Acercamiento analítico a Perséfone de Homero Aridjis

Se presentan los resultados del análisis sociocrítico practicado sobre la obra Perséfone, de Homero Aridjis.

Linked Data in the Digital Humanities: Examples, Projects, and Tools

Harnessing the potential of semantic web technologies to support and diversify scholarship is gaining popularity in the digital humanities. This talk describes a number of projects utilising Linked Data ranging from musicology and library metadata, to the representation of the narrative structure, philological, bibliographical, and museological data of ancient Mesopotamian literary compositions.

BETWEEN THE SONG AND THE TALE: EYE EYE FOR EYE OF CHICO BUARQUE NUS: EYES BY MIA COUTO

This paper proposes a reflection on the lyrics Eye to eye, written by Chico Buarque, and the tale nude Eyes: Eye of the Mozambican writer Mia Couto, writing to compose the collection This story is different: for ten thousand songs by Chico Buarque, organized by journalist Ronaldo Bressane in 2010. this book ten writers recreate Songbook carioca composer, with total freedom to reinvent prose the song they chose. In the work there are tales that are based on stories faithfully to music by Chico Buarque, others use them as soundtrack, scenery, atmosphere, some of the songs lend their structures and there are those who only use it as a theme. This paper then turns to the relationship built between fiction and music, watching the narrative dialogue established between the lyrics by Chico Buarque and the short story by Mia Couto, the fidelity pact established with the source text and the whole narrative structure that comes to life under the eye of Mia Couto. Finally, throughout the article we use the theoretical assumptions discussed as Silviano Santiago, Umberto Eco, Costa Lima, Leonor Arfuch among others so as to exploit the full context of this engaging narrative.

LADIES AND GENTLEMEN, THE PLAY O AUTO DA COMPADECIDA GOES TO THE TELEVISON!

 This paper aims to present the results of a study on the translation of the narrative structure of the play Auto da Compadecida, by Ariano Suassuna, into the homonymous TV mini-series, directed by Guel Arraes (Globo,1999). The play has in its structure a representation within another - the auto (designation of the medieval miracle plays in the Latin Culture) is represented as part of a circus presentation, having as its narrator a clown that, in the role of the author, presents the story, its characters and, throughout the play, interferes and interacts with the spectator (reader). Arraes, in turn, establishes a different configuration to the narrative structure of his text, once he changes the circus representation for an audiovisual one. In this perspective, the auto by Arraes presents the film The Passion of Christ within the TV mini-series O Auto da Compadecida. In general, we observe that Arraes brings to his translation the audiovisual language technology of his time, rewriting the sertanejo’s beliefs from the mass media point of view. Within this study, we propose reflections on the adaptation process as a translation act and also on the intertextuality between genres deriving from this intersemiotic process.    KEY WORDS: Intersemiotic Translation; Literature; TV mini-series. 

Understanding the labour–environmental relationship in Britain, 1967–2011:a new narrative using political opportunity structure and coalition theory

Orthodox depictions of a fraught labour–environmental relationship privileging class, ideological and programmatic differences are problematised by newly quantified evidence of British unions' pro-environmental policy-making since 1967. The following narrative blends widely accepted accounts of the fortunes of both movements with an evaluation of Britain's shifting political opportunity structure and coalition theory to identify an alternative range of constraints and opportunities influencing the propensity and capacity of both movements to interact effectively, culminating recently in unions' emergence as environmental actors in their own right.

Horæ evangelicæ : or, the internal evidence of the Gospel history, being an inquiry into the structure and origin of the four Gospels, their historical consistency, and the characteristic design of each narrative /

Mode of access: Internet.

Information transfer for multi-trauma patients on discharge from the emergency department : mixed-method narrative review

Aim. This paper is a report of a review conducted to identify (a) best practice in information transfer from the emergency department for multi-trauma patients; (b) conduits and barriers to information transfer in trauma care and related settings; and (c) interventions that have an impact on information communication at handover and beyond. Background. Information transfer is integral to effective trauma care, and communication breakdown results in important challenges to this. However, evidence of adequacy of structures and processes to ensure transfer of patient information through the acute phase of trauma care is limited. Data sources. Papers were sourced from a search of 12 online databases and scanning references from relevant papers for 1990–2009. Review methods. The review was conducted according to the University of York’s Centre for Reviews and Dissemination guidelines. Studies were included if they concerned issues that influenced information transfer for patients in healthcare settings. Results. Forty-five research papers, four literature reviews and one policy statement were found to be relevant to parts of the topic, but not all of it. The main issues emerging concerned the impact of communication breakdown in some form, and included communication issues within trauma team processes, lack of structure and clarity during handovers including missing, irrelevant and inaccurate information, distractions and poorly documented care. Conclusion. Many factors influence information transfer but are poorly identified in relation to trauma care. The measurement of information transfer, which is integral to patient handover, has not been the focus of research to date. Nonetheless, documented patient information is considered evidence of care and a resource that affects continuing care.

Let’s talk about lex: Narrative analysis as both research method and teaching technique in law

Law is narration: it is narrative, narrator and the narrated. As a narrative, the law is constituted by a constellation of texts – from official sources such as statutes, treaties and cases, to private arrangements such as commercial contracts, deeds and parenting plans. All are a collection of stories: cases are narrative contests of facts and rights; statutes are recitations of the substantive and procedural bases for social, economic and political interactions; private agreements are plots for future relationships, whether personal or professional. As a narrator, law speaks in the language of modern liberalism. It describes its world in abstractions rather than in concrete experience, universal principles rather than individual subjectivity. It casts people into ‘parties’ to legal relationships; structures human interactions into ‘issues’ or ‘problems’; and tells individual stories within larger narrative arcs such as ‘the rule of law’ and ‘the interests of justice’. As the narrated, the law is a character in its own story. The scholarship of law, for example, is a type of story-telling with law as its central character. For positivists, still the dominant group in the legal genre, law is a closed system of formal rules with an “immanent rationality” and its own “structure, substantive content, procedure and tradition,” dedicated to finality of judgment. For scholars inspired by the interpretative tradition in the humanities, law is a more ambivalent character, susceptible to influences from outside its realm and masking a hidden ideological agenda under its cloak of universality and neutrality. For social scientists, law is a protagonist on a wider social stage, impacting on society, the economy and the polity is often surprising ways.

Nous sommes tousjours au dela : a negação narrative do sujeito modern em Sur des vers de Virgile (ensaios III, cap.V) de Michel de Motaigne

Investigando a apresentação das ideias em Sobre versos de Virgílio, a tese demonstra como sua estruturação ambígua, onde tudo é constantemente negado por seus contrários, leva a um contínuo estado de confusão e perplexidade, tornando impossível a determinação lógica dos conceitos e conduzindo a um progressivo esvaziamento do texto enquanto signo direto do pensamento do autor. Por outro lado, partindo de uma perspectiva hermenêutica influenciada pela anatomia, a análise mostra que o uso sistemático e criativo das instâncias narrativas (autor, narrador, signatário), juntamente com a reunificação textual de diferentes Montaignes (presentes nos diversos estágio editoriais do ensaio), acaba por dissolver a própria noção de identidade a si do autor, tendo por consequência imediata sua disseminação em vários sujeitos diversos e contraditórios e, por fim, colocando em xeque a clássica percepção dos Ensaios com o nascimento da subjetividade moderna.

The emotional structure of the advertising message in radio

Radio advertising is suffering from a remarkable crisis of creativity as it has yet not found its role in a radio model based on voice locution and information genres. This article suggests the need for implementing a peripheral or heuristic strategy to attract and hold listeners’ attention. Within this framework, the narration and scene representation are proposed as suitable persuasion techniques. The objective is to design a useful conceptual tool for an efficient creative conception of narration at the service of certain commercial strategy. First, the concept of narrative persuasion is grounded according to the possibilities of the sound code. Second, the keys of scene representation and commercial strategy (brand, product, advantage, benefit and target) within the sound message are presented. And third, these keys are articulated in a model. This model is pre-tested by means of analyzing eight different case-radio ads.

Banquet festif et banquet macabre : analyse narrative et structurelle d’Ap 19

À cause de son langage symbolique et de l’absence d’une trame narrative bien dessinée, l’Apocalypse de Jean constitue un gros défi pour l’exégèse, d’autant plus que ce livre réutilise un important matériel vétérotestamentaire mais sans jamais faire de citations explicites. La présente recherche se propose de traiter le chapitre 19 comme une unité littéraire significative à l’intérieur de ce livre complexe, même s’il ne montre ni un récit suivi ni une parfaite cohérence sur le plan narratif, présentant même des discordances avec d’autres parties du livre. Par contre, sur le plan théologique, un discours cohérent et significatif s’en dégage lorsqu’on joint à l’analyse narrative une analyse structurelle. La combinaison de ces deux méthodes synchroniques permet d’exposer des parallélismes frappants et de décrire une intrigue qui traite de l’accomplissement inéluctable de la justice divine, symbolisée par le contraste entre deux grands banquets, l’un festif et l’autre macabre. Enfin, cette recherche préserve le caractère évocateur des symboles et préconise une lecture ironique pour certains passages.

Émotions et identité : le rôle des émotions dans la formation de l'identité narrative

Cette thèse met en place un modèle permettant d'éclairer les relations entre certaines émotions et la conception que l'individu a de lui-même. En accord avec plusieurs auteurs contemporains, il est ici défendu que la conception que nous avons de nous-mêmes prend la forme d'une identité narrative, c'est-à-dire d'un récit à l'intérieur duquel nous tentons de structurer une image cohérente de nous-mêmes. Dans cette perspective, il est proposé qu'un certain groupe d'émotions, comme la honte, la fierté et la culpabilité, occupe une place cruciale dans la formation et le maintien de cette image de soi. Ces émotions, que nous pouvons qualifier d'auto-évaluatives, conditionnent l'évaluation que nous avons de nous-mêmes et participent ainsi à l'élaboration de la représentation de soi. De plus, cette identité narrative, à travers un certain aspect normatif et motivant, vient à son tour influencer la manifestation et l'interprétation de ces mêmes émotions. Ainsi, la relation entre les émotions auto-évaluatives et l'identité narrative serait une relation complexe d'influences réciproques. L’analyse proposée devrait permettre de clarifier de nombreux aspects de l’économie mentale de l’individu et plus particulièrement de sa motivation morale.

Analyse sémio-narrative d'un corpus de contes merveilleux du Québec

Ce mémoire propose une analyse sémio-narrative d’un corpus de dix-neuf contes merveilleux recueillis auprès des conteurs canadiens-français et canadiens-hurons par l’anthropologue Charles-Marius Barbeau, au début du XXe siècle. Après avoir passé en revue les principales théories dans l’approche sémiotique du conte à partir de Vladimir Propp jusqu’à nos jours, nous avons procédé à une étude narrative du corpus selon la méthode du grand folkloriste russe : cela nous a permis d’en montrer la valeur exceptionnelle mais aussi les limites. Nous avons constaté ainsi que le travail sur un corpus inédit peut mener à l’identification de nouveaux éléments dans la structure du conte merveilleux. En poursuivant nos recherches sur les dix-neuf contes recueillis par Barbeau, nous sommes passée du schéma linéaire, syntagmatique de Propp aux modèles logiques de ses continuateurs, particulièrement celui élaboré par Guy Laflèche. Nos analyses ont mis en évidence non seulement le fait que la structure en miroir est un modèle valide auquel une partie des contes merveilleux se plie parfaitement (d’emblée l’exclusivité du schéma de Propp est mise en question, sinon infirmée), mais aussi que tout conte merveilleux est exceptionnellement organisé, structuré (ce qui confirme la théorie de Claude Bremond conformément à laquelle le récit narratif est une alternance de dégradations et d’améliorations). Enfin, la dernière partie du mémoire est une analyse sémio-discursive de notre corpus qui, au lieu d’être une simple accumulation de listes de mots, d’expressions et de figures, tente d’aborder la structure idéologique, grâce à une étude en parallèle d’un conte du corpus et de deux versions littéraires.

Aesthetical and narrative uses of the trench in the Hollywood cinema of 1918-1930

Throughout history of painting, the representation of landscape has been considered a laboratory for the human gaze on the world. The First World War and its new approach to the battlefield altered deeply the classical forms of representation, and replaced them with a mechanised and fragmentary vision, which was related with the development of photography and cinema. As Vicente J. Benet has analysed, Hollywod cinema used these deep changes in its filmic versions of the conflict, although it organised them following a narrative logic. In this text we intend to study how the battlefield and, particularly, the trench, are inserted in this logic of the history of landscape painting. We do so through some Hollywood films from the period 1918-1930. Firstly, we approach the trench as a composition value which can structure the image and guide the camera movement. In the second place, we study how it creates a dialog between its inside, melodrama scenery, and the outside, battlefield and danger. In both cases, we conclude that the trench as a form and as a narrative element plays a structuring and integrative role with the storytelling logic.

Observations on the structure and affinities of the more remarkable plants : collected by the late Walter Oudney and Major Denham and Captain Clapperton in the years 1822, 1823, and 1824, during their expedition to explore Central Africa.

"Printed as the Botanical appendix to the Narrative of travels and discoveries in Northern and Central Africa."