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« Frou-frou » : le doux bruissement des tissus
No full textL’Auteur propose quelques réflexions sur les emplois de l’onomatopée frou-frou en s'appuyant sur la mise en parallèle de deux domaines n'ayant, à première vue, aucune sorte de parenté : celui des matériaux de la mode (les tissus), et celui des matériaux de la langue (les sons) à travers l’analyse d’un corpus littéraire et de presse.
S'il est vrai que les étoffes, les tissus, évoquent immédiatement à l’esprit des sensations de type visuel et tactile liées à la couleur, à la qualité/ texture et au confort, les sensations auditives, pour être moins fréquentes dans les textes, n'en sont pas moins intéressantes à explorer du point de vue linguistique et socioculturel qui est le nôtre
Le signe vestimentaire dans Le Coq de bruyère de Michel Tournier
No full textDans cet article nous nous penchons sur le rôle que joue le vêtement dans Le Coq de bruyère de Michel Tournier et plus précisément dans Le Nain rouge où le signe vestimentaire joue un rôle déterminant, d’agent de métamorphose
Il tema dell’abbigliamento nel ‘Livre des trois vertus’ di Christine de Pizan
No full textIl presente lavoro intende privilegiare il tema dell’abbigliamento nel Livre des trois vertus di Christine de Pizan, ma intende anche proporre un confronto approfondito con un testo italiano trecentesco,il Reggimento e costumi di donna di Francesco da Barberino (1348)
LE VÊTEMENT DANS LES PREMIÈRES TRADUCTIONS FRANÇAISES DU "GALATÉE"
No full textAnalisi delle prime traduzioni francesi del "Galateo" di Giovanni della Casa édite in Francia e in Svizzera a ridosso della pubblicazione del trattato (1558). Abbiamo considerato in particolare la traduzione delle pagine dedicate ai consigli relativi agli usi nel vestire e all'eleganza.We analyze the first French translations of the "Galateo", edited in France and in Switzerland just after the publication of the Italian masterpiece, in the last decades of the XVI century. Special attention is devoted to lexicon in the chapters outlining the way a gentleman should look and dress
"L'abito del mondo. Scenografie della Genesi e del sogno teatrale in Yves Bonnefoy"
No full textIl topos del giardino è fin dall'infanzia per Bonnefoy attestazione della presenza. Lo studio prende in considerazione dapprima il tema dell'uscita dal Giardino dell'Eden, leitmotiv di alcune sue opere recenti, quali "Une variante de la sortie du Jardin", "Une autre variante" (ne "La longue chaine de l'ancre"), il sonetto "Aux portes du Jardin" (ne "L'heure presente") e "Sortie du Jardin sous la neige" (ne "Le digamma"), testi accomunati dal comune intento di riscrivere liberamente la pagina della genesi. In essa la poetica vestimentaria, stante la condizione di nudità nel Paradiso terrestre di Adamo ed Eva, concerne la dimensione corporea della nudità, il suo rapporto con gli elementi naturali, il suo ferirsi, la sua vestizione naturale. Nella seconda parte vengono studiate alcune rappresentazioni immaginarie di pièces shakespeariane come "Première ébauche d'une mise en scène de Hamlet", "Hamlet en montagne"(ne "L'heure presente") e "Pour mettre en scène Othello" (ne "Le digamma"), esempi di de-costruzione teatrale che trasformano progressivamente l'habitus dell'attore, tra vestizioni e denudamenti, in un teatro d'ombre
La rigoladerie héroïque de Raphaël Confiant
No full textThis essay analyses the plays on words in the novels by Raphaël
Confiant. The writer takes on himself the heritage of orality of Martinican
storytellers, rich in puns and humor. Confiant plays with the
French and Creole vocabularies, but also with the forms of spoken language,
such as set phrases or the network of metaphorical references,
he translates from Creole into French and creating puzzling effects on
the Francophone reader. The nicknames of Confiant’s heroes show
the same inventing and amazing work on words the author carries on
throughout his novels. He reaches the utmost effect of his esthetic in
relating scenes based on misunderstandings coming forth the naivety
of his heroes, quite mistaking the sense, the sound and the real meaning
of some words
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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