1,721,001 research outputs found
Strategie per l’ammutinamento nel linguaggio filmico di Alberto Laiseca
No full textIl presente studio si propone di esaminare l’intersezione tra il campo letterario, i mezzi di comunicazione e la cultura massmediatica nell’opera dello scrittore argentino Alberto Laiseca, con particolare attenzione alla riconfigurazione dell’autore quale figura centrale nel passaggio intersemiotico tra il linguaggio letterario e quello cinematografico. Si esplorerà, in particolare, il rapporto di Laiseca con i registi Mariano Cohn e Gastón Duprat, a partire dai film “El Artista” (2008), in cui Laiseca veste i panni dell’attore, e “Querida, voy a comprar cigarrillos y vuelvo” (2011), dove l’autore assume la posizione di narratore extradiegetico del film. L’obiettivo è sottolineare, da un lato, l’appartenenza di Laiseca a una generazione di scrittori che aspirano a “sabotare” il canone imperante nel panorama letterario argentino a cavallo tra la fine e l’inizio del nuovo millennio e, dall’altro, il ruolo svolto dall’autore come anello intermediatico capace di “rivoltare” l’esperienza estetica e interpretativa sia dell’opera letteraria che di quella cinematografica
El lenguaje ecologista en el discurso latinoamericano actual.
No full textThis article explores the evolution of Environmental Discourse in Latin America through neological processes observed in publications from the Centro Latinoamericano de Ecología Social (CLAES). Analyzing language in the region, it highlights ecological aspects addressing environmental, political, and social issues. Utilizing the Sketch Engine for quantitative analysis and drawing on critical discourse analysis, the paper shows how Latin American environmental language shapes social practices, acting as a critical bridge between common and specialized languages
Maisanta y Chávez: fronteras espacio-temporales
No full textTodo imaginario, o representación de la realidad con imágenes, contiene e impone límites, fronteras. Por eso es necesario considerar hasta qué punto los imaginarios sobrepasan el peso de las fronteras y se enlazan con la realidad. Sea imagen de un país, una cultura o una red de emociones. En las imágenes como en las fronteras se potencian y frenan los ires y venires de la historia. Se condensa lo cultural. La cultura es también producto de la tensión social entre la identificación de límites y la invención de límites. De esta manera nos acercamos a la figura de Pedro Pérez Delgado “Maisanta”, bisabuelo de Hugo Chávez presidente de la República Bolivariana de Venezuela. Éste último trata de rebasar la frontera espacio-temporal que lo separa del personaje en un afán de rescate y como símbolo de su revolución y del proceso bolivariano. Entre los espacios semióticos o semiósferas en cuestión, Chávez por un lado y Maisanta por el otro, existe un espacio de constante intercambio, es la llamada “frontera”, lugar no-físico, abstracto en el cual ocurren fenómenos muy particulares, además de que está formado por textos y lenguajes necesarios para el diálogo
Una storia di frontiera: Marruecos di Agustín Gómez-Arcos
No full textL'esilio di Agustín Gómez Arcos in Francia rappresenta un momento di rottura nella vita dello scrittore: il personaggio principale di una delle sue opere, Marruecos, incarna la condizione di indefinitezza, di incompiutezza che l'autore vive dal momento in cui si allontana dalla sua patria
Marcella Solinas. Islas de palabras. Cuba y el Caribe en traducción.
No full textRecensione di Solinas Marcella, (2023) "Islas de palabras. Cuba y el Caribe en traducción", Milano: Biblion Edizioni
Alberto Laiseca’s strategies for mutiny in film language
No full textIl presente studio si propone di esaminare l’intersezione tra il campo letterario, i mezzi di comunicazione e la cultura massmediatica nell’opera dello scrittore argentino Alberto Laiseca, con particolare attenzione alla riconfigurazione dell’autore quale figura centrale nel passaggio intersemiotico tra il linguaggio letterario e quello cinematografico. Si esplorerà, in particolare, il rapporto di Laiseca con i registi Mariano Cohn e Gastón Duprat, a partire dai film “El Artista” (2008), in cui Laiseca veste i panni dell’attore, e “Querida, voy a comprar cigarrillos y vuelvo” (2011), dove l’autore assume la posizione di narratore extradiegetico del film. L’obiettivo è sottolineare, da un lato, l’appartenenza di Laiseca a una generazione di scrittori che aspirano a “sabotare” il canone imperante nel panorama letterario argentino a cavallo tra la fine e l’inizio del nuovo millennio e, dall’altro, il ruolo svolto dall’autore come anello intermediatico capace di “rivoltare” l’esperienza estetica e interpretativa sia dell’opera letteraria che di quella cinematografica.The aim of this study is to examine the intersection between the literary field, the media and mass media culture in the work of the Argentinean writer Alberto Laiseca, with particular attention to the reconfiguration of the author as a central figure in the intersemiotic transition between literary and cinematic language. In particular, Laiseca’s relationship with the directors Mariano Cohn and Gastón Duprat will be explored, starting from the films “El Artista” (2008), in which Laiseca plays the role of actor, and “Querida: voy a comprar cigarrillos y vuelvo” (2011), in which the author assumes the position of extradiegetic narrator of the film. The aim is to emphasise, on the one hand, Laiseca's belonging to a generation of writers who aspire to “sabotage” the prevailing canon in the Argentine literary panorama at the turn of the new millennium and, on the other hand, the role played by the author as an intermediary link capable of “turning around” the aesthetic and interpretative experience of both literary and cinematographic works
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
El testimonio sobre la guerra civil en la literatura periodística de Alejo Carpentier.
No full textThis article proposes a critical reflection of the four chronicles that Alejo Carpentier wrote in the years of the Spanish Civil War. In order to cover an exhaustive proposal of critical interpretation, the reading of Carpentierian texts has to be detached from an attentive analysis of the argumentative strategies of those pages, so unusual in the Cuban literary production. To achieve this objective, a discourse qualitative analysis approach will be used, in particular, to argue the pragmatic inclusion of the Cuban reader in what the author experienced. Through a critical reading of the discourse, the conclusions will try to define the chronicles of the Carpentier’s España bajo las bombas in the more general framework of the long history of transatlantic relations between Europe and America.Este artículo propone una reflexión crítica de las cuatro crónicas que Alejo Carpentier escribió en los años de la guerra civil española. Para abarcar una propuesta exhaustiva de interpretación crítica, la lectura de los textos carpentieranos tiene que desprenderse de un atento análisis de las estrategias argumentativas de esas páginas, tan inusual en la producción literaria del cubano. Para alcanzar dicho objetivo se usará un enfoque de análisis cualitativo del discurso, en particular, para argumentar la inclusión pragmática del lector cubano en lo vivido por su autor. A través de la lectura crítica del discurso, las conclusiones tratarán de definir las crónicas de Carpentier en el marco más general de la larga historia de relaciones transatlánticas entre Europa y América
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
- …
