1,721,037 research outputs found
Gegen die Bibliothek (Elfriede Jelinek). Warum die zeitgenössische Literatur ein neues Medium verlangt
No full textInternational audienceThe digitization of archives and library collections holds great promises: improved accessibility, better preservation, more efficient storage. But what about ephemeral heritage, where longevity may be a concern but not stability? Taking the work of Nobel Prize winner Elfriede Jelinek as an example, this article raises the question of how to preserve mobile and nomadic works. The author has consistently taken a stand against the symbolic order of traditional libraries and has experimented with alternative formats (cut-out books, loose-leaf or electronic media) since the beginning of her career. Not only does the fixation of her texts seem contrary to the aesthetics of movement that she has always favoured, but it also contravenes an idea of overlaying at the risk of disappearance of certain texts. The author prefers staging and translation to preservation in libraries, as these are ways of keeping the text alive and resuming the initial creative act.La digitalisation des fonds d’archives et des collections de bibliothèque est porteuse de bien des promesses: meilleure accessibilité, meilleure conservation, meilleur stockage. Mais qu’en est-il du patrimoine éphémère, pour lequel la pérennité peut être un enjeu, mais pas la stabilité ? À l’exemple de l'œuvre du Prix Nobel de littérature Elfriede Jelinek, cet article pose la question de la conservation des œuvres mobiles et vagabondes. L’autrice a régulièrement pris position contre l’ordre symbolique des bibliothèques classiques et a expérimenté dès le début de sa carrière avec des formats alternatifs (livres à découper, supports volants ou électroniques). Non seulement la fixation de ses textes semble contraire à l’esthétique du mouvement qu’elle a toujours privilégiée, mais elle contrevient aussi à une idée du recouvrement qui ne craint pas la disparition de certains textes. À la conservation en bibliothèque, l’autrice préfère la mise en scène et la traduction, autant de manières de faire vivre le texte et de prolonger le geste créateur initial
Musik erzählt
Full text linkDer Artikel befasst sich mit der Rezeption elektronischer Musik im zeitgenössischen Roman anhand zweier Romantrilogien, die zwischen den 1980er Jahren und heute entstanden sind. Dabei handelt es sich um Techno in den Werken des Deutschen Rainald Goetz (Irre, Kontrolliert und Rave) und Punk-Rock im Werk der Französin Virginie Despentes, Vernon Subutex. Der Vergleich zeigt, dass beide AutorInnen sich zunächst für E-Musik in ihrer populären Variante als Kulisse, Milieu und soziale Praxis interessieren. Doch als Gegen-Kultur ist die Musik nicht nur eine Herausforderung der bürgerlichen Ordnung sondern auch ihrer Erzählmuster. Beide AutorInnen nehmen sich den DJ zum Vorbild, um die Narration einer musikalischen Produktionsästhetik anzunähern. Das ‚Handwerk‘ des DJ liegt dabei im Vordergrund: Das Auflegen von Platten ist ein Hören lernen und ein greifendes Schöpfen. Beide Qualitäten ergeben neue Verknüpfungsregeln, die von Goetz und Despentes narrativ und gesellschaftlich eingesetzt werden.Cet article analyse la réception de la musique électronique dans le roman contemporain à travers deux séries de romans écrites entre les années 1980 et nos jours. Il s’agit de la musique techno dans trois romans de l’Allemand Rainald Goetz (Irre, Kontrolliert et Rave) et du punk rock dans la trilogie de la Française Virginie Despentes, Vernon Subutex. La comparaison révèle que les deux auteurs s’intéressent d’abord à la musique électronique comme arrière-plan, milieu et pratique sociale. Mais en tant que contre‑culture, la musique ne remet pas en cause seulement l’ordre bourgeois mais aussi ses schémas narratifs. La figure du DJ sert de modèle aux deux auteurs pour tenter de rapprocher la narration de l’esthétique propre à cette production musicale. L’art du DJ est décrit en premier lieu comme un « travail manuel » : mixer c’est apprendre à écouter et créer en touchant. De ces deux qualités naissent des liens nouveaux que Goetz et Despentes explorent sur le plan narratif et sociétal.This article analyses the reception of electronic music in contemporary novels through a textcorpus of two trilogies written between the 1980s and today. It deals with techno music in three novels by German author Rainald Goetz (Irre, Kontrolliert and Rave) and punk rock in the trilogy Vernon Subutex by French author Virginie Despentes. As the comparison reveals both authors use electronic music in the first place as background, milieu and social practice for their story. But as counter-culture it challenges not only the bourgeois order but also its narrative structures. Both authors take the DJ as model and try to use for their writings the aesthetics of his music production. The focus lies on the DJs art as handicraft: it consists in learning how to listen and creating by touching. These two qualities allow new combination rules explored by the authors in narration and society
Rude Girl de Birgit Weyhe et Priscilla Layne, une "ré-appropriation culturelle" à quatre mains ?
No full textInternational audienceThis article analyses the graphic novel Rude Girl (2022), a drawn (self-)portrait created collaboratively by Priscilla Layne, an African American of Caribbean descent and professor of German Studies, and Birgit Weyhe, a German comic book author. The work is first presented within the general context of Birgit Wehye’s albums, a former student of Anke Feuchtenberger and winner of the Max-und-Moritz Prize, in order to highlight some characteristics of how the author has thus far addressed cultural differences, including in the albums that recounted her ‘German’ childhood in Uganda and Kenya. The article then reexamines the controversy surrounding the album Madgermanes, perceived as ‘cultural appropriation’ by American Germanists. This controversy is revisited here in light of Priscilla Layne's publications, notably her book White Rebels in Black: German Appropriation of Black Popular Culture (2018), as well as her numerous reviews in the field of Black Studies and her translation of Olivia Wenzel's 1000 Serpentinen Angst. A thorough analysis of Rude Girl ultimately reveals a shift in the representation of cultural otherness, particularly through the means of (auto)biographical co-construction.Cet article analyse le roman graphique Rude girl (2022), (auto-)portrait dessiné, réalisé à quatre mains par Priscilla Layne, Afro-américaine d’origine caribéenne et professeure en études germaniques, et Birgit Weyhe, autrice allemande de bandes dessinées. L’oeuvre est d’abord replacée dans le contexte général des albums de Birgit Weyhe, élève d’Anke Feuchtenberger et lauréate du Prix Max-und-Moritz, pour dégager quelques caractéristiques de la façon dont l’autrice accueillait jusque-là la différence culturelle, y compris dans les albums qui faisaient le récit de son enfance « allemande » en Ouganda et au Kenya. L’article revient ensuite sur la polémique suscitée par l’album Madgermanes, perçu comme « appropriation culturelle » par les germanistes américains, polémique qui est ici revisitée à la lumière des publications de Priscilla Layne, notamment son ouvrage White Rebels in Black : German Appropriation of Black Popular Culture (2018), mais aussi ses nombreuses recensions dans le domaine des Black Studies, et sa traduction d’Olivia Wenzel, 1000 Serpentinen Angst. L’analyse approfondie de Rude girl permet finalement de mettre en évidence une césure dans la représentation de l’altérité culturelle, notamment par les moyens de la co-construction (auto-)biographique
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
Genealogie der Autorschaft: die 1968er Generation und das literarische Feld Österreichs
No full textInternational audienceDer Frage nach Autorität des Autors wird anhand zweier Begriffe von Pierre Bourdieus Feldtheorie nachgegangen: die „Beziehung” und die „Stellung”. Somit wird Elfriede Jelinek nicht mehr als isoliertes Phänomen wahrgenommen, sondern als Akteurin des literarischen Felds, in dem sie mit anderen Stellungen (Schriftstellern, Institutionen) vernetzt ist und wo Autorität verliehen, angefochten und zurückgezogen werden kann. Der Beitrag zeigt, wie Autorität konstituiert wird, in dem sie historisiert wird. Es werden drei Phasen in Jelineks Laufbahn erläutert: ihr Debüt bei der „Innsbrucker Jugendkulturwochen”, ihr Aufstieg in der Presse und schließlich ihre Internationalisierung. Somit wird auch der Rolle benachbarter Felder wie den Medien und den kulturpolitischen Institutionen im Prozess der Autorisierung eines Autors Aufmerksamkeit geschenkt. Als Textbeispiele dienen bisher wenig berücksichtigte Beiträge Jelineks im deutschsprachigen Feuilleton.The question of authorial authority is here explored using two concepts from Pierre Bourdieu's field theory: “relationship” and “position”. Elfriede Jelinek is thus no longer perceived as an isolated phenomenon, but rather as an actor in the literary field, where she is connected with other positions (writers, institutions) and where authority can be granted, challenged, and withdrawn. The article demonstrates how authority is constituted through its historicization. Three phases in Jelinek's career are discussed: her debut at the "Innsbrucker Jugendkulturwochen" (Innsbruck Youth Culture Weeks), her rise in the press, and finally, her internationalization. Attention is also paid to the role of related fields such as the media and cultural policy institutions, in the process of authorising and legitimizing an author. Previously neglected contributions by Jelinek to German-language feuilletons serve as textual examples
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
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