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« Le prolongement d’un symptôme » : Emma Santos au mot à mot
No full textSi la femme a longtemps été définie par son rôle de mère, n’en demeure-t-elle pas
moins une femme ? C’est ce que cet article tente de déterminer en analysant l’évolution de
la place que tient la mère à partir d’une conception patriarcale jusqu’au mouvement
féministe. Tantôt valorisée, tantôt blâmée, la maternité se situe à l’origine d’une
redéfinition de l’identité féminine par les femmes au profit d’une revalorisation de la
différence sexuelle. Loin de s’opposer au phallocentrisme en renversant simplement la
dichotomie hommes/femmes critiquée, il s’avère nécessaire de trouver une place à la femme et
une à la mère qui respectent l’égalité que celles-ci revendiquent. Et cette coexistence
primordiale de la femme et de la mère s’affirme au sein-même de la relation mère-fille qu’il
faut encourager.If the woman has been defined for a long time by her role as a mother, does not she
still remain a woman? This is what this paper tries to determine while analyzing, from a
patriarchal conception to the feminist movement, the variation of the place the woman holds.
Sometimes valued, sometimes criticized, maternity makes women redefine the feminine identity
to the benefit of a revalorization of the sexual difference. In order not to rise against
patriarchy in simply reversing the men/women dichotomy, it is necessary to find a place for
the woman and one for the mother that both respect the equality they claim. This primary
coexistence of the woman and the mother appears in the mother-daughter relationship itself,
which is a connexion we must encourage
Les débordements du genre, l’autoportrait en vert, envers et contre tout… Un autoportrait en vert de Marie Ndiaye : Centre de Recherches en Études Féminines et de Genres
No full text« C’est le soir et le niveau de la Garonne monte heure après heure dans l’obscurité ». Page après page, l’eau pénètre le texte, et toutes les parois, les bords-dures deviennent poreuses, perméables. Les identités se mélangent et le trouble envahit le texte, la narratrice, le lecteur… « Il faut attendre et surveiller ». Au fil de la montée des eaux les rencontres de la narratrice avec les femmes en vert se multiplient dans un hors temps comme des incarnations de la Garonne en débordement, de changer de socle. Autoportrait en vert de Marie Ndiaye est un ouvrage qui par sa structure et par son écriture questionne les notions de genre littéraires, photographiques, identitaires, normatifs en mettant en danger et en doute nos propres représentations du monde.« It’s the evening and the level of the Garonne is getting higher, hour after hour, in the darkness ». Page after page, the water forces its way into the text, into the walls, the frames become porous, permeable. Identities blend and confusion invades the text, the narrator, the reader… “ One should wait and watch”. Along with the rising of the waters, the encounters of the narrator with the woman in green multiply in an outer time, as incarnations of the overflowing Garonne, changing base. Green self portrait by Mary Ndiaye is a work which, by its structure and writing challenges the notions of literary, photographic, identity, normatif “genre” by endangering and “endoubting” our own representations of the world
Overlapping genres, as portrayed in Marie Ndiaye's Autroportrait en vert (Green self-portrait)
No full text« It’s the evening and the Garonne River is rising hour after hour in the darkness ». Page after page, the water penetrates the text and the walls; the banks become porous, permeable. Identities blend and confusion invades the text, the narrator and the reader…“You have to watch and wait”. Along with the rising waters, the narrator’s encounters with the women in green increase in timelessness, and exist as incarnations of the flooding Garonne. Autoportrait en vert (Green self portrait) by Mary Ndiaye is a work which, through its structure and writing, challenges the notions of literary, photographic, identity and normative genres by jeopardising and questioning our own representations of the world.« C’est le soir et le niveau de la Garonne monte heure après heure dans l’obscurité ». Page après page, l’eau pénètre le texte, et toutes les parois, les bords-dures deviennent poreuses, perméables. Les identités se mélangent et le trouble envahit le texte, la narratrice, le lecteur… « Il faut attendre et surveiller ». Au fil de la montée des eaux les rencontres de la narratrice avec les femmes en vert se multiplient dans un hors temps comme des incarnations de la Garonne en débordement, de changer de socle. Autoportrait en vert de Marie Ndiaye est un ouvrage qui par sa structure et par son écriture questionne les notions de genre littéraires, photographiques, identitaires, normatifs en mettant en danger et en doute nos propres représentations du monde
From the wound to the scar. Repetition, naming and sinthome : Reading of Emma Santos’s work
No full textCette thèse a pour objet l’œuvre d’Emma Santos (1943-1983), écrivaine française qui a écrit huit livres au cours de la décennie 1970. L’étude tente de saisir, à partir de son écriture, la notion de « sinthome » élaborée par Jacques Lacan. Aujourd’hui l’œuvre d’Emma Santos, peu lue et encore moins étudiée, reste très liée au contexte de l’éclosion des féminismes et du mouvement antipsychiatrique, et est souvent lue comme un témoignage de femme confrontée à l’expérience de l’enfermement, et de la « folie ». Si nous avons pris en compte l’empreinte de ce contexte dans les ouvrages santosiens, nous avons surtout voulu montrer combien son écriture agit comme un espace vital, au sein duquel peut se mettre en place un travail de cicatrisation d’une blessure physique et psychique. L’un des thèmes récurrents dans les livres est l’accident de voiture qu’elle subit enfant, au cours duquel sa gorge est entaillée : nous suggérons que son écriture agit comme un espace psychique d’accueil de la souffrance, et de cette marque sur le corps. Les problématiques autour desquelles s’articulent notre travail se résument ainsi : comment l’écriture rend-elle possible cette cicatrisation ? En considérant le processus d’écriture que nous avons synthétisé sous le nom de montage, nous pouvons mettre en évidence différents dispositifs récurrents, comme l’autocitation, la réécriture, la répétition. Que peuvent-ils nous révéler et nous apprendre sur la « folie », sur ses assignations, et sur la langue ? L’intuition motrice de cette étude est que la pratique singulière de l’écriture de l’écrivaine lui permet d’appréhender la coupure et ses effets symptomatiques qui la coupent du monde, comme un « sinthome » qui la relie au monde. Or ce concept, analysé à travers le texte santosien, ouvre la voie à une nouvelle appréhension de la langue et de sa loi, et permet de repenser la distinction névrose / psychose ainsi que la différence sexuelle.This thesis has for object the work of Emma Santos (1943-1983), French writer who wrote eight books during the seventies. The study tries to grasp, from her writing, the notion of « sinthome » devised by Jacques Lacan. Today, the work of Emma Santos, scarcely read and even less studied, stays very connected with the context of the emergence of feminism and the antipsychiatric movement, and is often read as the testimony of a woman confronted with confinement and « madness ». If we have chosen to take into account the influence of this context in the santosien books, we have mainly wanted to show how her writing acts as vital space, in which a work of cicatrization a physical and psychological wound can take place. One of the recurring themes in the books is the car accident she was in as a child, in which she had her throat cut: we suggest that her work acts as a psychic space to host the pain, and this body mark. The following can sum up the problematics organizing our work: how can writing make this cicatrization possible? Considering the writing process that we have synthesized under the name of assembling, we can emphasize different recurring systems, as auto quotation, rewriting, repetition. What can they reveal and teach us about « madness », its definitions, and language? The leading feeling of this study is that the singular writing practice of the writer allows her to apprehend the fracture and its symptomatic effects that alienated her from the world, as a « sinthome » that links her to the world. Thus this concept, analyzed though the santosien work, opens the way to a new apprehension of the language and its law, allowing to rethink the neurosis / psychosis distinction, as well as sexual difference
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
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