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Blum, Bilha. "Le temps et la construction du sens". Protée 27, n.º 1 (12 de abril de 2005): 29–32. http://dx.doi.org/10.7202/030536ar.
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Cette analyse de La Mort de Molière fait l’examen de la juxtaposition de deux conceptions du temps, l’une conventionnelle et extratextuelle, et l’autre non conventionnelle mais présente dans le texte. Cette perturbation constante de la continuité du temps et de son irréversibilité, présente dans la vidéo, entraîne l’établissement d’un ensemble complètement différent de traits attribués à cette notion. La confrontation qui s’ensuit entre les deux conceptions du temps reflète la confrontation entre monde réel et monde fictionnel et, par conséquent, elle peut être utilisée comme principe interprétatif pour décoder cette oeuvre.
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Martín Rodríguez, Mariano. "Poema en prosa y mundos especulativos: en torno a Les chasseurs du temps de Daniel Walther". Çédille 12 (1 de abril de 2016): 224. http://dx.doi.org/10.21071/ced.v12i.5622.
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Le poème en prose a traditionnellement été considéré avant tout un genre lyrique. Néanmoins, il y a des fictions courtes dont l’écriture montre les principales caractéristiques du poème en prose, à savoir, la brièveté, l’intensité, l’autonomie, l’importance de la connotation, le caractère visionnaire et, surtout, la prédominance de la description. Le poème en prose fictionnel donne forme à un monde imaginaire qui est décrit poétiquement, plutôt que raconté. La nature fictionnelle de ce genre de poème en prose est particulièrement claire lorsque ce qui est décrit est une réalité future, comme dans « Le Phénomène futur » de Stéphane Mallarmé et, plus tard, dans plusieurs séries de poèmes en prose qui créent des univers prospectifs. Parmi eux, la série recueillie par Daniel Walther en 2010 intitulée Les Chasseurs du Temps se distingue par sa force mystérieuse, sa cohérence fictionnelle et la beauté de ses images.
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Cousineau1, Sophie, e Sylvie Frigon. "Les femmes détenues d’Unité 9 : entre espace fictionnel et réalité". Criminologie 49, n.º 2 (19 de dezembro de 2016): 323–47. http://dx.doi.org/10.7202/1038427ar.
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Dans cet article, nous nous penchons sur Unité 9, une télésérie québécoise portant sur l’univers carcéral au féminin, pour dresser un parallèle entre celle-ci et l’incarcération des femmes de ressort fédéral. Dans un premier temps, nous exposons un bref historique de l’enfermement au féminin et nous soulignons quelques particularités inhérentes à cette population carcérale. Nous présentons ensuite le synopsis de la série et nous brossons un portrait qui souligne la pertinence, les avantages ainsi que les lacunes des analyses télévisuelles. Dans un deuxième temps, nous théorisons l’espace carcéral, les dynamiques qui y prennent place ainsi que la résistance entreprise par les femmes (Bosworth, 1999 ; Butler, 1988, 2006a, 2006b ; DeGraff et Kilty, 2016 ; Frigon, 2000, 2012 ; Joël-Lauf, 2009 ; Lavigne, 1999 ; Smoyer, 2016). Dans un troisième temps, nous dressons des liens entre fiction et réalité en explorant quatre espaces : le secteur des admissions, le secteur de l’isolement, les unités résidentielles et les unités mère-enfant. Nous y relevons diverses nuances de résistance, d’aliénation ou de soumission. Ainsi, cet article met en lumière le rapport entre l’espace carcéral et les femmes incarcérées : non seulement celles de ressort fédéral, mais aussi celles d’Unité 9.
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Saint-Onge, Simon. "Le temps contemporain ou le Jadis chez Pascal Quignard". Études françaises 44, n.º 3 (9 de dezembro de 2008): 159–72. http://dx.doi.org/10.7202/019538ar.
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Résumé Cet article vise à éclairer certains aspects d’une des dimensions importantes de l’oeuvre de Pascal Quignard, une dimension qui a trait au temps et qui innerve l’ensemble de ses écrits dès la rédaction de ses Petits traités (1977). Plus précisément, au cours de cette étude, on envisage de saisir comment l’écrivain français construit une modalité temporelle qui fraye avec la question de la contemporanéité : le Jadis. La construction de ce temps contemporain à la fois plus actuel et plus originaire que le présent apparaîtra comme un processus de figuration qui fait éclater le continuum de la temporalité ; comme ce qui détermine une poétique du temps d’une portée aporétique se défiant du tribunal de l’histoire. En appui à cette réflexion, on se propose d’analyser comment s’inscrit cette modalité temporelle dans un texte fictionnel, à savoir le conte qui clôt l’ouvrage Sur le Jadis (2002).
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Mathieu, Patrick. "L'agressivité de Saint-Loup comme dispositif fictionnel dans À la Recherche du Temps perdu". Littérature 155, n.º 3 (2009): 54. http://dx.doi.org/10.3917/litt.155.0054.
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Auger, Manon. "LE TEMPS IMMOBILE DU HÉROS CONTEMPORAIN (Fortier, Chen, Huglo)". Dossier 44, n.º 2 (8 de maio de 2019): 67–83. http://dx.doi.org/10.7202/1059516ar.
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Dans un contexte où l’écrivain contemporain accorde de plus en plus d’importance aux « vies minuscules » et aux personnages non romanesques, il est difficile d’envisager qu’il existe une forme de « héros » contemporain. Mais peut-être est-ce parce que notre conception du héros romanesque emprunte encore trop au régime moderne d’historicité, c’est-à-dire à ce temps où il était encore possible, justement, de croire à la grandeur d’une personnalité capable d’imprimer sa marque sur l’Histoire et sur le temps ? Or, si l’individu contemporain et son avatar fictionnel sont privés des repères, des forces et des certitudes qui motivaient l’individu moderne, sont-ils pour autant dépourvus de grandeur ? C’est en partant de cette interrogation et à partir de l’exemple de Du bon usage des étoiles de Dominique Fortier (Alto, 2008) puis d’Immobile de Ying Chen (Boréal, 1998) et de La respiration du monde de Marie-Pascale Huglo (Leméac, 2010) que l’auteure pose l’hypothèse que, si une telle figure existe, c’est dans son rapport particulier au temps qu’elle est le plus susceptible de se révéler. On verra que c’est surtout dans un rapport antagonique avec la figure du héros moderne qu’un certain héroïsme peut se révéler, mais plus précisément dans ce que l’auteure appelle le temps « immobile » qui lui est particulier, temps de la résistance qui s’oppose au temps futuriste d’autres personnages.
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Bénit, André. "Lalande, écrivaine de passions et de combats". ALTERNATIVE FRANCOPHONE 2, n.º 3 (1 de setembro de 2018): 3–54. http://dx.doi.org/10.29173/af29358.
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De par son vécu, Françoise Lalande sait qu’une enfance heureuse ou une enfance triste produisent des êtres au destin fort différent. Ceux qui, comme elle, ont grandi dans une famille « handicapée de l’amour » devront tout au long de leur vie chercher une impossible compensation que d’aucuns trouveront vaille que vaille dans l’expression d’un art, telles la littérature et l’écriture d’une (auto)fiction haute en couleur. Une existence de nomade, pleine de passions et combats, telle est la voie que s’est proposée cette humaniste d’une sensibilité à fleur de peau, dont nous retraçons, dans un premier temps, l’itinéraire bio-bibliographique, dans un second temps, le parcours fictionnel. Avec, en bout de course, l’apaisement et le bonheur que procurent la découverte d’un mystère longtemps caché et la victoire dans la dure lutte contre le fatum familial
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Cavallero, Claude. "Les florilèges du quotidien de Philippe Delerm". Analyse 37, n.º 1 (7 de junho de 2007): 145–56. http://dx.doi.org/10.7202/012831ar.
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Résumé Dans ses recueils de textes brefs, Philippe Delerm dévoile une phénoménologie cachée de la vie ordinaire où s’exalte sans fausse honte une saisie épicurienne de l’instant. En peu de mots, le lecteur se trouve intimement associé à ces florilèges du quotidien selon un paradoxe singulier, qui pose la question des moyens rhétoriques et du régime fictionnel mis à contribution par l’écrivain. Prenant appui sur de nombreux exemples, l’analyse met au jour une stratégie discursive du fragment fondée sur une suspension tacite du récit et sur l’implication subreptice du lecteur appelé à faire sienne l’appréciation donnée en guise de conclusion. La problématique du temps structure cette écriture du bonheur simple comme pour mieux en souligner l’évanescente magie.
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Lord, Michel. "Claire Martin et l’espace nouvellistique". Dossier 29, n.º 1 (28 de janeiro de 2004): 65–75. http://dx.doi.org/10.7202/007539ar.
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Résumé Le monde fictionnel de Claire Martin est marqué, dans ses premières oeuvres, par le mouvement de la chute, de la verticalité, descendante surtout, et de la séparation. La communication — horizontale — entre les êtres se fait difficilement ; tout les sépare, et cela, de manière révélatrice, surtout à l’intérieur du couple, qui a souvent de la difficulté à se former et qui se défait — physiquement et psychologiquement — presque aussitôt fait. Dans ses oeuvres plus récentes, le schéma se modifie sensiblement. Les récits martiniens se trament ainsi dans des espaces que l’auteure décrit différemment selon les moments d’une carrière littéraire entreprise en 1958 sous le signe de la nouvelle, interrompue un certain temps, puis reprise à la fin du vingtième siècle, à nouveau par le truchement de la nouvelle ou la novella. La présente étude examine les modalités de formalisation des différentes postures descriptives dans l’ensemble des nouvelles publiées par Claire Martin, dans le but d’en montrer l’évolution et la signification.
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Cavallero, Claude. "J.-M. G. Le Clézio et le sable des mots". Hors dossier, n.º 82 (18 de outubro de 2007): 121–34. http://dx.doi.org/10.7202/016626ar.
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Résumé Comment lire aujourd’hui Désert, roman-pivot dans l’oeuvre de Le Clézio ? Un quart de siècle après sa publication, cette oeuvre en forme de diptyque continue de fasciner les lecteurs en raison du puissant imaginaire collectif que sollicite une écriture vibrante, chargée d’émotion pure. Ici s’impose la négation par effacement, disparition, brouillage des référents. De façon significative, les évocations sahariennes de Le Clézio sont souvent fondées sur l’observation de déserts américains. Le désert est aussi la terre des révélations, des interrogations absolues. Par-delà la visée démonstrative du texte, l’article s’attache à nuancer les interprétations couramment suscitées par ce lieu fictionnel mythique pour en souligner l’ambivalence profonde qui, loin d’atténuer son pouvoir de fascination, semble au contraire l’exalter. Chaque lecteur peut investir le texte de sa propre méditation sur le Temps, sur l’existence, sur l’origine, parce que l’image du désert demeure celle d’un mystère sur lequel les mots achoppent, mais que le roman exemplifie.
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Plaiche, Karel. "« L’ombre d’Imana » ou "l’expérience du dire" du génocide au Rwanda". Convergences francophones 6, n.º 3 (15 de janeiro de 2021): 58–73. http://dx.doi.org/10.29173/cf587.
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Écrit en 2000 « L’ombre d’Imana » de Véronique Tadjo invite à penser la relation témoignage-littérature dans le cadre du génocide des Tutsi du Rwanda. Si l’œuvre illustre bien qu’écrire l’expérience génocidaire est possible, son écriture hétéroclite lui confère un statut difficilement classable qui démontre la complexité d’une telle entreprise, notamment au sein de l’espace littéraire qui relève de la fabulation. « L’ombre d’Imana » fait partie des premiers textes écrits par des écrivains qui n’ont pas vécu directement le drame et son éclatement reflète les tentatives de circonscrire un événement traumatique qui semble pousser l’imagination et le langage à (et hors de) leurs limites. Si le texte réaffirme donc la posture engagée de l’auteure, il illustre surtout « l’expérience du dire » (Ngandu 2011) qu’engendre le génocide qui suppose tout un travail de façonnage du discours. Comment l’auteure, en tant que témoin « tiers » (Coquio 2004), représente-t-elle ce temps de violence extrême ? Comment transmet-elle la mémoire des victimes et par quelles stratégies littéraires, esthétiques et discursives rend-elle son témoignage percutant dans l’optique d’une transmission crédible et convaincante ? En nous focalisant sur le jeu entre le factuel et le fictionnel, entre autres, cet article explore la transformation artistique de son témoignage visant un choix des meilleures façons de dire les faits.
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Meyer, Jenny. "Barthélemy Aneau’s Alector ou le coq and the Paradox of Renaissance Cosmopolitanism". Renaissance and Reformation 38, n.º 1 (13 de junho de 2015): 5–26. http://dx.doi.org/10.33137/rr.v38i1.22780.
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Barthélemy Aneau’s histoire fabuleuse, Alector ou le coq (1560) epitomizes a burgeoning sixteenth-century awareness of the globe and its scope. New possibilities for envisioning global space went hand in hand with the development of cosmopolitan sympathies among Renaissance humanists; namely, enthusiasm for the ideal of a world republic. In this article, I show how Aneau’s fictional narrative demonstrates an idealized vision of the French monarch’s global role. I argue that Alector is written in the spirit of the princely manual, with a singular emphasis on the monarch’s obligatory mastery of spatial navigation that evinces sixteenth-century awareness of geography’s relevance to governance. Aneau creates a pastiche of French foundation myths and of geographical sources in order to emphasize both the French monarch’s preeminence and his worldwide reach. Elements of the hermetic tradition are manifest in Alector, where space is allegorized to illustrate Aneau’s conception of France’s place in the cosmos; in this way, his work is similar to that of his contemporary, the self-described cosmopolitan Guillaume Postel. Ultimately, there is a discord between the real geography evoked in Alector and the fictional genre that houses it. This dissonance emphasizes the paradoxical nature of a cosmopolitanism that strives to incorporate nationalism, and illustrates an unresolved complexity for would-be Renaissance world citizens.
L’histoire fabuleuse de Barthélemy Aneau, Alector ou le coq (1560) illustre la conscience grandissante de la Renaissance pour le globe terrestre et son espace. Les nouvelles façons de voir l’espace global se sont développées en même temps que les sympathies cosmopolites de certains humanistes de la Renaissance, en particulier en ce qui concerne leur enthousiasme pour la république mondiale. Dans cet article, l’auteur montre comment la trame narrative d’Aneau illustre une vision idéalisée du rôle global du roi de France. On y analyse qu’Alector est écrit dans l’esprit du manuel du prince, en mettant l’accent particulièrement sur l’obligation qu’a le roi de maîtriser l’espace de navigation, illustrant l’idée au XVIe siècle que la connaissance géographique se situe au cœur de la gouvernance. Aneau crée un pastiche de mythes de fondation française et de sources géographiques afin de souligner à la fois la prééminence du roi de France et son rayonnement mondial. Certains éléments de la tradition hermétique peuvent également être retracés dans Alector, puisque l’espace y fonctionne comme une allégorie de la conception d’Aneau de la place de la France dans le cosmos. De cette façon, son œuvre est similaire à celle de son contemporain, Guillaume Postel, qui se décrivait lui-même comme un cosmopolite. Enfin, un décalage s’observe entre la géographie réelle évoquée dans Alector et le cadre fictionnel qui l’abrite. Ce décalage souligne à son tour la nature paradoxale d’un cosmopolitisme voulant intégrer les nationalismes, ce qui représente bien une question complexe et non résolue pour les citoyens du monde en devenir de la Renaissance.
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Kütt, Madli. "Translating the Dynamics of Fictional Space: Estonian Translation of Marcel Proust’s Le Temps retrouvé". Interlitteraria 21, n.º 2 (18 de janeiro de 2017): 241. http://dx.doi.org/10.12697/il.2016.21.2.7.
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The article discusses the way that Proust’s text constructs dynamic and static elements of fictional space, and the further dynamisation or fixation of these elements by the process of translation. The focus of the study is on how movements of fictional space and characters can change in strength, direction and manner, when translated. In other words, rather than looking for that which is “lost in translation”, we are dealing with a comparison of two fictional worlds and the processes in them and between them.
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Bouliane, Claudia. "Le temps du Monde réel. La temporalité romanesque au service du réalisme socialiste". Études littéraires 45, n.º 1 (15 de julho de 2014): 21–34. http://dx.doi.org/10.7202/1025937ar.
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Résumé Cet article aborde la question de la temporalité romanesque dans la théorisation du réalisme socialiste par Aragon. La lecture de ses textes non fictionnels publiés entre 1935 et 1938 permet de mettre en lumière le problème singulier que pose la représentation du présent aux auteurs qui inscrivent leurs oeuvres dans cette esthétique littéraire importée de l’URSS.
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Larson, Sharon. "‘La Décadente a fait son temps’: Rachilde and Georges de Peyrebrune's Une décadente". Nottingham French Studies 59, n.º 1 (março de 2020): 1–14. http://dx.doi.org/10.3366/nfs.2020.0268.
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In 1886, Georges de Peyrebrune (1841–1917) published the novella Une décadente, a scarcely veiled depiction – and biting critique – of Rachilde (1860–1953) and her unconventional lifestyle. In her depiction of Hélione, a fictionalized version of Rachilde, she borrows from contemporary medical discourses on hysteria and suggests that her heroine's true fulfillment can only be realized through motherhood. Peyrebrune positions these male-authored discourses alongside a concurrent ridicule of Hélione's aspirations as a writer of decadent literature. However, in an unanticipated twist in the final pages, the discursive medical framework of her narrative collapses, exposing the precariousness of the literary and scientific constructions of hysteria and thus leading readers to rethink Peyrebrune's traditionalist views. In positioning these discourses within the larger aesthetic and ideological interrogations of the text, we may uncover Peyrebrune's own revision – albeit subtle at times – of a fictional model and the medical rhetoric that shapes it.
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Ballester-Roca, Josep. "Maria Beneyto: La creació literària de la dona múltiple i diversa al llarg del temps". REVISTA VALENCIANA DE FILOLOGIA 4, n.º 4 (10 de novembro de 2020): 20. http://dx.doi.org/10.28939/rvf.v4.131.
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Resum: Maria Beneyto es una de les autores fonamentals de la literatura valenciana depostguerra amb una llarga trajectòria tant en l’àmbit narratiu com poètic. Realitzem unapetita introducció al voltant del context i les circumstàncies en les quals desenvolupa la seuaactivitat creadora i, a més, fem una anàlisi de la seua obra, que ens dibuixa, entre altres aspectes,una radiografia del signe femení contemplat des de la diversitat i el compromís. Peraquest motiu estudiem aquest tipus d’imatges relacionades amb els referents ficcionals i realstot reivindicant una identitat marcada per la diferència. Paraules clau: Maria Beneyto, literatura feminista, literatura de postguerra Abstract: Maria Beneyto is one of the fundamental authors of post-war Valencian literaturewith a long career in both the narrative and poetic fields. We make a short introductionabout the context and circumstances in which he develops his creative activity, in addition,we make an analysis of his work, which draws us, among other things, an x-ray of the femalesign seen from the diversity and the commitment. For this reason, we study this typeof image related to fictional and real references, claiming an identity marked by difference. Keywords: Maria Beneyto, feminist literatura, postwar literature
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Pearn, John. "A Biographical Note on Marcel Proust's Professor Cottard". Journal of Medical Biography 11, n.º 2 (maio de 2003): 103–6. http://dx.doi.org/10.1177/096777200301100212.
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A medical practitioner, Professor Cottard, features in Marcel Proust's À la recherche du temps perdu, which has been described as one of the supreme achievements of world literature. Proust modelled the character of Cottard on the real-life Parisian neurologist and psychiatrist Dr Jules Cotard (1840–1889). Marcel Proust's father, Dr Adrien Proust, was an eminent Parisian surgeon and a contemporary of Cotard. A review of the biographical literature (in French) relating to Dr Jules Cotard and an analysis of his published work (in English and French) have revealed a striking parallelism between the lives of the fictional Cottard and Jules Cotard.
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ATKINSON, TED. "“Blood Petroleum”: True Blood, the BP Oil Spill, and Fictions of Energy/Culture". Journal of American Studies 47, n.º 1 (31 de julho de 2012): 213–29. http://dx.doi.org/10.1017/s0021875812001247.
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The third season of the HBO series True Blood, set in fictional Bon Temps, Louisiana, aired in a mediascape shaped by coverage of the BP oil spill that wreaked economic and ecological havoc on the US Gulf South during the summer of 2010. A retrospective examination of the series in this context, and against the grain of critical consensus labeling it mere escapism, demonstrates that taking True Blood seriously can yield compelling insights into the US Gulf South as a site in which convergences of the global and the local, of reality and representation, and of energy and cultural production result in the formation of a hybrid: energy/culture. Analysis of the storyline featuring the Vampire King of Mississippi shows how True Blood extends the long-standing cultural practice of making vampires screens for projecting collective desires and anxieties. Through a “camp aesthetic” that weaves into the Vampire King's maniacal pursuit of blood in various forms dire warnings about excessive consumption and environmental apocalypse, True Blood offers fictional ways to make meaning of the actual conditions and consequences of energy production and consumption brought to the surface with great urgency by the BP oil spill.
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Meza Cano, José Manuel, e Edith González Santiago. "Resultados cuantitativos de un juego de roles como alternativa para una práctica en una red social disciplinar". Revista Relep - Educación y Pedagogía en Latinoamérica 4, n.º 1 (2 de março de 2022): 46–58. http://dx.doi.org/10.46990/relep.2022.4.1.552.
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Las redes sociales disciplinares son empleadas para discutir sobre temas específicos académicos, construidas con redes de código abierto. El objetivo de este trabajo es mostrar los resultados descriptivos de la implementación del juego de roles en una práctica en psicología dentro de una red social disciplinar, para ello se creó un personaje ficticio que interactuó con los estudiantes durante un semestre. Los resultados cuantitativos arrojaron una cantidad importante de interacciones estudiantes-personaje, centradas en fechas. Se concluye que es necesario implementar actividades para mantener la interacción entre estudiantes y figuras docentes.
Abstract
Disciplinary social networks are used to discuss specific academic topics built with open-source networks. The objective of this research is to show descriptive results obtained when role plays are implemented as an exercise in psychology using disciplinary social networks. To do so, a fictional character was created. This character interacted with students during one semester. Quantitative results reveal an important amount of student-fictional character interaction based on dates. We conclude that it is necessary to implement activities to maintain interaction between students and teachers.
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Vanacker, Beatrijs. "Poétique de l’épistolarité romanesque dans l’oeuvre de Jeanne-Marie Leprince de Beaumont1". Études françaises 54, n.º 3 (18 de janeiro de 2019): 147–66. http://dx.doi.org/10.7202/1055655ar.
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Au sein de son oeuvre impressionnante, le rôle de Beaumont romancière, peu étudié jusqu’à présent, se déduit d’une importante série de romans publiés à des moments-clés de sa carrière. Dans ce parcours, c’est bien la période 1765-1767 (entre le Magasin des Jeunes Dames [1764] et le Magasin des Pauvres [1768]) qui marque l’intérêt de l’auteure pour la fiction romanesque. Pendant ces trois ans, Leprince de Beaumont publie autant de romans, à savoir Lettres d’Émérance à Lucie (1765), Mémoires de Mme la Baronne de Batteville (1766) et La nouvelle Clarice, histoire véritable (1767). Dans cette architecture romanesque en trois étapes, la cohérence interne est en large mesure assurée par la récurrence de passages de « lecture performante », qui servent de marqueurs intradiégétiques d’un projet de mise en récit fictionnelle. De ce fait, Leprince de Beaumont se montre d’une part une observatrice perspicace des stratégies narratives en vigueur à son époque, à travers sa mise en oeuvre d’un processus de négociation fictionnelle qui prépare et légitime la publication à proprement parler. Mais chez Leprince de Beaumont, la scénographie légitimante s’intègre en outre dans une poétique romanesque à forte orientation didactique. Les nombreuses scènes de lecture, que l’auteure prend soin d’attribuer à des héroïnes-narratrices exemplaires, marquent en même temps l’empreinte d’un programme éducatif qui passe outre le registre purement romanesque. En effet, si les rédactrices en question se décident à rédiger et faire circuler les récits de vie de leurs correspondant(e)s, Leprince de Beaumont les fait bien insister sur la logique d’édification qui justifie ce passage d’histoire privée à récit public. Dans sa capacité de prêter la voix au(x) lectrice(s)-romancières intradiégétique(s), le mode épistolaire s’avère ainsi particulièrement propice aux enjeux didactiques de Leprince de Beaumont romancière.
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Bushell, Sally, James O. Butler, Duncan Hay e Rebecca Hutcheon. "Digital Literary Mapping: I. Visualizing and Reading Graph Topologies as Maps for Literature". Cartographica: The International Journal for Geographic Information and Geovisualization 57, n.º 1 (1 de março de 2022): 11–36. http://dx.doi.org/10.3138/cart-2021-0008.
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Cet article est le premier de deux textes interdépendants issus d’un projet fondé par l’AHRC (R.-U.), Chronotopic Cartographies, dont le but est de cartographier les lieux et l’espace de la littérature. Il cherche à établir la valeur d’une approche topologique pour la cartographie de textes littéraires. Centré sur le concept bakhtinien de chronotope, ou relation espace-temps, qui sert de fondement à la cartographie numérique de la signification spatiale dans les œuvres littéraires, il s’ouvre sur la contextualisation de notre travail en relation au domaine de la géographie et de la cartographie littéraires. Puis il trace une distinction claire entre la cartographie du monde réel au moyen des SIG (comme cela se fait couramment en histoire ou en géographie, par exemple) et la cartographie relative au moyen de topologies, qui est essentielle selon nous à la cartographie des lieux et de l’espace fictionnels. Les modèles numériques actuels qui se rapprochent le plus de ce projet concernent l’analyse des réseaux sociaux et son adaptation à la cartographie des réseaux des personnages dans les textes littéraires. Après la contextualisation de notre travail en relation à ce projet de recherche, nous argumentons en faveur de l’utilisation des modèles topologiques en cartographie littéraire. Une variété de formes topologiques et leur signification pour la littérature sont ensuite examinées dans leurs rapports avec des exemples particuliers tirés du projet Chronotopic Cartographies.
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Freitas, Marcus Vinicius. "O escritor e seu ofício: em busca da Teoria da Literatura". Aletria: Revista de Estudos de Literatura 20, n.º 2 (30 de agosto de 2010): 183–98. http://dx.doi.org/10.17851/2317-2096.20.2.183-198.
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Resumo: O presente artigo constitui a formulação das hipóteses e das linhas de análise de uma pesquisa sobre os elementos de teoria da literatura constantes das reflexões de diversos escritores da literatura brasileira sobre o ofício de escritor. O corpus da pesquisa inclui tanto poetas quanto prosadores de ficção, num arco temporal que vai do século XIX à contemporaneidade, com vista ao levantamento de reflexões e posições autorais sobre temas que se agrupam em dois campos, correspondentes à poesia e à prosa de ficção, respectivamente: a) inspiração poética, uso de formas fixas e ritmos, versificação, conceito de poesia, conceito de lírica, poesia e invenção, poesia e tradição, poesia e outras artes, papel social do poeta, poesia e tradução; b) narrador, ponto de vista, conceitos de tempo e de espaço ficcionais, construção de personagens, construção autoral, representação da realidade na ficção, gêneros narrativos, literatura de ficção e outras artes, ficção e história, tradições narrativas, papel social do prosador de ficção, narrativa e tradução. O corpus privilegia autores que não tenham sido ou não sejam críticos profissionais, mas atém-se àqueles que, num momento eventual de suas trajetórias, sentiram a necessidade de fazer reflexões sobre o próprio ofício, seja através de livros especificamente dedicados ao tema e suas subdivisões, seja através de cartas, prefácios, memórias, crônicas, conferências ou entrevistas. O objetivo último do trabalho é o de construir uma visão geral dos problemas específicos da disciplina Teoria da Literatura através das reflexões dos escritores.Palavras-chave: ofício do escritor, teoria da literatura, elementos da poesia, elementos da narrativa.Abstract: The present paper displays the main hypotesis and approaches for a research project about elements of literary theory gathered from personal reflections made by several Brazilian writers on the task of writer. The scope includes poets as well as fictional writers ranking from XIXth century up to the present time. The project aims at taking into consideration authoral reflections concerned to two distinct fields, linked to poetry and narrative fiction respectively: a) poetic inspiration, use of poetical forms and rhythms,concept of poetry, concept of lyricism, invention and tradition, poetry and other arts, social role of poets, poetry and translation; b) narrator, narrative point-of-view, fictional time and space, character development, mimesis, narrative genres, novel and other arts, fiction and history, narrative tradition, social role of writers, translation. The research highlights poets and writers who have never been professional critics, focusing on those who, by chance or for personal interest, in a certain moment felt the necessity of reflecting on his/her own authorial work through personal letters, prefaces, memoirs, conferences, speeches, interviews or even books specifically dedicated to the theme. Evetually the present research project aims at building up a very course of Literary Theory throughout reflections brought up by poets and writers.Keywords: task of writer, literary theory, poetic elements, narrative elements.
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Chiri Jaime, Sandro. "La intriga en los relatos de Ricardo Palma". Aula Palma, n.º 18 (31 de dezembro de 2019): 297–313. http://dx.doi.org/10.31381/ap.v0i18.2613.
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ResumenLa intriga participa como elemento neurálgico en las tradiciones que Ricardo Palma escribe durante más de medio siglo; vale decir, opera como eje articulador del gran mosaico histórico-ficcional que el escritorperuano se autoimpone como reto artístico personal y como legado a la colectividad de lectores. El presente trabajo rastrea los aportes de Palma en estos temas del arte narrativo.Palabras clave: relato, intriga, Ricardo Palma, tensión, suspense, personajes, ficción.
AbstractThe intrigue plays a crucial part in the Traditions that Ricardo Palma writes for over half a century. It functions as an articulating axis of the great historical fictional mosaic that the 19th-century Peruvian writer imposes on himself as a personal and artistic challenge as well as a legacy for his readers. The following work tracks Palma’s contributions in these areas of the art of storytelling.Keywords: story, intrigue, Ricardo Palma, tension, suspense, characters, fiction.
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Cambron, Micheline. "Gilles Marcotte, Montréaliste". Études françaises 53, n.º 1 (19 de abril de 2017): 59–73. http://dx.doi.org/10.7202/1039562ar.
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Cet article s’attache aux divers sens et usages liés dans oeuvre de Gilles Marcotte à Montréal comme lieu polymorphe, à la fois thème et structure, temps et espace. Proche en cela de la notion d’« espace habité » de Michel de Certeau, l’idée selon laquelle on écrit et lit différemment selon les lieux est déjà présente dans La littérature et le reste et réunit les essais du volume Écrire à Montréal. Dans l’oeuvre de Marcotte, ville et écriture se rejoignent dans une commune ouverture aux possibles, dans la pluralité et le mélange, et la radicalité du partage du sens qu’ils induisent. En témoigne le rôle heuristique de Montréal qui apparaît dans Le roman à l’imparfait tandis que d’autres textes de Marcotte, notamment sa contribution à Montréal imaginaire, montrent que le désordre montréalais trouve plutôt à loger dans les oeuvres faiblement légitimées de la littérature populaire ; mystères urbains, récits journalistiques, romans obscurs. Les villes, dans l’oeuvre essayistique, critique et fictionnelle de Gilles Marcotte, n’ont pas la fermeté ontologique qu’une conception réaliste tendrait à leur attribuer, elles relèvent plutôt du mouvement de l’esprit qui les fait advenir dans l’ordre du discours et sont indissociables du projet intellectuel qu’elles manifestent. Ce faisant Gilles Marcotte rend la ville habitable.
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Ribeiro, Orquídea Moreira, Fernando Alberto Torres Moreira e Susana Pimenta. "Nzinga Mbandi: From Story to Myth". Journal of Science and Technology of the Arts 11, n.º 1 (10 de setembro de 2019): 51–60. http://dx.doi.org/10.7559/citarj.v11i1.594.
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The figure of Queen Nzinga Mbandi continues to be appreciated in fictional and/or historical narratives as a myth of postcolonial Angolan identity, allowing a continuous approach as to what concerns the modes of cultural representation. In this article, the works of Manuel Pedro Pacavira, Nzinga Mbandi (1975), Pepetela, A gloriosa família: o tempo dos flamengos (1997) and José Eduardo Agualusa, A Rainha Ginga e de como os africanos inventaram o mundo (2014) will be analyzed, as these authors, in different moments of the recent Angolan history, look at this emblematic figure, drawing on historical information produced by Cavazzi, Cadornega or Jean Louis Castilhon, among others. The works now in analysis reiterate the mythical figure of resistance to the European invaders, which was Nzinga Mbandi, or a strong orientation towards the nationalist exaltation supported by it, an evident strategy which, by the rescue of figures and cultural practices, is defined as a means to affirm negritude.
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Nascimento, Naira Almeida, e Márcio Matiassi Cantarin. "Insulamento e trânsitos nos romances de Mia Couto: travessias". Navegações 10, n.º 2 (31 de janeiro de 2018): 187. http://dx.doi.org/10.15448/1983-4276.2017.2.25239.
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A produção de Mia Couto tem se mostrado uma das mais profícuas no espaço das literaturas em Língua Portuguesa. Nela destaca-se uma simbiose recorrente entre uma prática política, patente na forma de ensaios e de intervenções públicas, e sua obra ficcional, com destaque especial para a prosa. A análise dos romances, fundada numa leitura de viés mais estruturalista, demonstra a persistência de um mesmo enredo que recoloca os problemas oriundos da história colonial. O insulamento e a viagem despontam aí como temas-chave de leitura. Nesse sentido, categorias espaciais e tipologias de personagens, interpretados muitas vezes a partir de conceitos do fantástico ou do animismo, extravasam o campo puramente ficcional para revelarem-se enquanto expressões latentes de um desejo da ordem do histórico.********************************************************************Insulation and passer in novels of Mia Couto: crossingAbstract: The production of Mia Couto has shown to be one of the most fruitful in the space of literature in Portuguese language. It stands a recurring symbiosis between a political practice, patent in the form of essays and public interventions, and his work fictional, with particular attention for the prose. The analysis of the novels, founded on a reading of bias more structuralist, demonstrates the persistence of a same storyline that relocates the problems arising from the colonial history. The insulation and the trip technologies include there as key themes of Reading. In this sense, spatial categories and typologies of characters, interpreted very often from concepts of fantastic or of animism, beyond the purely fictional field to reveal himself as expressions of a latent desire of the order of history.Keywords: Journey; Insulation; Mia Couto
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Widyaningrum, Anastasia Yuni, e Noveina Silviyani Dugis. "KPK: KORBAN BALAS DENDAM POLRI (Analisa Naratif Model Greimas Pada Karakter KPK dan Polri di Majalah Tempo)". INFORMASI 48, n.º 1 (25 de julho de 2018): 125. http://dx.doi.org/10.21831/informasi.v48i1.15090.
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The reporting of KPK and Polri in is interesting when viewed as a series of films or fictional stories. This research tries to dissect how the narrative model Algirdas Greimas can be used to read the relation of characters that appear in a story like fiction. Using the main report of three Tempo editions selected among the Nine Tempo editions containing KPK and Polri reporting in 2015. Three of nine editions were selected in the middle as the culmination of the story of the entire series of KPK-Polri reporting stories. Using the actan model of Algirdas Greimas, it was found that the parties involved in the KPK-Polri story consisted of many people who, if assembled in actor model relationships, would find a knot that the conclusion of this study was that the KPK was narrated as a weak party, full of problems, and violate ethics so it must be handled and resolved by the Polri. In these three stories, Polri, represented by Bareskrim, is narrated as an institution that protects and controls the violation of the Law. The KPK is then represented as the wrong party for violating the rules, while the POLRI is the right party because it enforces the rules.Pemberitaan KPK dan Polri di majalah Tempo menjadi menarik ketika dilihat sebagai sebuah rangkaian kisah film ataupun kisah fiksi. Maka penelitian ini berusaha untuk membedah bagaimana model narasi Algirdas Greimas dapat digunakan untuk membaca relasi karakter yang muncul dalam sebuah pemberitaan layaknya kisah fiksi. Penelitian ini menggunakan laporan utama tiga edisi Tempo yang dipilih diantara Sembilan edisi Tempo yang memuat pemberitaan KPK Polri pada tahun 2015. Tiga dari sembilan edisi, dipilih tiga edisi di bagian tengah sebagai puncak kisah dari seluruh rangkaian kisah pemberitaan KPK-Polri. Menggunakan model actan dari Algirdas Greimas, didapatkan data bahwa pihak yang terlibat dalam kisah KPK-Polri terdiri dari banyak orang yang saling berelasi. Kesimpulan dari penelitian ini, KPK dinarasikan sebagai pihak lemah, penuh dengan masalah, dan melanggar etika dan hokum sehingga harus ditangani dan diselesaikan oleh Bareskrim Polri. Dalam ketiga kisah ini, POLRI yang diwakili Bareskrim dinarasikan sebagai lembaga yang mengayomi dan melakukan penertiban terhadap pelanggaran Undang-Undang. KPK kemudian direpresentasikan sebagai pihak yang salah karena melanggar aturan, sedangkan POLRI adalah pihak yang benar karena menegakkan aturan.
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Timm, Mateus Robaski. "Conhecendo o passado: relações entre a literatura brasileira contemporânea e a escrita da história". Navegações 11, n.º 1 (30 de dezembro de 2018): 57. http://dx.doi.org/10.15448/1983-4276.2018.1.33019.
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A compreensão que a capacidade de aportar conhecimento sobre o passado não é exclusiva dos textos historiográficos proporcionou à literatura um novo estatuto, que lhe assegura pertinência epistemológica para recontar o passado. Neste artigo são analisadas diferentes formas em que o discurso literário configura o tempo histórico. Num primeiro momento, a potencialidade da literatura em rever criticamente os traumas do passado visa mostrar como é necessário que mais escritores se debrucem sobre situações terríveis como a escravidão e a ditadura para que estes traumas sejam passados a limpo. Na segunda parte, versões diferentes de relacionar a literatura com a história são propostas, através de uma leitura dos romances pelo viés da história das mentalidades, da história dos fatos públicos, mas também ao fazer do escritor personagem de ficção. Na última parte, a configuração ficcional do passado que é quase presente permite perceber algumas constantes que estão relacionadas com a contemporaneidade. *** Knowing the past: relations between contemporary Brazilian literature and the writing of history ***The understanding that the ability to bring knowledge about the past is not unique to the historiographical texts provided the literature with a new statute, which assures epistemological relevance to retell the past. In this article we analyze different ways in which literary discourse configures historical time. First, the potential of literature to critically review the traumas of the past seeks to show how it is necessary for more writers to dwell on terrible situations such as slavery and dictatorship so that these traumas are cleared up. In the second part, different versions of relating literature to history are proposed, through a reading of the novels by the bias of the history of mentalities, of the history of public facts, but also by making the writer a fictional character. In the last part, the fictional configuration of the past that is almost present allows one to perceive some constants that are related to contemporaneity.Keywords: Literature and history; Contemporary Brazilian literature; History writing.
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Cannas, Andrea. "Un sistema mitico in continua evoluzione: le grandi parodie Disney". Revista Italiano UERJ 12, n.º 1 (5 de setembro de 2021): 17. http://dx.doi.org/10.12957/italianouerj.2021.62055.
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ABSTRACT: Il fitto dialogo intertestuale con i classici di ogni tempo è stato inteso dagli autori della Disney Italia come una pratica di cannibalizzazione delle fonti; d’altra parte il confronto con la dimensione letteraria, estendendosi nel tempo ‒ dalla fine degli anni Quaranta a oggi ‒, ha lasciato un’impronta indelebile sulle Grandi Parodie: per un verso esse hanno acquisito uno spessore testuale inedito, riconnettendosi alle grandi matrici narrative in cui affonda le proprie radici il più vasto mondo della finzione; per l’altro hanno costituito un formidabile banco di prova per la variegata compagine Disney: gli eroi del fumetto, da Topolino a Paperino, si sono cimentati nell’impresa di interpretare il ruolo e assumere le fattezze dei più rinomati protagonisti della pagina letteraria mostrando al contempo una grande duttilità e una spiccata personalità. Il complesso dei personaggi Disney funziona in definitiva come un sistema mitico: il corpo delle loro storie costituisce un intero aperto a un continuo accrescimento ed è in effetti costantemente aggiornato da una pluralità di autori che rende il sistema perennemente sincronico col tempo dei lettori.Parole chiave: Fumetto. Disney. Grandi Parodie. Mito. Intertestualità. RESUMO: O estreito diálogo intertextual com os clássicos de várias épocas foi entendido pelos autores da Disney Itália como uma prática de canibalização das fontes, que proporcionou o confronto com a dimensão literária, estendendo-se no tempo ‒ do fim dos anos 40 a hoje ‒, e deixou uma marca indelével nas Grandes Paródias: por um lado, estas adquiriram um peso textual inédito, reconectando-se com as grandes matrizes narrativas nas quais fincam as suas raízes no mais vasto mundo da ficção; por outro ainda constituíram um formidável teste para a multifacetada equipe Disney: os heróis dos quadrinhos, de Mickey a Donald, cimentaram-se na empreitada de interpretar os papéis e assumir os perfis dos mais renomados protagonistas das páginas literárias, demostrando, ao mesmo tempo, uma grande flexibilidade e uma marcada personalidade. O conjunto dos personagens Disney funciona definitivamente como um sistema mítico: o corpo das suas histórias constitui um todo, aberto em uma contínua evolução, e é, de fato, constantemente atualizado por uma pluralidade de autores que torna tal sistema perenemente sincrônico com o tempo dos leitores.Parole chiave: História em quadrinhos. Disney. Grandi Parodie. Mito. Intertextualidade. ABSTRACT: An intense intertextual dialogue with the classics of all time has been intended by Disney Italian authors as a practice of source “cannibalization”. Their long-lasting dialogue with the literary dimension left an indelible mark on the Grandi Parodie: on the one hand they acquired an unprecedented textual depth, connecting them to the major narrative roots of the fictional world; on the other hand, they represented a crucial test for the varied team of Disney characters: the heroes of comics, from Mickey Mouse to Donald Duck, undertook the remarkable feat of interpreting the roles of renowned literary characters, showing a great adaptability as well as a strong personality. Disney characters function fundamentally as a mythical system: their stories constitutes an ever-changing whole, constantly updated to the time of their readers.Keywords: Comics. Grandi Parodie. Disney. Parody. Myth. Intertextuality.
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Valentim, Jorge Vicente. "“A curiosidade, a forma de olhar o mundo e de o contar” (Uma entrevista com Hugo Gonçalves)". Revista do Centro de Estudos Portugueses 41, n.º 65 (27 de dezembro de 2021): 303. http://dx.doi.org/10.17851/2359-0076.41.65.303-325.
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Resumo: Entrevista realizada com o escritor português Hugo Gonçalves, a respeito de sua obra, notadamente os seus romances (O maior espectáculo do mundo, 2004 e O coração dos homens, 2006), o seu livro de crônicas (Fado, samba e beijo com língua, 2011) e o seu mais recente título publicado (Filho da mãe, 2019), a ser lançado nesse ano no Brasil, sob a chancela da Companhia das Letras. Alguns temas centram-se no seu projeto de criação literária, além dos assuntos que mais o tocam e interessam, enquanto matéria de suas obras. Observam- -se alguns títulos em particular, com um destaque para o seu último livro.Palavras-chave: curiosidade; escrita ficcional; violência; luto; perda; ficção portuguesa contemporânea; Hugo Gonçalves.Abstract: Interview with the Portuguese writer Hugo Gonçalves, about his work, notably his novels (O maior espectáculo do mundo, 2004, e O coração dos homens, 2006), his book of chronicles (Fado, samba e beijo com língua, 2011) and his most recent published title (Filho da mãe, 2019), to be released this year in Brazil, under the seal of Companhia das Letras. Some themes focus on his literary creation project, in addition to the subjects that most touch and interest him, as a matter of his works. There are some titles in particular, with emphasis on his latest book.Keywords: curiosity; fictional writing; violence; grief; loss; contemporary Portuguese fiction; Hugo Gonçalves.
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Francés, Maria Jesús. "La novel·la històrica en mans de Josep Lozano: Crim de Germania i El Mut de la Campana". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 14 (26 de dezembro de 2019): 292. http://dx.doi.org/10.7203/scripta.0.16372.
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Resum: Parlar de la novel·la històrica en la producció de Josep Lozano s’associa indubtablement a la prestigiosa obra Crim de Germania que l’autor riberenc mostrava al públic l’any 1980. Més de vint anys després reprenia aquest format per a crear El Mut de la Campana (2003) i, de nou, demostrava la seua mestria dins d’aquest gènere. L’objectiu i la configuració interna en ambdues és diferent però el que va empentar l’autor en la dècada dels 80 a usar aquesta vessant creativa tan de moda aleshores persisteix: tornar a un temps passat i contar-lo en una època actual a través del filtre de la ficció i així mostrar quina societat ha sigut i és la societat valenciana. Una societat, aquesta, que sobreïx en tot moment de les dues obres per a demostrar com funciona col·lectivament, així com què la determina des d’un punt de vista idiosincràtic. Paraules clau: novel·la històrica, marc, anàlisi narrativa, etnopoètica, folklore. Abstract: Any analysis about Josep Lozano’s historical novels is undoubtedly associated to his prestigious work Crim de Germania, which the Ribera born author released in 1980. Some 20 years later he created another historical novel, El Mut de la Campana (2003), once again showing his mastery of the genre. The purpose and structure of both works are different, but what motivated the author to use such a creative format in the 80’s persists today: travel back in time, and tell the story as if it were the modern day through a fictional filter and, in doing so, showing what Valencian society was like. A society, this one, which is prevalent throughout both works, shows how it works collectively as well as how it is defined by its idiosyncrasies.Keywords: historical literature, frame, narrative analysis, ethnopoetics, folklore.
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Besse, Maria Graciete. "Desafios do contemporâneo na ficção de Lídia Jorge / Challenges of the Contemporary in the Fiction of Lídia Jorge". Revista do Centro de Estudos Portugueses 39, n.º 61 (26 de agosto de 2019): 117. http://dx.doi.org/10.17851/2359-0076.39.61.117-129.
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Resumo: Desde O dia dos prodígios (1980) até Estuário (2018), a obra ficcional de Lídia Jorge percorre diferentes lugares, experiências e memórias para desenhar uma cartografia da vida precária e interrogar incansavelmente as sombras que se escondem nas dobras do tempo, sabendo que “escrever sobre o passado é sempre uma proposta de futuro”. A partir de alguns conceitos fundamentais de Agamben, o objectivo deste estudo é analisar como o olhar iluminador da romancista se debruça sobre o arcaico e o contemporâneo, para resgatar do silêncio os contornos mais sensíveis da realidade, oferecendo-nos um testemunho notável sobre a vulnerabilidade humana e interpelando-nos para uma reflexão estimulante sobre a importância da literatura na transformação do mundo.Palavras-chave: Lídia Jorge, Agamben, romance, sociedade portuguesa, ética.Abstract: From The Day of Prodigies (1980) to Estuary (2018), Lídia Jorge’s fictional work traverses different places, experiences and memories to draw a map of precarious life and tirelessly interrogate the shadows that hide in the folds of time, knowing that “writing about the past is always a proposal for the future.” From some fundamental concepts of Agamben, the objective of this study is to analyze how the illuminating look of the novelist focuses on the archaic and the contemporary, to rescue from the silence the most sensitive contours of reality, offering us a remarkable testimony about human vulnerability and questioning us for a stimulating reflection on the importance of literature in the transformation of the world.Keywords: Lídia Jorge, Agamben, novel, portuguese society, ethic.
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Camargo, Fábio Figueiredo. "Corpo, culpa e vergonha em Mundos mortos, de Octávio de Faria / Body, Guilt and Shame in Octávio de Faria’s Mundos Mortos". O Eixo e a Roda: Revista de Literatura Brasileira 29, n.º 2 (28 de junho de 2020): 235. http://dx.doi.org/10.17851/2358-9787.29.2.235-251.
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Resumo: O presente artigo analisa o romance Mundos mortos, de Octávio de Faria, publicado em 1937, rotulado pela crítica como literatura intimista, abordando personagens adolescentes e seus dilemas sobre sexualidade em torno de um local de homossociabilidade, o colégio de padres católicos. O que chama atenção na produção desse autor, e está expresso nos textos ficcionais, nos dilemas de seus personagens, em seu diário e em suas correspondências, é o conflito constante entre o fato deste ser católico fervoroso e, ao mesmo tempo, haver a presença marcante de um homoerotismo, o qual está diretamente ligado à produção dos corpos dos personagens. Esses corpos dóceis, ou rebeldes, estranhos, diferentes colocam-se em posições negativas com relação ao padrão heteronormativo de seu tempo, deparando-se com os sentimentos de culpa e vergonha constantes, instituídos pelo catolicismo. Analisa-se de que modo o escritor representou o corpo diante dos dogmas católicos, a representação da homossexualidade e como isso transparece em seu romance, lançando mão de teóricos como Eve Kosofski Sedgwick, Michel Foucault e Judith Butler.Palavras-chave: literatura brasileira; Octávio de Faria; corpo; homoerotismo; catolicismo.Abstract: This article analyzes Octávio de Faria’s novel Mundos mortos, published in 1937, critically labeled as intimate literature, about adolescent characters and their dilemmas around sexuality at a homosocial place, the college of Catholic priests. What draws attention in this author’s production, and is expressed in the fictional texts, the dilemmas of his characters, his diary and his correspondences, is the constant conflict between him being a fervent Catholic and, at the same time, having the presence striking feature of homoerotism, which is directly linked to the production of the bodies of the characters. These docile, or rebellious, strange, different bodies put themselves in negative positions with respect to the heteronormative pattern of their time, encountering the constant feelings of guilt and shame instituted by Catholicism. Analyzes how the writer represented the body in the face of Catholic dogma, the representation of homosexuality, and how this shows in his novel, using theorists such as Eve Kosofski Sedgwick, Michel Foucault and Judith Butler.Keywords: Brazilian literature; Octávio de Faria; body; homoeroticism; catholicism.
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Prevedello, Tatiana. "A Babilônia de cambiáveis jogos identitários: contradição de vozes, estilhaçar de faces". Letras de Hoje 51, n.º 4 (31 de dezembro de 2016): 509. http://dx.doi.org/10.15448/1984-7726.2016.4.23605.
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O romance Ontem não te vi em Babilónia, de António Lobo Antunes, ao propor um questionamento sobre a natureza da representação identitária das personagens convida o leitor a refletir a respeito da atividade de criação textual. Nesse âmbito, ao mesmo tempo em que a alteridade dos sujeitos ficcionais passa por um simultâneo processo de afirmação e negação, no qual o “eu” está em constante tensão com o “outro” ou o “não-eu”, a voz narrativa também se apresenta como uma instância criadora vulnerável às instabilidades e limitações decorrentes do trabalho de produção da escrita literária. A proposta da presente reflexão é, portanto, discutir os mecanismos que engendram a hermenêutica da ficção contemporânea, a qual compreende as identidades narrativas como múltiplas, instavéis e em constante processo e (re)elaboração.********************************************************************A Babilônia de cambiáveis jogos identitários:contradição de vozes, estilhaçar de facesAbstract: The novel Didn't see you in Babylon yesterday, by António Lobo Antunes, to propose a question about the nature of identity representation of characters invites the reader to reflect about the activity of textual creation. In this context, while the otherness of fictional individuals are in a simultaneous process of affirmation and negation, in which the “I” is in constant tension between the “other” or “non-self”, the narrative voice is also presented as a creative instance, but susceptible to instabilities and limitations of literary writing work. The purpose of this reflection is, therefore, discuss the mechanisms that engender the hermeneutics of contemporary fiction, which understand the narrative identities as multiple, unstable and in constant process of (re) development.Keywords: Representation; Identity; Otherness; Fiction; Hermeneutics
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Santos, Rita de Cássia Silva Dionísio, e Flávia Brocchetto Ramos. "“Museus vivos das tradições humanas”: Alexina de Magalhães Pinto e sua concepção sobre o “papel eminentemente educador dos contos” / “Living Museums of Human Traditions”: Alexina de Magalhães Pinto and her Conception About the “Eminent Educational Role of the Tales”". Caligrama: Revista de Estudos Românicos 27, n.º 1 (12 de agosto de 2022): 246. http://dx.doi.org/10.17851/2238-3824.27.1.246-262.
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Qual o tipo de conhecimento pode um conto popular transmitir? Pode o conto contribuir para a formação humana? Em “Nota preliminar” do livro Contribuição do folk-loro brazileiro para a bibliotheca infantil (1907), a escritora e folclorista mineira Alexina de Magalhães Pinto (1869–1921), nomeando os contos populares (quer sejam “de fadas, fabulosos ou bíblicos”) como “museus vivos das tradições humanas”, argumenta que essas narrativas conteriam papel “eminientemente educador”. Este artigo apresenta a autora, sua produção e, na sequência, analisa a “Historia (sic) de um cachorrinho”, que integra a coletânea supracitada, com o objetivo de se refletir sobre essa função educadora dos contos (de que nos fala a autora). Desta análise — de caráter metodológico bibliográfico e crítico-analítico — resulta o entendimento sobre a contribuição singular de Alexina de Magalhães Pinto para a história da literatura infantil brasileira, em seu sentido amplo. Esse legado é notável por seu empenho em realizar uma pesquisa etnográfica e histórica para compor obras a partir da tradição oral e do folclore brasileiro para servir às gerações futuras. O mérito dessa tarefa reside no fato de a autora ter se dedicado, naquele tempo, a um debate sobre a potência que a ficção detém de nos ensinar sobre a vida. É possível concluir, a partir desta análise, que as produções literárias e ficcionais, ao possibilitarem a fabulação, podem instruir e educar, entre outros aspectos, por seu caráter de transcender limites de tempos, modos e formas de representação das múltiplas e diversas experiências.Palavras-chave: Alexina de Magalhães Pinto; literatura infantil; conto popular.What is the social character of folktales? Can tales contribute to humanformation? In the “Preliminary note” of the book Contribuição do folk-loro brazileiro para a bibliotheca infantil (1907), the writer and folklorist from Minas Gerais, Alexina de Magalhães Pinto (1869–1921), naming folktales (whether they are “fairy tales, fabulous or biblical”) as “living museums of human traditions”, argues that those narratives would contain an “eminently educational” role. This paper presents the author, her work, and, thereafter, analyzes “Historia (sic) de um cachorrinho”, which is part of the collection mentioned above, aiming to reflect upon this function of the tales of instructing and educating (which the author talks about). From this analysis — of a bibliografic and critical-analytical nature — results the understanding about the unique contribution of the teacher and researcher Alexina de Magalhães Pinto for the history of Brazilian children’s literature, in its broad sense (especially for her commitment in carrying out an ethnographic and historical research to compose works from oral tradition and Brazilian folklore to serve generations), and also the perception about the merit of her task of launching, at that time, a debate about the humanizing character of fiction. It is possible to conclude, from this analysis, that literary and fictional productions, by making fabulation possible, can instruct and educate, among other aspects, because of their character of transcending limits of time, modes and forms of representation of multiple and diverse experiences.Keywords: Alexina de Magalhães Pinto; children’s literature; folktale.
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Santos da Silva, Rafael Lucas. "Entre a finitude e a autenticidade: o ser-para-a-morte como indicativo de uma existência autêntica em “A morte de Ivan Ilitch”, de Liev Tolstói". Scriptorium 5, n.º 2 (31 de dezembro de 2019): 33203. http://dx.doi.org/10.15448/2526-8848.2019.2.33203.
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O artigo propõe uma hipótese de leitura da narrativa “A morte de Ivan Ilitch” (1886), do escritor russo Liev Tolstói (1828-1910), a partir da analítica ontológica heideggeriana. Com base, especialmente, na categoria ser-para- -a-morte, exposta na obra Ser e Tempo (1927), focaliza-se a trajetória problemática da biografia de Ivan Ilitch, com o objetivo de demonstrar que o discurso narrativo desta novela encontra-se sobredeterminado pelas instâncias discursivas da finitude e autenticidade, que se articulam de maneira orgânica e formam um esquema estético reflexivo sobre a consciência da finitude representar ao sujeito o enriquecimento axiológico de seu processo existencial. Diante dessa análise hermenêutico-fenomenológica, a abordagem da biografia do personagem Ivan Ilitch, como sujeito que morreu sem lograr uma singularidade autêntica, permitiu-nos discorrer acerca da vulnerabilidade do sentido da existência e a negação da finitude presente tanto no discurso ficcional quanto no processo histórico-social.*** Between the finitude and the authencity: the being-to-death as manifestation of an authentic existence in “The death of Ivan Ilitch”, by Leo Tolstoy ***The article proposes a hypothesis of reading the narrative “The Death of Ivan Ilitch” (1886), by the Russian writer Leo Tolstoy (1828-1910), based on the Heideggerian ontological analysis. Based mainly on the being-to-death category, exposed in the work Being and Time (1927), the problematic trajectory of Ivan Ilitch’s biography is focused, with the objective of demonstrating that the narrative discourse of this novel is, overdetermined by the discursive instances of finitude and authenticity, which articulate in an organic way, and form a reflexive aesthetic scheme on the consciousness of finitude representing to the subject the axiological enrichment of its existential process. In view of this hermeneutic-phenomenological analysis, Ivan Ilitch’s biographical approach, as subject that died without achieving an authentic singularity, allowed us to talk about the vulnerability of the meaning of existence and the denial of finitude present in both fictional discourse and the historical-social process.Keywords: Russian Literature; Finitude; Authenticity; Being-to-death.
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Escandell, Dari. "L’encaix de la narrativa sense ficció de Víctor Labrado en el paradigma de la novel·la històrica valenciana". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 14 (26 de dezembro de 2019): 329. http://dx.doi.org/10.7203/scripta.0.16374.
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Resum: L’escriptor valencià Víctor Labrado (Sueca, 1956) s’ha erigit com un dels grans referents contemporanis en el camp de la novel·la de no-ficció en català, subgènere narratiu que conjumina la intenció metanovel·lesca amb fidedignes discursos testimonials. Ara bé, ¿les obres cabdals de Labrado –peculiars, idiosincràtiques i gens usuals– poden ser considerades també, sense subterfugis ni matisos, novel·la històrica? A grans trets: trames guerracivilistes empeltades d’entrevistes, dosis generoses de periodisme documental i absència gairebé absoluta de ficció. La tècnica i l’estil propi no suposen, però, cap impediment perquè molts llibres seus siguen alhora novel·la històrica, si fem cas dels topoi convinguts per la crítica especialitzada. No debades, aquests exemplars esdevenen, al capdavall, testimoni viu d’un temps passat; vivències i peripècies de gent anònima que rescaten de l’oblit, des de la particularitat més universal, la realitat valenciana d’un segle passat vilment estigmatitzat pel conflicte civil de l’any 1936 i la dictadura consegüent. ¿N’hi ha prou amb això, però, perquè aquesta etiqueta o clixé siga atribuïble també a la resta de la seua obra i trajectòria? El present article analitza a nivell tècnic, argumental i conceptual els llibres essencials de Labrado per tal de determinar quina part de la seua novel·lística sense ficció pot o no considerar-se al seu torn novel·la històrica.Paraules clau: Víctor Labrado, novel·la sense ficció, novel·la històrica, literatura catalana, valencià.Abstract: The Valencian writer Víctor Labrado (Sueca, 1956) has emerged as one of the great contemporary references in the field of the non-fiction novel in Catalan, a narrative subgenre that combines the fictional intention with real testimonial speeches. However, can Labrado’s capital books –peculiar, idiosyncratic and unusual– be considered also, without subterfuges or hints, historical novels? Broadly speaking: are his Spanish civil war plots grafted with interviews, generous doses of documentary journalism and almost absolute absence of fiction, historical novels? Its techniques and style are no impediment to say so, if we pay attention to the topoi agreed by the specialized critic. In fact, these novels become, in short, a living testimony of our past time: they rescue from oblivion the experiences and adventures of anonymous people, from the most universal particularity, and the Valencian reality of a past century stigmatized by the civil conflict of 1936 and the consequent dictatorship. Is that enough, however, to attribute this label to the rest of his literary works? This paper analyses the techniques, the plots and the concepts of Labrado’s essential books to determine what part of his nonfiction novels may or may not be considered historical.Keywords: Víctor Labrado, nonfiction novel, historical novel, Catalan literature, Valencian
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Veiga, Ana Maria. "A história oral visita o cinema: Que bom te ver viva e Los Rubios". Revista Observatório 2, n.º 1 (1 de maio de 2016): 118. http://dx.doi.org/10.20873/uft.2447-4266.2016v2n1p118.
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ResumoEste artigo relaciona o cinema, como meio de comunicação, à história oral e seus entrelaçamentos com a história do tempo presente, atentando para os testemunhos, utilizados como recurso estético e político nos filmes Que bom te ver viva, da cineasta brasileira Lúcia Murat, e Los rubios, da argentina Albertina Carri. Podendo ser categorizadas como documentários-ficção, ambas as realizações lidam com os traumas resultantes da violência ditatorial em seus países de origem, na segunda metade do século XX. Em que medida servem estes filmes como fontes para estudos que se apoiam na história oral é o que pretendemos discutir neste artigo. Palavras-chave: Cinema; História oral; Que bom te ver viva; Los rubios AbstractThis article aims to treat cinema, as a way of communication, in its relationship with Oral History and its ties with Present Time History, attempting to testimonies used as aesthetic and political resources inside films like Que bom te ver viva, by the Brazilian film maker Lúcia Murat, and Los rubios, by the Argentine film maker Albertina Carri. Categorized as fictional documentaries, both films deal with the traumas that result of dictatorial violence in their countries of production, in the second half of the twentieth century. How can these films be used as sources of investigation by studies based on Oral History is a question to be answered in this article. Key-words: Cinema; Oral History; Que bom te ver viva; Los rubios ResumenEste artículo relaciona el cine, como medio de comunicación, a la historia oral y sus entrelazamientos con la historia del tiempo presente, al atentar para los testimonios utilizados como recurso estético y político en las películas Que bom te ver viva, de la realizadora brasileña Lúcia Murat, y Los rubios, de la argentina Albertina Carri. Categorizadas como documentales-ficciones, las dos películas se llevan con los traumas resultantes de la violencia dictatorial en sus países de origen, en la segunda mitad del siglo XX. En que medida sirven estas películas como fuentes para los estudios basados en la historia oral es lo que pretendemos discutir en este artículo. Palabras-clave: Cine; Historia oral; Que bom te ver viva; Los rubios. Disponível em:Url:http://opendepot.org/2773/Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo
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Cardoso, André Cabral de Almeida. "Precarious humanity: the double in dystopian science fiction". Gragoatá 23, n.º 47 (29 de dezembro de 2018): 888. http://dx.doi.org/10.22409/gragoata.2018n47a1211.
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The double is a common feature in fantastic fiction, and it plays a prominent part in the Gothic revival of the late nineteenth century. It questions the notion of a coherent identity by proposing the idea of a fragmented self that is at the same time familiar and frighteningly other. On the other hand, the double is also a way of representing the tensions of life in large urban centers. Although it is more usually associated with the fantastic, the motif of the double has spread to other fictional genres, including science fiction, a genre also concerned with the investigation of identity and the nature of the human. The aim of this article is to discuss the representation of the double in contemporary science fiction, more particularly in its dystopian mode, where the issue of identity acquires a special relevance, since dystopias focus on the troubled relation between individual and society. Works such as Greg Egan’s short story “Learning to Be Me”; White Christmas, an episode from the television series Black Mirror; Kazuo Ishiguro’s novel Never Let Me Go; and the film Moon, directed by Duncan Jones, will be briefly examined in order to trace the ways the figure of the double has been rearticulated in dystopian science fiction as a means to address new concerns about personal identity and the position of the individual in society.------------------------------------------------------------------------------------------HUMANIDADE PRECÁRIA: O DUPLO NA FICÇÃO CIENTÍFICA DISTÓPICAO duplo é um elemento comum na literatura fantástica e desempenha um papel importante na retomada do gótico no final do século XIX. Ele questiona a noção de uma identidade coesa ao propor a ideia de um “eu” fragmentado que é ao mesmo tempo familiar e assustadoramente outro. Por outro lado, o duplo também é uma maneira de representar as tensões da vida nos grandes centros urbanos. Apesar de ser costumeiramente associado ao fantástico, o motivo do duplo se espalhou para outros gêneros, incluindo a ficção científica, gênero também preocupado com a investigação da identidade e da natureza do humano. O objetivo deste artigo é discutir a representação do duplo na ficção científica contemporânea, mais especificamente na sua modalidade distópica, onde a questão da identidade adquire uma relevância especial, uma vez que a distopia tem como foco a relação atribulada entre indivíduo e sociedade. Obras como o conto “Learning to Be Me”, de Greg Egan; White Chistmas, episódio da série de televisão Black Mirror; o romance Never Let Me Go, de Kazuo Ishiguro; e o filme Moon, dirigido por Duncan Jones, serão brevemente analisados a fim de rastrear as maneiras como a figuro do duplo é rearticulada na ficção científica distópica como um meio de trabalhar novas inquietações a respeito da identidade pessoal e da posição do indivíduo na sociedade.---Original em inglês.
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Alavarce Campos, Camila Da Silva. "A representação da representação: lirismo e ironia romântica em Vícios e virtudes, de Helder Macedo". Caligrama: Revista de Estudos Românicos 19, n.º 1 (21 de setembro de 2014): 5. http://dx.doi.org/10.17851/2238-3824.19.1.5-22.
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<p><strong>Resumo</strong>: O texto refere-se a um estudo dos processos de construção do romance Vícios e virtudes, de Helder Macedo, objetivando a retomada e a discussão do conceito de ironia romântica. Essa ironia, em especial, desmistifica os jogos da representação artística clássica, que entende o texto literário como imitação do real. Ao contrário disso, favorece a expressão do fazer literário com todas as suas limitações, elaborações e reelaborações de linguagem, legitimando o caráter de arte, de natureza fictícia e, pois, de exercício de experimentação presentes na literatura. O escritor Helder Macedo parece propor, no referido romance, uma reflexão acerca do processo criativo – reflexão que se ocupará fundamentalmente da construção da obra literária, compreendida enquanto criação permanente. Acreditamos que a ironia romântica potencializa essa reflexão, na medida em que desvela o fazer literário como encenação, como fingimento. Pensando na estrutura paradoxal da ironia, acreditamos que ela acaba por dizer sempre mais do que fica expresso e, nesse sentido, aproxima-se da literatura de um modo geral, mas, sobretudo, do estilo lírico. O elemento lúdico parece caracterizá-los, na medida em que ambos – a ironia romântica e o lírico – partem de uma espécie de jogo que contraria o pragmatismo da linguagem convencional. Para Antonino Pagliaro, “A ironia participa ao mesmo tempo do caráter agonístico do enigma e do jogo poético.” O romance Vícios e virtudes, do escritor português Helder Macedo, cria um espaço importante para o estudo das questões colocadas, já que expressa um projeto literário no qual se exibe uma intensa valorização do estético, do ficcional e do poético.</p> <p><strong>Palavras-chave</strong>: Ficção; ironia romântica; lirismo; representação.</p> <p><strong> </strong></p> <p><strong>Abstract</strong>: This study approaches the processes of construction of the novel Vices and virtues by Helder Macedo, aiming to discussthe concept of romantic irony. This irony, in particular, demystifies the games of classic artistic representation, which considers the literary text as an imitation of the real. In contrast, it favors the expression of literary writing with all its limitations, elaborations, and reworking of language, legitimizing the art and fictitious character and, therefore, of experimentation in literature. In the novel writer Helder Macedo seems to propose a reflection on the creative process that essentially works on the construction of the literary work, which is understood as a permanent creation. We believe that romantic irony enhances this reflection as it reveals the literary writing as staging and pretense. Thinking about the paradoxical structure of irony, we believe it always ends up saying more than what is expressed, thus, it approaches the literature in general, but especially the lyrical style. The playfulness seems to characterize them once both – the romantic irony and the lyrical aspect – run by a kind of game that contradicts the pragmatism of conventional language. To Antonino Pagliaro, “Irony is simultaneously involved in the agonistic character of the puzzle and in the poetic game”. The novel Vices and virtues by the Portuguese writer Helder Macedo, creates an important space for the study of the issues raised, once it expresses a literature project in which there is intense appreciation of the aesthetic, the fictional and the poetic characters.</p> <p><strong>Keywords</strong>: Fiction; romantic irony; lyricism; representation.</p>
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Cioancă, Costel. "Semiotica dreptului de a visa: dimensiuni mitice ale timpului din basmul fantastic românesc". Anuarul Muzeului Etnograif al Transilvaniei 34 (20 de dezembro de 2020): 151–70. http://dx.doi.org/10.47802/amet.2020.34.08.
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"Semiotics of The Right To Dream: Mythical Dimensions of Time From The Romanian Fantastic Fairy Tale A fundamental concept of human existence as a species, Time has always been a defining landmark of the depth of thought of homo sapiens. With religious or scientific character, the ensemble of myths, beliefs, ideas, ideologies, representations and significances given to this concept led, …in time, to the birth of a rich, distinct and complex symbolic imaginary. Both a physical continuum (space-time in which biological, chemical, physical and mechanical processes occur that cause changes in Nature) and a philosophical one (events are perceived and cognitively systematized by man from the past to present towards future), Time it has always aroused peoples interest. We have deities of Time (Cronus, Zurvan, Maku). We have, also, the characteristic concepts that mark the fictional-mythical transfiguration and the triumph of the irreducible search for the truth of meaning. Such as the promise of a (possible) paradisiacal land of eternity, such as the Aion concept of the ancient Greeks (in the sense of cyclical time/eternity), or the existence of specialized divine beings (Moirs of ancient Greece, Roman Parce or Scandinavian Norns) who measure the profane time (past, present, future), and relates it to the celestial, relativistic, perpetual-eternal time. From the area of pure philosophy who approache the subject, inevitably passing through the field of quantum physics that tries to define as precisely as possible the notion of Time (definition, dimensions, units of measurement etc.), we have approaches to this concept at the level of music, literature, art. An true illud tempus, moving the content from metaphysics to myth, and viceversa, there are the many reflections of famous people about the concept of time. Approaching topics about the existence of ,,fashionable” references (billionaires, famous or just controversial politicians, footballers, actors, etc.), we have a post-modern mythological imaginary offered daily by Time Magazine, The New York Times, The Sunday Times etc. As well, being an important landmark in the editing policy, we have a font agreed by more and more magazines, periodicals, publishing houses - Times New Roman. The social life of the traditional Romanian communities, who generates and consumes fantastic fairy tales, tried to reconcile the human activities with the constant phenomena of the environment (terrestrial, cosmic). Starting from certain constants that counted human activity with the cosmic and terrestrial rhythms of Nature (day-night succession; the succession of seasons; the rhythmicity of some manifestations of the vegetal and animal kingdom), the calendars had appeared lunar, solar, solar-lunar, popular, Christian, civil). Their existence and use made that the passage of time to be more easily perceived and memorized. The calendar practices and habits, performed in a predetermined time and in a certain way (= ritual), did nothing but mark in the traditional symbolic thinking the specificity of that human time, to perform in that tradition, in Cosmic Time, trans-human time. This study deal with the valorizations and symbolism given to this concept by the popular imagination from Romanian fantastic fairy tale. The collections of fairy tales offered me some major directions that defines Time, sometimes the traditional imagination being a subtle game of physical constants and mythical-epic variations. Thus, I discovered metaphysical dimensions of time, the reason for linking Time, an optimal time of action, but also the exercise of distance (Time-Space) to be traveled by the hero or realms of eternity, where Time does not even exist as an abstraction… Everything followed, naturally, by a series of conclusions. Keywords: imaginary, phenomenology, hermeneutics, Romanian fairytale, Time "
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Forte, Francesca. "Ibn Khaldūn e il pensiero marocchino contemporaneo". Doctor Virtualis, n.º 17 (14 de maio de 2022): 185–209. http://dx.doi.org/10.54103/2035-7362/17855.
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La moderna riscoperta del lavoro di Ibn Khaldūn da parte degli studiosi arabi si è sviluppata attorno a una vera e propria dicotomia: alcuni hanno descritto Ibn Khaldūn come un pensatore originale e anomalo tenendo conto del suo contesto e del suo tempo, o l’unico e più alto rappresentante del pensiero arabo-islamico, legittimando gli interessi di coloro che puntavano a mettere in ombra la restante parte della tradizione. Dall’altra parte si è assistito al tentativo opposto di ridimensionare la sua originalità rispetto al contesto evidenziando la sua piena appartenenza alla tradizione storiografica e di pensiero islamica. Questo contributo intende approfondire le interpretazioni di quattro importanti esponenti del pensiero marocchino contemporaneo che hanno dedicato a Ibn Khaldūn importanti studi: si tratta di Mohammed Aziz Lahbābi, Mohammed Abed al-Jābrī (importante esponente della scuola filosofica di Rabat), il noto intellettuale Abdallah Laroui, e il letterato Bensalem Himmich. Si fa riferimento in primo luogo a M.A. Lahbābi e al suo allievo più noto, M.A. al-Jābrī, al primo perché ha dato sicuramente un impulso importante allo studio dell’autore ed è tra i fondatori della scuola di Rabat, al secondo per la sistematicità e importanza della sua proposta teorica di critica della ragione araba. L’analisi proposta da A. Laroui, anch’egli rappresentante della scuola di Rabat, mette in luce caratteristiche diverse dell’opera di Ibn Khaldūn rispetto ai primi due studiosi, concentrandosi sui temi della modernità e dello Stato. Si è dato spazio infine a un’altra lettura, quella proposta da B. Himmich che all’autore ha dedicato uno studio e una biografia romanzata, a dimostrazione della sua attitudine a intrecciare ricerca accademica e letteratura. Si tratta di autori che hanno avuto grande riscontro e risonanza nel mondo arabo e che sono ben noti anche in quello occidentale, in particolare Laroui.
The modern rediscovery and re-appropriation of Ibn Khaldūn’s work by Arab scholars has largely developed along the following dichotomy. On the one hand, some have described Ibn Khaldūn as an original and atypical thinker for his context and time, and as the only or highest representative of Arab-Islamic thought – thus partly reinforcing the view of many Western scholars who had minimized the role of the tradition to which he belonged. On the other hand, there has been an opposite trend that demotes his originality, by highlighting his complete adherence to the Islamic tradition of historiography and thought. This contribution studies four prominent contemporary Moroccan scholars who have systematically addressed Ibn Khaldūn’s philosophy: Mohammed Aziz Lahbābi, Mohammed Abed al-Jābrī, Abdallah Laroui, and Bensalem Himmich. The essay first considers Lahbābi and al-Jabri, Lahbābi’s most renowned pupil; the former due to his contribution to the advancement of the study of Ibn Khaldūn in general, and as one of the founders of the school of Rabat, and the latter due to the theoretical importance and systematic nature of his critical approach to Arab thought. Laroui, another representative of the school of Rabat, offers an analysis which highlights different characteristics of Ibn Khaldūn’s work, compared to the first two scholars, by focusing on the subjects of modernity and the State. Finally, the chapter examines Himmich’s reading. Himmich has written both an academic work as well as a literary/fictional biography of the Maghrebi figure in focus. All these four scholars have made a substantial impact on the Arab world, whilst also being wellknown in the West, Laroui in particular.
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Pérez Ramos, María Isabel. "The Water Apocalypse: Venice Desert Cities and Utopian Arcologies in Southwestern Dystopian Fiction // El apocalipsis del agua: Venecias en el desierto y arcologías utópicas en ficción distópica del Suroeste". Ecozon@: European Journal of Literature, Culture and Environment 7, n.º 2 (25 de outubro de 2016): 44–64. http://dx.doi.org/10.37536/ecozona.2016.7.2.909.
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Numerous stories have and are being written in both fiction and non-fiction about the future of the United States’ Southwest; and nearly always that future is considered to be closely linked to the vicissitudes of water. In a multidisciplinary work that combines ecocriticism, environmental history, and decolonial theories, this paper analyzes the socio-technological complexities behind water (mis)management in the Southwest with a focus on urban environments, and their socio-environmental consequences. A lush sprawl development called ‘Venice’ is proposed in Arizona in Leslie Marmon Silko’s Almanac of the Dead (1991). In the same line, Chicano author Rudolfo Anaya presents struggles over water rights and plans for turning Albuquerque into a “desert Venice” city in his novel Alburquerque (1992). Fictional plans like these become very real when one reads the posts and news about the water-demanding Santolina sprawl development currently proposed for Albuquerque’s West side. On another note, Paolo Bacigalupi’s last novel, The Water Knife (2015) presents arcologies (self-contained, self-sufficient buildings) as an option to escape what he perceives will be a hellish region when climate change worsens and water underground levels are eventually depleted. Migration, xenophobia and environmental re-adaptation then become central issues to consider. A nuanced decolonial analysis of these dystopian narratives calls into question current decision-making around water management in the Southwest through the perspectives of these authors. If one argues that the environmental degradation of the arid Southwest is partly a consequence of the cultural oppression of the native local inhabitants, by imposing an inappropriate socio-environmental culture and ethics over the region, dystopian novels such as these become all the more relevant when proposing alternative futures.Resumen Numerosas historias se han escrito, y se continúan escribiendo tanto en crítica como en literatura, acerca del futuro del Suroeste de Estados Unidos, y prácticamente siempre dicho futuro va mano a mano con las vicisitudes del agua. En un trabajo multidisciplinar que combina la ecocrítica, la historia medioambiental y teorías decoloniales, este artículo analiza las complejidades socio-tecnológicas que se encuentran tras la (mala) gestión del agua del Suroeste con especial atención a contextos urbanos, y sus consecuencias socio-medioambientales. Leslie Marmon Silko, en su obra The Almanac of the Dead (1991), presenta los planes para construir en Arizona una lujosa urbanización llena de fuentes y lagunas llamada ‘Venecia’. De forma similar la novela Alburquerque (1992), escrita por el célebre escritor chicano Rudolfo Anaya, presenta los esfuerzos de un candidato a la alcaldía por conseguir los derechos sobre el agua de la zona y sus planes para convertir la ciudad en una “Venecia del desierto”. Dichos planes provenientes de la ficción resultan particularmente creíbles cuando una lee las noticias sobre la urbanización Santolina, propuesta al oeste de la ciudad de Albuquerque. Por otra parte, la novela The Water Knife (2015), de Paolo Bacigalupi, presenta arcologías (edificios autosuficientes) como una posible opción para escapar de lo que prevé será una región infernal, una vez se agoten los acuíferos naturales y empeoren las inclemencias derivadas del cambio climático. La emigración, la xenofobia y la readaptación medioambiental se convertirán entonces en temas clave. Al analizar estas narrativas de ficción a través de una lente decolonial se cuestiona la actual gestión del agua en el Suroeste. Estas novelas distópicas resultan centrales a la hora de proponer futuros alternativos si se argumenta que la degradación medioambiental del Suroeste se debe en gran medida a la opresión cultural sufrida por los habitantes locales y nativos, al imponerles una cultural y una ética socio-medioambiental inadecuada.
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Mykhailova, O. V. "Background. The diverse experience of artistic culture, refl ected in the established system of genres, appears in a new light from the standpoint of modernity as experts". Aspects of Historical Musicology 15, n.º 15 (15 de setembro de 2019): 119–37. http://dx.doi.org/10.34064/khnum2-15.06.
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from different fi elds of art refer to the same topic. Stable repetition of phenomena, the names of which were originally perceived in the poetic and metaphorical way, indicates the formation of a certain genre branch, little developed in scientifi c research. Genre neoformations of this kind include walks, behind the semantic layer of which a certain set of stylistic means shines through. It is not by chance that attempts are made to comprehend this phenomenon in aesthetic and artistic aspects. Objectives. The purpose of the article is to highlight the phenomena of artistic culture with the most vivid signs of promenade elements, to consider a set of musical instruments used by French composers of the late 19th – early 20th century in the music “walks”. Methods. To determine the role of walks in the genre palette of the music of the 20th century, the historical biographical and the comparative research methods were used. Results. The author of the article reveals the role of walks in the French national life and culture. Their characteristic signs are the following: desire for rest, lightness of being, enjoying the moment. From here, the verbal landscapes from the “In Search of Lost Time” novel by M. Proust take their beginning in, which were inspired by his walking in the Bois de Boulogne forest, in the outskirts of Paris, the province of Illiers-Combray, where the writer took care of fl owers, trees and shrubs. A similar passion for walking and studying the fl ora was also experienced by the enlightener J.-J. Rousseau. He was known to spend a long time feasting eyes on plants, collecting herbariums, often recording his observations. This also explains why C. Monet loved wandering in the wilds. The famous artist, known for his landscape paintings, bought from the local farmers a piece of land that bordered with his estate in order to freely wander around the fi elds in search of the right object, favorable angle or necessary lighting. As a result, promenade walking, being a typical national feature, is often embodied in French music and poetry. This phenomenon is common outside of French art as well. In music, we can refer to “The Walk” by S. Prokofi ev and “The Walk” from the “Pictures at an Exhibition” by M. Mussorgsky; in prose - “The Walk” by N. Karamzin, “Walking in Rome” by G. Morton, “Walking with Pushkin” by A. Tertz, “Six Walks in the Fictional Woods” by U. Eco; in painting – “The Walk” by M. Chagall, “An Evening Walk”, “A Man and a Woman on a Walk in the Forest” by A. Toulouse-Lautrec, “A Walk”, “A Walk” by P. Delvaux, “A Walk” by E. Degas. Quite a few works in the genre of walks revealed such areas of public knowledge as lecture sessions, historical excursions and reviews of art. Thus, the art critic, historian, art historian S. Stavitsky organized a lecture session “Walk as a genre of modern art”, which consisted of three meetings: “Walk Aesthetics”, “Walk and Neo-avant-garde”, and “Actionist Walks”. Polish literary critic Z. Kopech published a collection of articles called “Walks in Modern Polish Literature” devoted to the issues of national prose, poetry and drama. E. Kulikova wrote the work called “Walks in the Lyrics of Anna Akhmatova”, where the author reviews several of her poems , including “The Walks”. B. Godard’s piano cycle “Chemin Faisant” (1880–1881) was analyzed, where each of the pieces appears as a sketch, a “photography” of a walking person. The fi rst three items of the cycle – “Going Over”, “Crying” and “Singing”, form a mini-cycle, since they contrast with each other in terms of image and content, although they remain related in terms of the selected means complex. Among them are: fi gures of movement, repetition, dynamic approach of “moving closer-moving away”, staccato technique in outside pieces. The unifying principle is the direction of all stylistic means to visualize a music image. This explains the presence and individual traits, since the character’s image created by the composer is endowed with a unique identity. The distinctness, tangibility of B. Godard’s musical images makes one ponder over the impact of cinema on musical art: its abilities through the details – expressions of eyes, facial expressions, turns of the head – transmit a change of emotional state, moods, put together a special emotional and psychological plot. A different approach to a descriptive music in “The Walks” (1921) by F. Poulenc is revealed, where the composer does not present a character on a walk, and does not tell stories. Instead, he creates the appropriate surrounding, inspires us with the atmosphere of such different and contrasting walks with the help of harmonic colors, tempos, texture, dynamic and articulation means. His music language is far from being simple, it is full of bizarre rhythms and complex chords, thus putting forward serious technical requirements. Above all, the composer’s targeted attitudes when creating the visible realism of his urban plots are evidenced by numerous text remarks, which are designed to guide a musician as accurately as possible towards the required performance character. They are found everywhere and relate to all components of the music: tempo, sound level, mood, articulation, agogics, pedal usage. A set of various sound and visual means help a performer to implement the composer’s instructions. Conclusions. The universal and wide compositional possibilities of walks as a special artistic genre are proved by its relevance in various types of art and scientifi c knowledge. The authors use different means of declaring their idea, and different way to materialize it. This versatile experience opens the way to comprehending the new and the unexplored, steadily and leisurely, as if you are just a curious walking person.
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Smith, Bradon Tam Lynn. "Resources, Scenarios, Agency: Environmental Computer Games // Recursos, escenarios, agencia: Juegos de ordenador sobre el medio ambiente". Ecozon@: European Journal of Literature, Culture and Environment 8, n.º 2 (31 de outubro de 2017): 103–20. http://dx.doi.org/10.37536/ecozona.2017.8.2.1365.
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In this paper I argue that computer games have the potential to offer spaces for ecological reflection, critique, and engagement. However, in many computer games, elements of the games’ procedural rhetoric limit this potential. In his account of American foundation narratives, environmental historian David Nye notes that the ‘second-creation’ narratives that he identifies “retain widespread attention [...] children play computer games such as SimCity, which invite them to create new communities from scratch in an empty virtual landscape…a malleable, empty space implicitly organized by a grid” (Nye 288). I begin by showing how grid-based resource management games encode a set of narratives in which nature is the location of resources to be extracted and used. I then examine the climate change game Fate of the World (2011), drawing it into comparison with game-like online policy tools such as the UK Department for Energy and Climate Change’s 2050 Calculator, and models such as the environmental scenario generation tool Foreseer. I argue that while both may be narrowly successful in generating engagement with climate change and resource issues, in other ways their effect may be disempowering: firstly, they emphasise the scale and complexity of environmental problems; secondly, the prioritise technocratic top-down policy responses at the expense of changes on the level of individual behaviour. This paper then turns to examples of digital games and playing strategies that offer more plural and open-ended engagement with environmental concerns. The on/off-line game World Without Oil (2007) encouraged players to respond to a fictional oil crisis, generating sustained and solution-focussed engagement. Examples of ‘expansive play’ also reveal ecocritical playing strategies in the sandbox-game Minecraft, a game which may initially seem to take the logic of resource extraction to its extreme. Finally, I look at David O'Reilly’s off-beat game-animation Mountain (2014), which in its unflinching mountain removes the agency of the player, and mocks the ‘nature as resource’ model of the games previously discussed. Instead Mountain invites an ontological reconsideration of the player’s relationship with the non-human. Resumen En este ensayo argumento que los juegos de ordenador tienen el potencial de ofreces espacios para la reflexión, la crítica y el compromiso ecológicos. Sin embargo, en muchos juegos de ordenador, los elementos de la retórica procedimental de los juegos limitan este potencial. En su recuento de las narrativas fundacionales americanas, el historiador medioambiental David Nye destaca que las narrativas de ‘segunda creación’ que él identifica “conservan una atención generalizada […] los niños juegan con el ordenador a juegos como SimCity, que les invita a crear nuevas comunidades desde cero en un paisaje virtual vacío, un espacio vacío maleable e implícitamente organizado por una cuadrícula” (Nye 288). Comienzo mostrando como los juegos de gestión de recursos basados en cuadrículas codifican un conjunto de narrativas en la naturaleza es la ubicación de la que se extraen y en la que se usan los recursos. Después examino el juego sobre el cambio climático Fate of the World (2011), comparándolo con herramientas de política online como la del Departamento de Energía y Cambio Climático de Reino Unido, 2050 Calculator; y modelos como la herramienta de generación de escenarios medioambientales Foreseer. Argumento que mientras que ambos pueden ser poco exitosos a la hora de generar compromiso con el cambio climático y con temas de recursos, por otra parte, su efecto puede ser desalentador: primero, enfatizan la escala y la complejidad de los problemas medioambientales; segundo, priorizan respuestas políticas tecnócratas verticales a expensas de cambios en el nivel del comportamiento individual. Este ensayo luego recurre a ejemplos de juegos digitales y a estrategias de juego que ofrecen un compromiso más plural y más abierto de mente con respecto a las preocupaciones medioambientales. El juego con/sin conexión World Without Oil (2007) animaba a los jugadores a responder a una crisis petrolífera ficticia, generando un compromiso sostenido y centrado en soluciones. El juego de animación poco convencional de David O’Reilly Mountain (2014), que en su inquebrantable montaña elimina la agencialidad del jugador y parodia el modelo de juegos ‘naturaleza como recurso’, incita a una reconsideración ontológica de la relación del jugador con lo no-humano. Finalmente, se examinan ejemplos de modificación y ‘juego expansivo’ para revelar estrategias de juego ecocrítico sorprendentes en el juego de mundo abierto Minecraft, un juego que en principio parece llevar la lógica de la extracción de recursos al extremo.
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Catani, Denice Barbara, Patrícia Aparecida do Amparo e Renata Marcílio Cândido. "UM MENINO FALA DE AFETOS, FALA DA ESCOLA, DOS PROFESSORES, DOS MÉDICOS E DOS PSICÓLOGOS, REFLETIR COM O LIVRO QUANDO TINHA CINCO ANOS EU ME MATEI, DE HOWARD BUTEN". Cadernos de Pesquisa 28, n.º 4 (30 de dezembro de 2021): 509. http://dx.doi.org/10.18764/2178-2229v28n4.202176.
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Sabemos que podemos alcançar via obras literárias uma compreensão fecunda das muitas dimensões da vida e dentre elas a educação. Muito já se disse a propósito e tanto há partidários de uma proteção das obras dos possíveis utilitarismos quanto há os que preferem sustentar que as vias de entendimento proporcionadas pela literatura são privilegiadas e não há mal em fazer delas um uso mais ou menos pedagógico. Partilhando da segunda hipótese busca-se mostrar um caso no qual a obra explicita aspectos importantes para nossas reflexões educacionais. A literatura também é um dispositivo de conhecer. Por meio da construção literária, passamos a compreender a percepção das emoções, cheiros, texturas e associações nas lógicas próprias do mundo infantil e até mesmo interrogar os discursos autorizados. Importantes questões nos lembram que no espaço dos pontos de vista sobre o que os adultos fazem em nome de educar, muitas vezes falta levar em conta que entre as lógicas de apreensão da realidade é preciso atentar para as lógicas das crianças. Tentaremos aqui evidenciar um percurso ficcional cuja plausibilidade é simbólica e pedagogicamente aterradora. A análise incide sobre a obra Quando tinha cinco anos eu me matei e identifica pontos fulcrais das relações adultos-crianças, da vida e da cultura escolar e alguns riscos engendrados pelos diagnósticos que recaem sobre crianças e, por vezes, delineiam seus destinos.Palavras-chave: literatura; mundo infantil; educação; fonte literária; educação e ficção.A BOY SPEAKS OF AFFECTS, SPEAKS OF SCHOOL, OF TEACHERS, OF DOCTORS AND OF PSYCHOLOGISTS, REFLECTIONS PROMPTED BY THE BOOK “WHEN I WAS FIVE I KILLED MYSELF” BY HOWARD BUTENAbstract We know we can, by means of literary works, reach a fertile comprehension of life’s many dimensions – and among them education. A lot have been said about this and there are partisans both who seek to protect literary pieces from possible utilitarianisms and those inclined to sustain that the paths to understanding propitiated by literature are privileged and that there is no harm in making use of them for more or less pedagogical purposes. Sharing the latter hypothesis, we seek to show one case in which a literary piece renders explicit aspects that are important for our educational reflections. Literature is also a device to achieve knowledge. By means of literary construction, we come to understand the perception of emotions, smells, textures and associations in the logics specific to the child’s world and even to interrogate authorised discourses. Important questions remind us that within the space where points of view regarding what adults do in the name of education are elaborated, one often fails to take into account that among the reality- apprehending logics one needs to pay particular attention to the logics of children. Here we will try to render evident a fictional trajectory whose plausibility is both symbolic and pedagogically terrifying. The analysis considers the text When I Was Five I Killed Myself, identifying fulcral points in the adults-children relationship, in life and in school culture and also a few of the risks engendered by the diagnoses imposed on children and that, sometimes, delineate their destinies.Keywords: literature; children’s world; education; literary source; education and fiction. UN NIÑO HABLA DE AFECTOS, HABLA DE LA ESCUELA, MAESTROS, MÉDICOS Y PSICÓLOGOS, REFLEXIONES CON EL LIBRO “CUANDO TENÍA CINCO AÑOS ME MATÉ”, DE HOWARD BUTENResumenSabemos que a través de las obras literarias podemos alcanzar una comprensión fructífera de las múltiples dimensiones de la vida, incluida la educación. Ya se ha hablado mucho de esto, y hay tantos partidarios de una protección de la literatura frente a posibles utilitarismos, como los que prefieren sostener que las formas de comprensión que brinda la literatura son privilegiadas y no hay nada de malo en tomarlas para uso más o menos pedagógico. Compartiendo la segunda opinión, buscamos mostrar un caso en que el texto muestra aspectos importantes para nuestras reflexiones educativas. La literatura es también un dispositivo de conocimiento. A través de la construcción literaria, llegamos a comprender la percepción de emociones, olores, texturas y asociaciones en las lógicas del mundo infantil e incluso interrogamos discursos autoritativos. Temas importantes nos recuerdan que en el espacio de puntos de vista sobre lo que hacen los adultos en nombre de educar, muchas veces es necesario tener en cuenta que, entre las lógicas para aprehender la realidad, hay que tener em cuenta las lógicas de los niños. . Aquí intentaremos demonstrar un percurso ficcional cuya plausibilidad es simbólica y pedagógicamente aterradora. El análisis se centra en el libro Cuando tenía cinco años me suicidé e identifica puntos clave en las relaciones adulto-niño, en la vida y la cultura escolar, como también algunos riesgos engendrados por los diagnósticos que recaen sobre los niños que, en ocasiones, delinean sus destinos.Palabras clave: literatura; mundo infantil,; educación; fuente literaria; Educación y ficción.
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Luckhurst, Roger. "Les laboratoires de l’espace-temps mondialisé : le science-fictionnel et les expositions universelles de 1851 à 1939". ReS Futurae, n.º 7 (4 de maio de 2015). http://dx.doi.org/10.4000/resf.856.
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Bisanswa, Justin K. "La traversée du métatexte dans l’oeuvre romanesque de Valentin-Yves Mudimbe 1". N.º 82 (18 de outubro de 2007): 75–102. http://dx.doi.org/10.7202/016624ar.
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Résumé Cet article montre combien le narratif de Valentin Mudimbe est traversé constamment par le métatexte et se demande comment faire pour que le commentaire du propre commentaire de l’écrivain sur son art ne soit pas que contrefaçon naïve. En effet, commentant constamment ces récits, Mudimbe paralyse la critique en lui dictant son propre discours. L’autométatexte de Mudimbe signale les différentes phases d’une écriture révélatrice de ses hauts et de ses bas, de ses virées à gauche et à droite. Trois temps verbaux s’y distinguent : le passé, le présent et le futur. Le narrateur se jauge, se juge, s’autocensure et se critique à longueur de pages afin de répondre à une question simple et évidente : comment changer le monde par mon écriture ? En somme, l’enjeu du métatexte est de présenter, sur le mode fictionnel, l’écriture comme une objectivation de soi. Mais au lieu de l’étouffer, la mise à distance du sujet exalte la subjectivité. Le mouvement est celui du boomerang : en butte à l’altérité, le sujet se renvoie sa propre image. Regardant le monde, il s’en exclut. Lui parlant, il soliloque. Face à face avec lui-même, il se moque.
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Brun, Patrick. "Un souvenir-écran projeté". 17, n.º 1 (29 de agosto de 2007): 144–64. http://dx.doi.org/10.7202/016326ar.
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Résumé « Ceci est l’histoire d’un homme marqué par une image d’enfance. » Tel est l’intertitre qui annonce l’aventure singulière du héros de La jetée de Chris Marker. Prisonnier dans les souterrains de Chaillot après la Troisième Guerre mondiale (qui a rendu inhabitable la surface de la terre), un homme va devenir l’objet d’une expérimentation troublante et cruelle : un voyage forcé dans d’autres espaces-temps à partir de la force d’attraction qu’exerce sur lui une image de femme sur laquelle, depuis l’enfance, son esprit s’est fixé. Une fois le héros projeté définitivement dans le monde de son enfance, ce n’est pourtant pas cette jeune femme dont il a gardé la marque visuelle qui sera au rendez-vous, mais la mort, refoulée, qui le regarde et le retient au travers de ce visage. Au-delà de cette histoire extraordinaire que raconte ce film de (science-)fiction, l’auteur du présent article montre que l’histoire de chaque homme (ou presque) pourrait peut-être s’écrire à la manière de celle du héros de La jetée. En effet, toute mémoire individuelle, pour ne pas dire toute fiction subjective, charrie de l’enfance ce que Freud nomme des souvenirs-écrans : des images indélébiles, inexactes ou recomposées au regard de la « vérité historique » qui voilent une « vérité subjective » : la castration. Dès lors, de la fixité de l’image filmique à la fixation du sujet sur un souvenir, de l’écran cinématographique où se tisse la fiction à l’écran subjectif que constitue le fantasme, de la mort du héros dans l’image à la castration du sujet dans la perception visuelle, il n’y a peut-être qu’un pas, que nous invitent ici à franchir l’oeuvre et la doctrine. La lecture psychanalytique de La jetée que propose l’auteur cherche ainsi à montrer en quoi la visée du procès poétique fictionnel au cinéma peut être de toucher, dans l’imaginaire diégétique, un bout de réel.
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Achard-Martino, Marine. "La rivalité fraternelle dans les écrits autobiographiques et fictionnels de Henry Bauchau". Auto/biographies familiales, n.º 01 (26 de outubro de 2021). http://dx.doi.org/10.35562/voix-contemporaines.262.
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L’enfance de l’écrivain Henry Bauchau a été fortement marquée par la rivalité éprouvée à l’égard de son frère aîné. Le travail introspectif qu’il entreprend au moment où il entame sa carrière d’écrivain l’amène à considérer certains souvenirs de son enfance liés à son frère comme fondateurs de sa vocation. Bauchau n’a alors de cesse de les réécrire dans ses textes intimes et ses œuvres de fiction. Au fil du temps il s’est façonné à travers ces récits une véritable identité narrative.