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Éloge de l'excès (tissage et métissage dans l'oeuvre de Salman Rushdie, Jeanette Winterson et Arundhati Roy)
No full textCette thèse met en regard trois romanciers contemporains écrivant en anglais, A. Roy, J. Winterson, S. Rushdie, autour de la notion d excès. A partir d une analyse textuelle précise, chaque auteur est d abord étudié séparément sous l angle du mouvement, première réalisation de l excès : passage (Rushdie), va-et-vient (Winterson), retour (Roy), esquissant des thèmes communs: travail sur la forme (corps et roman), la voix, l imaginaire. En synthèse, les liens entre les trois écritures sont retissés mettant en évidence les formes de l excès :stratégies de mélange par hybridation et tissage, effets de débordement par accumulation et surenchère. Enfin, l excès permet de placer les trois romanciers dans une position singulière sur la scène du roman contemporain et sur la question de la représentation : la réponse à l épuisement postmoderne par une esthétique de la démesure qui affirme la substantialité du réel par le débordement organique tout en passant par le biais d un imaginaire délirant.This thesis compares three contemporary novelists writing in English, A. Roy, J. Winterson, S. Rushdie, through the question of excess. With a precise textual analysis as a starting point, each author is first studied separately from a perspective of movement: passage (Rushdie), to and fro (Winterson) return (Roy) - dealing with common themes : form (of the body or of the novel), voice, the imaginary. In a last section, the links uniting the three writers are interwoven, revealing the various forms excess can take : blending strategies through hybridization and weaving, overflowing effects through accumulation. Lastly, excess allows us to assert the singular position of these novelists on both the contemporary literary scene and the issue of representation : it functions as a response to the postmodern exhaustion through an aesthetic of disproportion and outrageousness, asserting reality s substance through organic proliferation as well as through the unleashing of a wild imagination.PARIS3-BU (751052102) / SudocSudocFranceF
Transpositions cinématographiques dans l’œuvre de Salman Rushdie
Get PDFDans l’œuvre de Salman Rushdie, écrivain migrant par excellence, la notion de transposition, qui consiste dans un premier temps à « faire passer ailleurs, ou dans un autre domaine », ne peut qu’être cruciale. Si le terme de transposition n’apparaît pas explicitement sous sa plume, on trouve néanmoins celui, récurrent, de « translation ». Pris dans son acception anglaise, celui-ci présente l’intérêt de mettre en lumière les deux facettes inhérentes à la transposition. Outre son acception spati..
The God of Small Things d’Arundhati Roy : entre saturation de couleurs et noir et blanc
Get PDFThe God of Small Things est un roman saturé de couleurs dès ses premières lignes. Dans ce parcours bigarré, nous analyserons plus particulièrement deux couples de couleurs signifiants qui confèrent une qualité éminemment visuelle au roman : rouge/vert (correspondant au couple gémellaire de Rahel et Estha) et noir/blanc (renvoyant au couple transgressif de l’intouchable et de la touchable). L’analyse révèlera comment le roman remet en question le pouvoir éloquent de la couleur en opposition au noir et blanc qui finit par en dire plus sur le drame caché et retenu au cœur du récit. Le noir et le blanc fonctionnent en effet comme des couleurs « stylistiques » qui signalent le travail du vide dans le texte. Ils sont opératoires du point de vue de la typographie saturée de blanc sur la page, mais aussi du point de vue de la narration et de la syntaxe ponctuées de trous noirs avec les ellipses temporelles et verbales. Ils donnent ainsi véritablement à voir l’écriture et installent stylistiquement une esthétique du secret. L’oscillation entre saturation de couleurs et austérité du noir et blanc révèle une tension permanente entre voir et dire, ou plutôt entre ce qui se voit et ce qui ne se dit pas.The God of Small Things is a novel saturated in colours from the very first page. In this mottled colour text we will analyse two sets of colours which are particularly meaningful and which confer the writing a very visual quality: red and green on the one hand (corresponding to the twins Rahel and Estha), and black and white on the other hand (referring to the transgressive couple of the untouchable man and the “touchable” woman). The analysis will reveal how the eloquent power of colour is questioned by the particular use of black and white. Indeed black and white turn out to reveal more about the untold drama concealed at the heart of the narrative and to work as “stylistic” colours enhancing the presence of void within the text. They are operating on the level of typography (white spaces saturate the page), but also on the level of narrative and syntax pitted with black holes (time and verb ellipses). Black and white thus confer a visual dimension to the writing and convey an aesthetics of secrecy. The oscillation between the saturation of colour and the black and white austerity reveals a permanent tension in the novel between seeing and saying, or more precisely between what can be seen and what cannot be said
"Always try and do too much. Dispense with safety nets" : Rushdie et l'écriture de l'excès
Get PDFDans les romans de Rushdie, l’excès peut s’entendre à la fois dans une acception quantitative et qualitative. Dans un premier temps, la prolifération qui marque les personnages et leur corps en excès, s’avère fonctionner également du point de vue syntaxique et narratif. L’hypertrophie de la phrase (qui s’épanche sur plusieurs pages et qui fait proliférer les signes de ponctuation comme les subordonnées), affecte également la narration marquée par la digression et l’emboîtement des récits. En parallèle, l’excès s’entend également comme un mouvement de dépassement de la mesure, une transgression. Il implique une exploration de territoires hors normes et instables comme le révèlent son usage novateur de la langue anglaise avec un déplacement de la langue vers « lalangue », territoire du reste, mais aussi sa représentation de la réalité qui déborde dans l’imaginaire et se déplace à l’oblique du réel. Ainsi Rushdie fait de l’excès une stratégie face à la crise de la représentation et propose une autre manière d’appréhender la langue et la mimesis. In Rushdie’s novels, excess corresponds to a quantitative and a qualitative acceptation. First, the proliferation typical of the characters and their body turns out to work on the level of the syntax and the narrative. The hypertrophy of the sentence (flowing on several pages and integrating a profusion of punctuation marks and subordinate clauses), affects also the narrative, which ramifies into constant digressions and embedded narratives. Besides, excess also conveys a notion of movement and of transgression. It implies exploring the unchartered territories lying beyond the norm. This is particularly relevant as regards Rushdie’s innovative use of the English language and its constant shift from la langue to « La Langue », but also as regards the representation of reality overlapping the imaginary world. In that sense, Rushdie uses excess as a strategy to confront the crisis of representation in a biased way, and to initiate a new way of apprehending language and mimesis.
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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
Get PDFWe 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
Get PDFWe 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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