Fenn's english dialogues, for mexican students a supplement the author's fourth english reader

UANL

The Monastery : a romance, Parker's edition revised and corrected,with a general preface, an introduction to each novel and notes, historical and illustrative, by the author

UANL

Compte-rendu de The Kidney Sellers: A Journey of Discovery in Iran par Sigrid Fry-Revere – Response by the author

Lettre à l'éditeur / Letter to the Editor

Digital Paratext : Editorialization and the Very Death of the Author

As shown by different scholars, the idea of “author” is not absolute or necessary. On the contrary, it came to life as an answer to the very practical needs of an emerging print technology in search of an economic model of its own. In this context, and according to the criticism of the notion of “author” made during the 1960–70s (in particular by Barthes and Foucault), it would only be natural to consider the idea of the author being dead as a global claim accepted by all scholars. Yet this is not the case, because, as Rose suggests, the idea of “author” and the derived notion of copyright are still too important in our culture to be abandoned. But why such an attachment to the idea of “author”? The hypothesis on which this chapter is based is that the theory of the death of the author—developed in texts such as What is an Author? by Michel Foucault and The Death of the Author by Roland Barthes—did not provide the conditions for a shift towards a world without authors because of its inherent lack of concrete editorial practices different from the existing ones. In recent years, the birth and diffusion of the Web have allowed the concrete development of a different way of interpreting the authorial function, thanks to new editorial practices—which will be named “editorialization devices” in this chapter. Thus, what was inconceivable for Rose in 1993 is possible today because of the emergence of digital technology—and in particular, the Web.

L’univers dans un point noir : esthétique et matérialité dans l’oeuvre de Jack Kirby

Notre recherche étudie les particularités esthétiques et matérialistes de l’oeuvre du bédéiste américain Jack Kirby (1917-1994) et la manière dont elles répondent d’agencements qui visent à déconstruire et reconstruire les formes sur la page. Contemporain de Will Eisner, Kirby est largement considéré comme l'auteur et dessinateur le plus influent de son époque, co-signant les premières aventures de certains des super-héros qui perdurent et qui sont aujourd’hui la manne de l’industrie hollywoodienne (Captain America, les Fantastic Four, Hulk, etc.). Son oeuvre protéiforme est composée de superpositions de textures, d’objets récupérés, de figures déviées et trouve dans son rapport à la matière les principaux axiomes qui la définissent. Cherchant dans son travail à cerner les fonctions des nombreux amoncellements de points noirs (baptisés kirby dots par la critique et l’industrie), nous nous écartons des modèles d’analyse sémiologiques pour constituer une approche écosophique de la bande dessinée. Dans cette dernière, nous avons recours à la schizo-analyse théorisée par Gilles Deleuze et Félix Guattari dans leur ouvrage L’Anti-OEdipe (1972) afin de cerner les conditions de la production de sens et de non-sens du point kirbyen. Pour ce faire, nous proposons de reconsidérer la BD comme une écologie séquentialisée, composée de cases sans icônes, c’est-à-dire d’un espace pris au plus près de la planche, pour soi et en soi, sans rapport de causalité fixe ou de structure prédéterminée. Nous envisageons ensuite les territorialités archaïques de la bande dessinée pour mieux définir son ontogénie, puis pour étudier les rapports machiniques et schizos qu’entretiennent entre eux les différents espaces (que nous distinguons en espaces striés et en espaces lisses) ainsi que les différents traits de la planche. Finalement, nous expliquerons en quoi le point kirbyen apparaît comme une machine abstraite, c’est-à-dire une instance capable d’auto-générer, d’auto-poïétiser, son propre mystère représentationnel.

Author Identification in Malayalam using n-grams

Author identification is the problem of identifying the author of an anonymous text or text whose authorship is in doubt from a given set of authors. The works by different authors are strongly distinguished by quantifiable features of the text. This paper deals with the attempts made on identifying the most likely author of a text in Malayalam from a list of authors. Malayalam is a Dravidian language with agglutinative nature and not much successful tools have been developed to extract syntactic & semantic features of texts in this language. We have done a detailed study on the various stylometric features that can be used to form an authors profile and have found that the frequencies of word collocations can be used to clearly distinguish an author in a highly inflectious language such as Malayalam. In our work we try to extract the word level and character level features present in the text for characterizing the style of an author. Our first step was towards creating a profile for each of the candidate authors whose texts were available with us, first from word n-gram frequencies and then by using variable length character n-gram frequencies. Profiles of the set of authors under consideration thus formed, was then compared with the features extracted from anonymous text, to suggest the most likely author.

Author Workshop

La Universidad del Rosario realizará el Taller de Autores “Springer Author Workshop”, evento académico ofrecido por la Editorial Springer y organizado por la Biblioteca y el Centro de Gestión del Conocimiento. Al evento están invitados los investigadores de la Universidad interesados en adquirir nuevas herramientas y destrezas a la hora de publicar un artículo científico. Lugar auditorio Mutis el 19-09-2014.

The pedagogic discourse of the teacher-author

Monogr??fico con el t??tulo: " Formaci??n de profesores. Perspectivas de Brasil, Colombia, Espa??a y Portugal"