1,694 research outputs found
Variations on the Author
No full text“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 Viral Author
No full textLa idea moderna de la "figura de autor" debe mucho, de manera irreversible, a los dos ensayos de Roland Barthes y Michel Foucault, "La muerte del autor" y "¿Qué es un autor?". Ellos proporcionan un marco útil para una investigación sobre la aparente ausencia del autor en el mundo del web, nos permite preguntarnos si la autoría es congruente con los nuevos medios de comunicación, y si algún modelo puede ser establecido por su presencia. Se argumenta que el autor es de hecho presente, pero con su presencia y modalidades de actividad desplazadas a la figura del usuario.The modern idea of the author-figure owes much, irreversibly, to the two essays of Roland Barthes and Michel Foucault, “The Death of the Author” and “What is an Author?”. They provide a useful framework for an investigation into the apparent absence of the author-figure in the online world, allow us to ask whether authorship is congruent with online media, and whether some model may be established for his presence. It is argued that the author is indeed present, but with his presence and modes of activities displaced, perhaps counter-intuitively, to the figure of the user
Sterile neutrino models and nonminimal cosmologies
No full textCosmological measurements are affected by the energy density of massive neutrinos. We extend here a recent analysis of current cosmological data to nonminimal cosmologies. Several possible scenarios are examined: a constant w≠−1 dark energy equation of state, a nonflat universe, a time-varying dark energy component and coupled dark matter-dark energy universes or modified gravity scenarios. When considering cosmological data only, (3+2) massive neutrino models with ∼0.5 eV sterile species are allowed at 95% confidence level. This scenario has been shown to reconcile reactor, LSND and MiniBooNE positive signals with null results from other searches. Big bang nucleosynthesis bounds could compromise the viability of (3+2) models if the two sterile species are fully thermalized states at decoupling
The death of William Golding: authorship and creativity in darkness visible and the paper men
No full textIn the seventies and eighties William Golding was deeply responsive to the critical, anti-authorial ethos that followed the publication of Roland Barthes's "La mort de I'auteur" (1968). In Darkness Visible (1979) and The Paper Men (1984) he investigates means by which to reaffirm authorial presence. Working through paradox, he performs the authorial death in these novels, and establishes language’s inadequacy as a means of conveying absolute meaning, authorial "vision," truth or revelation. Having done so he nonetheless gestures towards the divine, towards the possibility of a vatic communication. In this manner the novels work upon principles of contradiction and collapse. What remains is a discourse of hope, promise, desire, without means of substantiating such optimism. Thus Golding might be said to have practiced a form of negative theology, and to have anticipated in this respect some recent trends in literary theory
Roland Barthes, adorable: disseminations of an author\u27s voice
No full textEm seus cursos e textos, Roland Barthes descortinava a “cena da escritura”: a partir de uma seleção de textos apresentava a forma como determinadas figuras, palavras e vocabulários se atualizavam a cada texto, a cada contexto. Conhecido como o crítico que matou o Autor, Barthes também se inscreve como personagem de uma narrativa intelectual fascinante: nos últimos anos de vida, seu luto público pela morte da mãe e a disseminação de elementos de si em textos e aulas reverberaram como a escrita de um romance real, um romance perdido ou escondido que se confunde com seu pensamento crítico da literatura.In his courses and texts, Roland Barthes unveiled the "scene of the writing": from a selection of texts, he presented how some figures, words and vocabularies were updated in each text, each context. Known as the critic who killed the Author, Barthes inscribed himself as a character of a fascinating intellectual narrative: in his last years of life, his public mourning for the death of his mother and the dissemination of a self among his writings and courses reverberated as the writing of a real novel, a lost or hidden novel, mixed up with his reasoning on literary criticism.
Résister à la normalisation des conduites : Entretien avec Roland Gori, propos recueillis par Alain Policar
No full textCo-initiator of the call of calls denouncing the ideology of a neuroeconomic man in whose name the current reforms break and redial our jobs and tasks of care, social works, education, research, justice, information and culture, the author analyzes mainly the psychiatric knowledge and practice as facts of civilization.Co-initiateur de l'Appel des appels qui dénonce l'idéologie d'un «homme économique» au nom de laquelle les réformes actuelles défont et recomposent les métiers et les missions du soin, du travail social, de l'éducation, de la recherche, de la justice, de l'information et de la culture, l'auteur analyse ici principalement les savoirs et les pratiques psychiatriques comme «des faits de civilisation».Policar Alain, Gori Roland. Résister à la normalisation des conduites : Entretien avec Roland Gori, propos recueillis par Alain Policar. In: Raison présente, n°171, 3e trimestre 2009. Savoir, connaitre, agir. pp. 87-94
Diario de Campo: Boletín Interno de los investigadores del área de Antropología. 99 (2008) agosto. Diario de Campo
No full textPresentación por Rosa María Reyna, Samuel Villela y Juan José Atilano. - Wllllam Niven antes de Guerrero (1850- 1890) por Robert S Wicks. - La vida de la familia de William Niven y Nellie Pulcell por Roland H. Harrison. - Explorando vetas y placeres de oro en Guerrero por Brígida von Mentz. - De forasteros y minería en el estado de Guerrero. Siglos XIX y XX por Jaime Salazar Adame. – William: descubriendo el pasado arqueológico de Guerrero por Rosa maría Reyna Robles. – Pueblos, lugares y costumbres. El retrato de Guerrero desconocido por William Niven por Samuel Villela Flores. – William Niven: la paz porfiriana y la Revolución en Guerrero por Jaime Salazar Adame
L’autre-moi de Roland Barthes
No full textThe last years of Barthes's life are influenced by the mourning and the death of his mother. He commented under her photo at the Winter's Garden. Then he expressed the love he had for his family by describing their absence. By recalling those loved ones, the writer is in truth looking for his own identity. The author was introduced to the novel through the poetic instant or the haiku and came back to the body of the artist, just like a literature whose death he fears. He tries so, just like the phoenix, to reborn from the ashes by taking the path of romantic creation and repeating the sounds of the words Roland Barthes.Los últimos años de la vida de Roland Barthes están marcados por el duelo tras la muerte de su madre. Comentó la fotografía del Jardin d'hiver en La Cámara lúcida. Más tarde expresó el amor que sentía por su familia describiendo su ausencia. Al recordar a sus seres queridos, ciertamente, el escritor se encuentra a la búsqueda de su propia identidad. Barthes se introdujo en la novela a través del instante poético o del haiku y regresó al cuerpo del artista, de la misma forma que una literatura que teme su muerte. Intentó así, como un ave fenix, renacer de sus cenizas retomando el camino de la creación romántica y repitiendo los sonidos de las palabras Roland Barthes.Les dernières années de la vie de Barthes sont marquées par le deuil et la disparition d'une mère dont il légende la photo au Jardin d'hiver. Il exprime alors l'amour qu'il porte aux siens en décrivant leur absence. En rappelant ces êtres qui lui sont chers, l'écrivain est en vérité à la recherche de sa propre identité. L'auteur s'initie au roman par l'instantané poétique ou le haïku et redonne corps à l'artiste, tout comme à une littérature dont il craint la mort. Il tente ainsi, tout comme le phénix, de renaître de ses cendres en empruntant la voie de la création romanesque et en reprenant les sons des mots Roland Barthes
Roland Barthe’s Diaries
No full textThe unpublished texts of a writer, of an intellectual, are always very revealing, and their publications pleasantly welcomed. In this sense, having unveiled, in this 21st century, unpublished texts of Roland Barthes, such as journal entries, are of great value, not only because Barthes had decreed the need for the “death of the author” and not just to know details and personal reflections, but because through them the intimate writing of Roland Barthes is revealed, as well as his hesitations and his projects of future writing. In this article, we show the intrinsic value that these texts –written on notebooks or files– possess, but also, and after observing the drafts of their future project Vita Nova, we let them intuit the use of them in such work; project truncated almost from the beginning because of his premature death.Les textes inédits d’un écrivain, d’un intellectuel, relèvent toujours d’un grand intérêt, et leur publication est toujours très bien accueillie. Avoir publié, dans ce XXIe siècle, des textes inédits de Roland Barthes, tels les notations d’un journal personnel, a plus de valeur, non seulement parce que Barthes avait décrété le besoin de la “mort de l’auteur”, non seulement parce que nous apprenons des détails et des réflexions personnelles, mais parce que ces fragments révèlent l’écriture intime de Barthes, ainsi que ses hésitations et ses projets pour une nouvelle écriture. Nous faisons remarquer la valeur en soi de ces textes, écrits en des carnets ou sur des fiches, mais aussi, et après avoir révisé les brouillons de son futur projet Vita Nova, il nous est permis d’affirmer que ces fragments auraient fourni le matériel de certains chapitres de cette oeuvre, projet tronqué presque dès son début à cause de la mort prématurée de Barthes
Roland Barthes's resurrection of the author and redemption of biography
No full textThe most misunderstood essay in literary theory must be Roland Barthes's 'The Death of the Author' (originally 'La mort de l'auteur', 1968). Repeatedly critics and commentators have taken this satiric jeu d'esprit literally, and have credulously assumed that it is advocating the very position that it is condemning
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