1,721,828 research outputs found
Minh Tran Huy, Voyageur malgré lui
Full text linkVoyageur malgré lui, Minh Tran Huy, Flammarion, 2014, 230 pages, 18 euros Comment raconter d’où l’on vient, de quel monde, de quelle culture, de quels silences, sans écrire son autobiographie ? Minh Tran Huy, née en France de parents venus du Viêtnam dans les années 1960, a choisi le détour de la fiction. Dans Voyageur malgré lui, Line, la narratrice, prend quelques jours de congé à New York et découvre dans un musée l’existence d’Albert Dadas, un ouvrier gazier du XXe siècle qui souffrait d..
Interview with Minh Tran (2015)
No full textA dancer, choreographer, and teacher, Minh Tran immigrated to the United States in 1980 as a political refugee. His work has been performed throughout the western United States, at Dance Theatre Workshop in New York, and in Thailand, Indonesia, and Vietnam. Tran is currently a Visiting Associate Professor in Dance at Reed College and a board member for White Bird, a contemporary dance presenting organization in Portland.
Recorded for the documentary Moving History: Portland Contemporary Dance Past and Present.https://pdxscholar.library.pdx.edu/pda_interviews/1014/thumbnail.jp
Minh Tran Huy, Les Écrivains et le fait divers. Une autre histoire de la littérature
Full text linkBien qu’elle s’en défende puisqu’elle s’estime heureuse d’avoir «échappé» à la carrière universitaire, Minh Tran Huy, journaliste et romancière qui a fait un original usage du fait divers, a signé un essai proche du mémoire de maîtrise sur l’esthétique littéraire du fait divers, d’une lecture à peine troublée par un curieux tic langagier (l’auteur s’apostrophe à la deuxième personne plus de soixante-dix fois). Si l’investissement personnel et le bénéfice tiré d’études désormais classiques son..
Écrire le handicap des enfants : Clara Dupont-Monod, Minh Tran Huy, Hélène Cixous
No full textLe sujet du handicap des enfants reste tabou en littérature. Comment parler de ce qui laisse sans voix ? Comment puiser dans le langage les mots justes pour décrire l’injustice d’un enfant qui souffre sans que l’on puisse trouver un remède à son mal ? Que peut la littérature dans ce cas extrême ? Dans Le jour où je n’étais pas là (2000), Hélène Cixous se souvient qu’à la naissance de son enfant atteint de trisomie 21, elle cesse d’écrire, subissant « un alignement sur le non-aligné ». L’autisme de son fils Paul contraint l’écrivaine Minh Tran Huy à reconsidérer les possibilités de narration de son handicap, d’envisager Paul comme un personnage qui n’évoluerait pas selon les attentes de la société, ou même d’un roman. Dans S’adapter (2021), Clara Dupont-Monod fait le choix d’une focalisation singulière pour décrire les différentes facettes de l’enfant handicapé : celle des pierres de la cour qui témoignent de l’évolution des membres de la fratrie, chacun réagissant différemment au petit être aveugle et immobile. À travers leur écriture, les autrices étudiées explorent les tabous inhérents aux différentes relations de leur enfant respectif avec elles, leur famille et la société, tout en appelant à définir le handicap des enfants et le « soin » (le care, souvent administré par les femmes) en tant que cause politique.The disabled child remains a taboo subject in literature. How can we talk about something that leaves us at a loss for words? How do we find the right words to describe the injustice of a child who suffers without the hope of a cure? What can literature do in such extreme situations? In Le jour où je n’étais pas là [The Day I Wasn’t There] (2000), Hélène Cixous recalls that at the birth of her child with Down syndrome, she stopped writing, enduring “un alignement sur le non-aligné.” Her son Paul’s disability forces the writer Minh Tran Huy to reconsider the possibilities of narrating his situation, of envisioning Paul as a character who will not evolve according to society’s expectations, or even those of a novel. In S’adapter, translated as And the Stones Cry Out (2021), Clara Dupont-Monod describes the different facets of the disabled child from a singular point of view: that of the stones in the yard testifying to the evolution of the family, each sibling reacting differently to the tiny blind and motionless being. The authors studied here explore the taboos inherent in the different relationships between the writers, their child, their family and society, while calling for a social and political definition of disability and “care.
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
Investigating the microbial pathogens of sexually transmitted infections among heterosexual Vietnamese men with symptomatic urethritis
Full text linkObjective to explore the microbial etiology of urethritis in vietnamese men and the association with patients' characteristics, especially their sexual behaviors. methods this study was conducted on 349 men who presented with symptomatic urethritis and evidence of STIs (determined by multiplex PCR tests) at the department of andrology and sexual medicine-hanoi medical university hospital. all information regarding medical history, sexual activities, and symptoms of urethritis was documented. results c. trachomatis and n. gonorrhoea remained the two most common causative pathogens, followed by an unexpectedly high prevalence of mycoplasma and ureaplasma species. coinfection was significant with a rate of 40.7%. men who had sex with female sex workers (FSWs) were more likely to be positive with n. gonorrhoea but less likely to be positive with c. trachomatis and m. genitalium than those having sex with only one romantic partner. conclusions our findings suggested the important role of other microorganisms, especially m. genitalium, in the etiology of urethritis in men besides the previously well-known causes of STIs. since the coinfection rate is quite high, targeted treatment with clear microbial evidence should be considered rather than empiric antimicrobial therapy
Ontology enrichment by discovering multi-relational association rules from ontological knowledge bases
No full textVariations 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
THE STUDY OF ORGANIC LIGHT EMITTING DIODEFOR VEHICLEWITH GLASS FRIT WITH HERMETIC SEAL
No full textMinh-Tran Anh
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