1,721,122 research outputs found
« Author Profile » : Shirley Ann Grau
No full textURL : https://www.litencyc.com/php/speople.php?rec=true&UID=184
Dire le Sud américain à travers des instants de vie, ou quand le Blanc parle du Noir
No full textActe de colloqueInternational audienceFocusing on autobiographical narratives published between the 1960s and the end of the 1990s, this article shows that the question of race remains central for the white writers of the American South. In the texts presented here, the Black, though marginalized, occupies a central position which makes it possible to assess the place of both the narrated-I and the narrating-I in relation to the other. Each writer (Erskine Caldwell, William Styron, Reynolds Price, Elizabeth Spencer and Richard Ford) tackles the prejudices that dictate Southern manners explaining, rejecting or justifying them—the author thus engages in a literary genre that is not unlike confession.À partir de plusieurs récits de vie publiés entre les années 1960 et la fin des années 1990, cet article montre que la question de la race demeure centrale pour les écrivains blancs du Sud américain. Dans les textes abordés ici, le Noir, bien que marginalisé, occupe une position centrale, ce qui permet d’évaluer la place du je-narré et celle du je-narrant par rapport à l’autre. Chacun des auteurs convoqués (Erskine Caldwell, William Styron, Reynolds Price, Elizabeth Spencer et Richard Ford) présente les préjugés qui dictent les us et coutumes sudistes en les expliquant, les rejetant ou en les justifiant ; l’auteur/autrice se livre ainsi au lecteur dans un genre proche de la confession
Representations of Crime in Post Apartheid Theatre; A brief moment in the Post Colonial Narrative
No full textWhat is crime? What constitutes violence? What is it permissible to talk about or describe in cultural depictions of crime and violence? What is the impact of portraying crime and violence on an audience? How are crime and violence presented to make them culturally acceptable for educational or entertainment purposes? This book examines representations of violence and crime both historically and in relation to contemporary culture across a wide range of media, including fiction, film, art, biography, and journalism, to interrogate the issues raised
Special Issue: Grace Paley
No full textInternational audienceWe are very pleased to present this special issue of the Journal of the Short Story in English devoted to Grace Paley’s short stories. Paule Lévy, Professor of American literature at the University of Versailles, France, is the guest editor of this issue and has brought together an impressive array of scholars. The articles are sensitively written, and pay homage to an author whose work in the realm of the short story could be qualified as “legendary.” The editorial staff of the Journal are particularly sensitive to the impact of this volume, as we have fond memories of Grace Paley’s visit to Angers in 1998, when she was the guest writer at a conference on Jewish Identity and Otherness in the Modern Short Story, the proceedings of which were edited by the conference organizers: Emmanuel Vernadakis (co-editor of the JSSE at the time) and Jean-Francois Dreyfus, and published in JSSE 32 (1999). While in Angers, Paley was particularly moved by a theatrical reading of “The Loudest Voice,” performed by the San Francisco based theatre company “Word for Word,” and her vibrant spirit was remarked by all in her interview at the conference (also featured in JSSE 32 and reprinted in JSSE 41 in 2003). Grace Paley’s death in 2007 was a sad moment for many friends, critics, and fellow writers. This collection of articles in many ways serves as an additional tribute to an author who has fundamentally affected our perception of what it is possible to do with the short story form. We are grateful to Paule Lévy for her rigorous preparation of a series of articles which celebrate Paley’s writing through nuanced criticism and close textual readings
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
L’espace de la peur : Manipulations et subterfuges gothiques dans Dark Waters (André De Toth, 1944)
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