960, quando também passou por um processo de descentralização por conta de trabalhos de estudiosos como Roland Barthes e Michel Foucault. Hoje, porém, o autor volta à ribalta sem a presença opressiva de outrora: após um reposicionamento e um redimensionamento diante de sua obra, ele agora participa da elaboração de armadilhas que iludem o leitor com supostas referências à realidade que se misturam à matéria ficcional.
Dentro da autoficção, prática nomeada por Serge Doubrovsky em 1970, as hipotéticas fronteiras entre o real e a ficção são apagadas, prevalecendo o impasse e a indecisão mesmo diante de textos que se autoproclamam autobiográficos. Embora a matriz teórica da autoficção seja francesa, avançam cada vez mais os estudos sobre essa prática na obra de autores brasileiros, como se nota no crescente número de publicações, cursos e pesquisadores que se lançam a estudar este assunto. Nesse sentido, a proposta desta dissertação é ajustar o foco para a obra de Reinaldo Santos Neves tentando enxergar, para muito além de uma simples coincidência entre o nome do autor, do narrador e do personagem, um elaborado jogo que obnubila as supostas fronteiras entre verdade e ficção, pondo em suspensão as certezas que pretensamente se tem em relatos autobiográficos convencionais. Dessa maneira, analisar-se-á ao longo da obra de Reinaldo como dados biográficos do autor se confundem com elementos ficcionais de modo que esse outro eu criado não consiga fincar raízes num sujeito sólido e estável, mas que permaneça dentro de uma zona do indecidível, onde as armadilhas impedem que o leitor se apoie em alguma suposta verdade
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
Poesia, testemunho e engajamento: crítica e criação literária de Wilberth Salgueiro
No full textEste trabalho tem por objetivo discutir a relação entre testemunho, engajamento e poesia, considerando a tradição da teoria que aborda a produção literária de vítimas e sobreviventes de catástrofes ao longo do século XX e do século XXI, dos campos de concentração nazistas à incidência da miséria, da violência e da exclusão sobre parte da sociedade em períodos democráticos. A escrita de poesia, entre o social e o subjetivo, como forma de testemunho, será debatida em especial a partir da obra crítica de Wilberth Salgueiro (2013, 2021a), com foco também em sua produção poética, publicada também sob o nome de Bith, com atenção mais detida na seção “Alguns sonetos bem engajadíssimos”, principalmente os poemas “Tetos” e “Na marra”, que integram Sonetos (2021b).
PALAVRAS-CHAVE: Literatura de testemunho. Engajamento - Poesia. Poesia brasileira engajada. Wilberth Salgueiro - Sonetos
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