1,720,977 research outputs found
Anna Karenina travestied or transtextual mise en abyme: on some transtextual practices in Albert Cohen’s prose
Full text linkTranstextuality is the first principle o f Albert Cohen’s writing. The author of this paper is trying to reveal
the function on the combination of two aspects of transtextuality (external and internal) in generating
multiple interpretations of Cohen’s novels. To illustrate this problem the author presents one of the narrative
strategies in Albert Cohen’s prose: “transtextual mise en abyme”, applied to Tolstoy’s novel Anna
Karenina. This notion refers to the combined effect of transtextual processes (from implicit mention to
allusion to travesty) and mise en abyme. The fiction of Anna Karenina transformed by one of Cohen’s
heroes, Mangeclous in the eponym novel and in Les Valeureux, is a travesty. Nevertheless if the reader
examines this process in an intratextual perspective, he realizes that this transformation is at the same
time, because in the travesty of Tolstoy Cohen’s own text (Belle du Seigneur) is mirrored. Thus Karenina’s
story in Mangeclous and Les Valeureux is a prolepsis of the fiction of Belle du Seigneur
«Anna Karénine» travestie ou une mise en abyme transtextuelle. Sur quelques pratiques transtextuelles dans la prose d ’Albert Cohen
Full text linkTranstextuality is the first principle o f Albert Cohen’s writing. The author of this paper is trying to reveal the function on the combination of two aspects of transtextuality (external and internal) in generating multiple interpretations of Cohen’s novels. To illustrate this problem the author presents one of the narrative strategies in Albert Cohen’s prose: “transtextual mise en abyme”, applied to Tolstoy’s novel Anna Karenina. This notion refers to the combined effect of transtextual processes (from implicit mention to allusion to travesty) and mise en abyme. The fiction of Anna Karenina transformed by one of Cohen’s heroes, Mangeclous in the eponym novel and in Les Valeureux, is a travesty. Nevertheless if the reader examines this process in an intratextual perspective, he realizes that this transformation is at the same time, because in the travesty of Tolstoy Cohen’s own text (Belle du Seigneur) is mirrored. Thus Karenina’s story in Mangeclous and Les Valeureux is a prolepsis of the fiction of Belle du Seigneur
Les narrations micro-(h)istoriques de Claude Dunetonet de Jean Echenoz
No full textMicro-(h)istorical narratives by Claude Duneton and Jean Echenoz – The purpose of this article is a comparative study of two recent French novels, Le Monument. Roman vrai by Claude Duneton (2004) and 1914 by Jean Echenoz (2012), which, in spite of formal and ideological differences, approach the theme of the Great War in a way similar to micro-historical frameworks. Like historians representing this field of historiography, both writers depict the four years of the First World War by focusing on a small community and a geographical space limited to a small location on the home-front. Referring to the distinction between roman de l’historien (the historian’s novel) and roman du témoin (the witness’s novel) proposed by Emmanuel Bouju, the author of the article analyses the strategies used by the novelists to create an indirect witness’s point-of-view, juxtaposed with the perspective of the contemporary recipient of the events that happened a hundred years ago.Celem artykułu jest porównanie dwóch francuskich powieści – Le Monument. Roman vrai Claude’a Dunetona (2004) i 1914 Jeana Echenoza (2012), w których opowieść o I wojnie przypomina strategie stosowane w pisarstwie mikrohistorycznym. Odnosząc się do rozróżnienia pomiędzy kategoriami powieści historyka (roman historique) i powieści świadka (roman istorique), w ujęciu Emmanuela Bouju, autor omawia strategie stosowane przez obu powieściopisarzy w celu stworzenia efektu zapośredniczonego świadectwa zestawionego z punktem widzenia dzisiejszego odbiorcy wydarzeń
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Châtelet – Lilas Sébastiena Ortiza albo praca czułego narratora/maszynisty metra / Châtelet – Lilas de Sébastien Ortiz ou le travail d’un tendre narrateur/conducteur de métro
No full textThe author analyzes Châtelet – Lilas, Sébastien Ortiz’s “mythological novel”, which combines features of the social novel and “constrained writing” in the context of the protagonist’s double labour: a subway driver transporting passengers through the Parisian underground and a “tender narrator” (Tokarczuk) who transforms their silence into a story under the influence of “empathetic unsettlement” (LaCapra). The difficulty of this labour, analyzed from a mythocritical and sociological perspective, confronts us with the dilemmas of contemporary prose situated at the intersection of “intimate voices” and “social voices” (Martin-Achard), aiming to “re-enchant the world” (Maffesoli).Artykuł analizuje w Châtelet-Lilas, „powieści mitologicznej” Sébastiena Ortiza, łączącej cechy powieści społecznej i „pisania pod przymusami”, motyw podwójnej pracy protagonisty: maszynisty metra przewożącego pasażerów przez paryskie podziemia i „czułego narratora” (Tokarczuk), który przekształca ich milczenie w opowieść, pod wpływem „empatycznego niepokoju” (LaCapra). Trudność tej pracy, analizowana z perspektywy mitokrytycznej i socjologicznej, stawia nas wobec dylematów współczesnej prozy, tworzonej przez napięcie „głosów intymnych” i „głosów społecznych” (Martin-Achard), w celu „ponownego zaczarowanie świata” (Maffesoli).Abstrakt. Autor poddaje analizie „powieść mitologiczną” Sébastiena Ortiza Châtelet-Lilas, która łączy także cechy powieści społecznej z pisarstwem opartym na przymusach formalnych. Artykuł skupia się na motywie podwójnej pracy protagonisty: maszynisty przewożącego pasażerów przez paryskie podziemia i „czułego narratora” (Tokarczuk), który pod wpływem „empatycznego niepokoju” (LaCapra) przemienia ich milczenie w opowieść. Trudność tego wysiłku, rozpatrywana w ujęciu mitokrytycznym i socjologicznym, stawia nas wobec dylematów współczesnej prozy, w której przecinają się „głosy intymne” i „głosy społeczne” (Martin-Achard) w celu „ponownego zaczarowania świata” (Maffesoli). Résumé. L’auteur analyse Châtelet – Lilas de Sébastien Ortiz, un « roman mythologique » qui combine également des caractéristiques du roman social et de l’écriture à contrainte. L’étude se concentre sur le motif du double travail du protagoniste : conducteur transportant les voyageurs à travers les souterrains parisiens et « tendre narrateur » (Tokarczuk) qui transforme leur silence en récit, sous l’effet du « vacillement empathique » (LaCapra). La difficulté de ce labeur, examinée sous l’angle mythocritique et sociologique, nous confronte aux dilemmes de la prose contemporaine, à l’intersection des « voix intimes » et des « voix sociales » (Martin-Achard), visant à « réenchanter le monde » (Maffesoli)
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
Fiction haunted by the past/the past haunted by fiction: the spectres of the Great War in "Douze lettres d’amour au soldat inconnu" by Olivier Barbarant and "Visites aux vivants" by Cathie Barreau
Full text linkThe return of the theme of the Great War in literature imposes on the contemporary reader a double heritage: that of grief and guilt. The post‐ memory rediscovery of loss is therefore accompanied by a prise de conscience of forgetting or indifference, in family memory and History, in relation to war’s anonymous victims. In the fiction compared in this paper, Douze lettres au soldat inconnu by Olivier Barbarant and Visites aux vivants by Cathie Barreau, loss is thematized by deconstructing the specter of the Great War. The two authors attempt to libertate the specters from the aura of anxiety, on the one hand in the hope of taming the past, on the other to give voice, as well individual integrity, to the forgotten subjects of the Great War
« L'Humour et le rire dans les littératures francophones des Amériques ». Sous la direction de Józef Kwaterko Paris, L'Harmattan, « Itinéraires et contacts de cultures », Vol. 36, 2006, 198 p., ISBN 2-296-00242-0
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