1,721,045 research outputs found
Formes brèves
No full textLes formes brèves sont aujourd'hui un mode de communication et d'expression artistique incontournable, omniprésent dans notre culture mais en même temps méconnu. Mouvant et polymorphe, ce format relève aussi bien de l'art que de la littérature, des sciences de la communication, du cinéma, de l'audiovisuel et de nombreux autres domaines. Il n'a pas pour autant fait l'objet que d'un petit nombre de publications interdisciplinaires. Les textes rassemblés ici selon une perspective interdisciplinaire et internationale envisagent donc les formes brèves dans leur diversité, d'un point de vue diachronique tout autant que synchronique. Ils permettent de nourrir non seulement des analyses ciblées sur ces différents types de formes brèves (au cinéma, en littérature, dans l'art, dans la communication, etc.), mais aussi une réflexion théorique sur les questions de définitions, les enjeux, la modernité, ou encore sur la transgénéricité et la transmédialité qui caractérisent souvent ces formes brèves
Ethiques du corps dans Antarctica de Claire Keegan
No full textInternational audienceA selection of stories from Claire Keeganʼs first collection Antarctica (1999) is here examined through the perspective of ethos. Each story, the author argues, illustrates the clash between two etymological meanings of ethos through a dramatic conflict between inherited practices and the idiosyncratic disposition of the characters (i.e. tradition vs. taste). The contrast is explored within a frame which brings together Camille Pagliaʼs theory of literature and the arts as an extension of the archaic connection between sexuality and religion and Judith Butlerʼs theory of performativity. Within this frame one of the storiesʼ major features is a taste for taking risks. Instead of putting the body at a distance for the mind’s sake, Keeganʼs stories seem to invite the reader to take the risk of exploring it (i.e. the body), even if such a risk may lead to death
Migrations transatlantiques latentes dans 'The Yellow Bird' de Tennessee Williams
No full textArticle de revue (Article scientifique dans une revue à comité de lecture)International audienceThe literary transatlantic migrations in Tennessee Williams’ “The Yellow Bird” (1947) are studied from the point of view of parodic rewriting and recycling. The structure of the story produces polyphonic effects that create a dramatic tension between the tragic and the comic, the present and the past, the real and the imaginary, as they move to and fro between the Ancient and the New Worlds. The effects and ensuing tensions are achieved through the latent interposition of the phoenix, a symbol whose presence is periphrastically hinted at as early as the title: the “yellow bird” is a transatlantic figure out of British modernism (for Williams recuperated it from D. H. Lawrence’s work) which embodies rebirth and renewal. It takes under its aegis Alma, a minister’s daughter whom it accompanies in her metamorphosis into a prostitute. The article uses the concepts of heteroglossia and performativity to demonstrate that Alma’s transformation is due to her acting out the meaning of her name in various languages. Through this performance, Alma’s identity is diffracted into multiple facets from literal, acclimatized, or endogenous Puritanism to a transatlantic literary crossbreed. Eventually, by means of an inverted correspondence, Alma, the prostitute, proves to be a parody of the Virgin Mary. As Mary, Mother of God is mother to her own creator, so Alma is a metaleptical and metafictional figure of the author. Transatlantic migrations are thus part of a larger issue that concerns fiction in general and Williams’ oeuvre in particular. The story (like Williams’ work in general) questions the impermeability of the boundaries that define time, space, genders and genres to highlight the interdependence that develops between the individual and the community, realism and fantasy, reality and fiction.</p
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
Louis De Bernieres b. 1954 - Mavis Gallant - David Madden
Full text linkLouis de Bernières lives in London and is the author of four novels and several short stories, many of which are set abroad, primarily in Latin America and Greece. In 1993 he was selected as one of the twenty Best of Young British novelists. Mavis Gallant has been a short story writer since the early 1950’s, publishing her first works in The New Yorker. Born in Montreal, she traveled extensively before settling in Paris. Her impressive volume of Collected Stories was published in 1996. Many o..
Migrations transatlantiques latentes dans “The Yellow Bird” de Tennessee Williams
Full text linkThe literary transatlantic migrations in Tennessee Williams’ “The Yellow Bird” (1947) are studied from the point of view of parodic rewriting and recycling. The structure of the story produces polyphonic effects that create a dramatic tension between the tragic and the comic, the present and the past, the real and the imaginary, as they move to and fro between the Ancient and the New Worlds. The effects and ensuing tensions are achieved through the latent interposition of the phoenix, a symbol whose presence is periphrastically hinted at as early as the title: the “yellow bird” is a transatlantic figure out of British modernism (for Williams recuperated it from D. H. Lawrence’s work) which embodies rebirth and renewal. It takes under its aegis Alma, a minister’s daughter whom it accompanies in her metamorphosis into a prostitute. The article uses the concepts of heteroglossia and performativity to demonstrate that Alma’s transformation is due to her acting out the meaning of her name in various languages. Through this performance, Alma’s identity is diffracted into multiple facets from literal, acclimatized, or endogenous Puritanism to a transatlantic literary crossbreed. Eventually, by means of an inverted correspondence, Alma, the prostitute, proves to be a parody of the Virgin Mary. As Mary, Mother of God is mother to her own creator, so Alma is a metaleptical and metafictional figure of the author. Transatlantic migrations are thus part of a larger issue that concerns fiction in general and Williams’ oeuvre in particular. The story (like Williams’ work in general) questions the impermeability of the boundaries that define time, space, genders and genres to highlight the interdependence that develops between the individual and the community, realism and fantasy, reality and fiction
Migrations transatlantiques latentes dans “The Yellow Bird” de Tennessee Williams
Full text linkThe literary transatlantic migrations in Tennessee Williams’ “The Yellow Bird” (1947) are studied from the point of view of parodic rewriting and recycling. The structure of the story produces polyphonic effects that create a dramatic tension between the tragic and the comic, the present and the past, the real and the imaginary, as they move to and fro between the Ancient and the New Worlds. The effects and ensuing tensions are achieved through the latent interposition of the phoenix, a symbol whose presence is periphrastically hinted at as early as the title: the “yellow bird” is a transatlantic figure out of British modernism (for Williams recuperated it from D. H. Lawrence’s work) which embodies rebirth and renewal. It takes under its aegis Alma, a minister’s daughter whom it accompanies in her metamorphosis into a prostitute. The article uses the concepts of heteroglossia and performativity to demonstrate that Alma’s transformation is due to her acting out the meaning of her name in various languages. Through this performance, Alma’s identity is diffracted into multiple facets from literal, acclimatized, or endogenous Puritanism to a transatlantic literary crossbreed. Eventually, by means of an inverted correspondence, Alma, the prostitute, proves to be a parody of the Virgin Mary. As Mary, Mother of God is mother to her own creator, so Alma is a metaleptical and metafictional figure of the author. Transatlantic migrations are thus part of a larger issue that concerns fiction in general and Williams’ oeuvre in particular. The story (like Williams’ work in general) questions the impermeability of the boundaries that define time, space, genders and genres to highlight the interdependence that develops between the individual and the community, realism and fantasy, reality and fiction
Louis De Bernieres b. 1954 - Mavis Gallant - David Madden
Full text linkLouis de Bernières lives in London and is the author of four novels and several short stories, many of which are set abroad, primarily in Latin America and Greece. In 1993 he was selected as one of the twenty Best of Young British novelists. Mavis Gallant has been a short story writer since the early 1950’s, publishing her first works in The New Yorker. Born in Montreal, she traveled extensively before settling in Paris. Her impressive volume of Collected Stories was published in 1996. Many o..
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