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Journal articles on the topic 'Auctorial figure'
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NEBESNYUK, ULYANA A. "TEXT-FORMING FUNCTIONS OF THE NARRATIVE-ARTISTIC IMAGE “THE FRIEND OF THE HOUSE” AS A PERSONALIZED NARRATOR IN THE TEXTS OF CALENDAR STORIES BY J. P. HEBEL." Cherepovets State University Bulletin 3, no. 102 (2021): 119–32. http://dx.doi.org/10.23859/1994-0637-2021-3-102-9.
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The article focuses on the text-forming functions of the personalized narrator “The friend of the house” in the texts of J. P. Hebel's calendar stories. Applying the cross-cutting analysis of the practical material it has been determined that the auctorial narrator “The friend of the house” reflects a special historical path in the development of the “calendar story” (German: “Kalendergeschichte”) as part of a calendar. The personalized calendar figure of “The Rhenish friend of the house” (based on the image of the “lame messenger”) is characterized by the appearance of a typical German urban inhabitant of the 18th century, a locally determined polysemous name and a “heavenly” metaphorical image. In his “divine” purpose he yields to the prophet a bit and tells readers amazing everyday stories of a sentential nature. Sources of his stories are his personal observations, stories of anonymous or mentioned eyewitnesses, second or third parties (“The Rhenish brotherhood of the friend of the house”, the loyal helpers “the adjunct” and “the mother- in-law”) which also have a projection of the personal biography and the ambience of the writer - the author of the “calendar stories”...
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Delormas, Pascale. "Approche discursive de la généricité des monographies illustrées: le parti pris des « Albums de la Pléiade » et des « Écrivains de toujours »." Nottingham French Studies 58, no. 3 (December 2019): 273–85. http://dx.doi.org/10.3366/nfs.2019.0257.
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Like other instruments of cultural transmission such as school anthologies, illustrated monographs demonstrate a conception of the author which conforms with the conventions of literary history. However, a comparative analysis of different anthologies of the same author makes it possible to conclude that biographical discourse is far from being a homogeneous discursive category. The construction of Rousseau's auctorial figure in the collection ‘Écrivains de toujours’ and in the collection ‘Albums de la Pléiade’ is a good example of this claim. An examination of the relationship between iconography and text is an effective means of approaching illustrated monographs as plurisemiotic objects: though in both of the series studied here the technique is based on collage and commentary, it is carried out differently. Neither at the textual level nor at the level of the image are the editorial choices similar. Thus in the Pléiade album, the photographs act as testimony and the text is more a comment on the photographs; in Rousseau par lui-même, the text is a commentary on the author's works and the images which accompany it assume an illustrative function. In the first case a true cult of the author is maintained, while in the second case the text veers away from the legendary perception of the author. However, the enunciative characteristics of the relationship between Rousseau and his biographers always manifest sympathy and admiration. A further study of other monographs of the same collections will allow for a broader application of these conclusions.
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Vaillant, Alain. "Modernité, subjectivation littéraire et figure auctoriale." Romantisme 148, no. 2 (2010): 11. http://dx.doi.org/10.3917/rom.148.0011.
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Massol, Chantal. "Présentation. — Des paradoxes de la figure auctoriale." Recherches & travaux, no. 64 (May 15, 2004): 5–15. http://dx.doi.org/10.4000/recherchestravaux.1187.
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Beaulieu, Jean-Philippe. "Marie de Gournay ou l'occultation d'une figure auctoriale." Renaissance and Reformation 36, no. 2 (January 1, 2000): 23–34. http://dx.doi.org/10.33137/rr.v36i2.8605.
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Beginning with the recognition that the records and biographical dictionaries of the seventeenth and eighteenth centuries devote greater attention to the personal aspects of Marie de Gournay (1565–1645) than to her literary production, which was nonetheless substantial, this study considers the forms of, and reasons for, such an obscuring of her authorial standing. Among the probable explanations, what stands out is the less than enthusiastic reception reserved by the seventeenth century for the intellectual ambitions evident in that “women's writing” with which Gournay seems to have established so close a connection as finally to transform her work into a textual alter ego of the author.
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Lafond, Muriel. "Une figure autoriale dans le commentaire grammatical ?" Études littéraires 43, no. 2 (March 13, 2013): 13–27. http://dx.doi.org/10.7202/1014723ar.
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Si le commentaire grammatical ne constitue pas à proprement parler un « genre », il se voit néanmoins régi par des règles issues de la tradition, qui ne manquent pas d’entraîner une impression d’homogénéité lorsque l’on compare les différents ouvrages qui nous sont parvenus. Est-il donc possible de dégager d’un type d’écrit aussi figé une figure auctoriale ? Les commentaires nous permettent-ils d’en apprendre davantage sur leur auteur et de nous faire entendre un discours du scholiaste sur sa propre activité ? Cet article se propose de répondre à ces questions en s’appuyant sur les commentaires de Servius aux oeuvres de Virgile, que nous comparerons à d’autres écrits — et notamment au Servius Danielis — afin d’en dégager les caractéristiques essentielles du célèbre grammaticus.
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WATTHEE-DELMOTTE, Myriam. "L’affleurement d’un mythe personnel chez Henry Bauchau." Revue internationale Henry Bauchau. L’écriture à l’écoute, no. 5 (January 10, 2013): 151–64. http://dx.doi.org/10.14428/rihb.v0i5.17233.
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L’article analyse comment l’univers imaginaire d’Henry Bauchau se construit par le biais de la reprise, d’œuvre en œuvre, d’une matière imaginaire qui se reconfigure en fonction des variations génériques. Du récit de jeunesse Temps du rêve au roman de la grande maturité Le Boulevard périphérique, on voit se dessiner progressivement une figure dominante relevant du mythe personnel de l’auteur. En parallèle s’esquisse une imago de la figure auctoriale susceptible de consolider l’image de soi.
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Zapata, Juan. "Baudelaire: traductor-auctoritas." Literatura: teoría, historia, crítica 19, no. 2 (July 1, 2017): 19–50. http://dx.doi.org/10.15446/lthc.v19n2.62765.
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Para acceder a una visibilidad mediática, a una postura reconocible por el público y por sus pares, el traductor se ve obligado a capitalizar espacios de enunciación como los que conceden los prefacios, la crítica o las noticias biográficas. Es gracias a estos espacios, en los que el traductor pone en marcha estrategias discursivas e institucionales que le permiten posicionar su figura y su proyecto de traducción, que este accede al estatuto de traductor-auctoritas, esto es, de instancia dotada de una autoridad simbólica susceptible de conferirle una imagen pública. Un análisis detallado de las estrategias editoriales y de los cálculos institucionales que Baudelaire implementó para posicionar su proyecto de traducción de Edgar Allan Poe nos permitirá demostrar no solo cómo el poeta accede al estatuto de traductor-auctoritas, sino también el rol que este jugó en la construcción de su propia identidad literaria.
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Bélanger, David. "En contre-jour : la représentation évanescente de l’écrivain dans le roman québécois contemporain." Arborescences, no. 6 (September 23, 2016): 54–71. http://dx.doi.org/10.7202/1037504ar.
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La représentation de l’écrivain dans la littérature québécoise s’inscrit dans une histoire d’émancipation, d’inadéquations et de résistances. Depuis les premiers travaux d’André Belleau, cette représentation a évolué et, dans les années 2000, se profile une figure de romancier à la fois plus confiante et plus évanescente que celle des années 1960-1970. L’écrivain, en s’affichant dans sa fiction, montre les attaques répétées faites par la théorie et par la société à son autorité créatrice. C’est ce que nous proposons d’observer, en nous reportant à Une estafette chez Artaud de Nicolas Tremblay et à Pleurer comme dans les films de Guillaume Corbeil. En abordant diverses figures auctoriales (Bartleby, l’anti-écrivain, l’écrivain frauduleux, etc.), nous serons amené à penser, par le fait même, le statut de la littérature dans la production littéraire québécoise contemporaine.
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Leroux, Louis Patrick. "Michel Ouellette, l’oeuvre correctrice du ré-écrivain." Dossier 34, no. 3 (July 14, 2009): 53–66. http://dx.doi.org/10.7202/037664ar.
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Résumé Le théâtre de Michel Ouellette, qui s’est d’abord inscrit dans une tradition plus mimétique et communautariste, a manifestement pris le virage d’une littérarisation autoréflexive de la figure même du créateur. Cet article explore les instances d’autofiction intrusives de l’auteur et de sa démarche correctrice, revisitant à la fois les pièces de ses contemporains et le sort de ses propres personnages. L’oeuvre de Ouellette présente, par le truchement d’avatars auctoriaux, la figure d’un ré-écrivain mettant en scène son oeuvre correctrice.
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Palumbo, Lidia. "I dialoghi di Platone come figure della coerenza tra pensiero e vita." Rhetorica 37, no. 4 (2019): 333–50. http://dx.doi.org/10.1525/rh.2019.37.4.333.
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The aim of this paper is to show how the dialogical form is an essential structure of the Platonic texts in which the interrogative form is the very form of philosophy. According to the intentio auctoris, the dialogues can change the lives of their readers and this can only happen thanks to the readers' internalization of the dialogical form as an interrogative structure. Like Socrates' interlocutors in the dialogues, readers with the dialogues, can change their live making it coherent with their own thoughts examined through the philosophical discourse. This form of coherence is the only possibility of virtue, and therefore of happiness.
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Serrano, Florence. "Figures auctoriales et figures du pouvoir : Valera et Rodríguez del Padrón à la cour de Bourgogne." Cahiers d'études hispaniques médiévales 33, no. 1 (2010): 109–26. http://dx.doi.org/10.3406/cehm.2010.2236.
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Giacomotto-Charra, Violaine. "Figures d’autorité, tradition médiévale et pratique auctoriale dans le De Subtilitate de Jérôme Cardan." Réforme, Humanisme, Renaissance 72, no. 1 (2011): 53–71. http://dx.doi.org/10.3406/rhren.2011.3132.
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Beaulieu, Jean-Philippe. "« Moy Traductrice » : le façonnement de la figure auctoriale dans le paratexte des traductions de Marie de Gournay." Renaissance and Reformation 35, no. 4 (June 5, 2013): 119–34. http://dx.doi.org/10.33137/rr.v35i4.19702.
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Marie Le Jars de Gournay’s prolific textual production has attracted increasing scholarly attention in the last few years. One of the still relatively understudied parts of her oeuvre comprises the five translations from Latin that occupy 274 out of the 995 pages of her 1641 Advis. As Montaigne’s “fille d’alliance”, she seems to be mainly known for her French versions of the Latin quotations in the Essais; however, her own translations from Ovid’s Elegies or Virgil’s Aeneid have been largely overlooked, as well as the liminary writings—some of which prove quite substantial, as her De la façon d’escrire de Messieurs l’eminentissime Cardinal du Perron et Bertaut—where Gournay offers her remarks on the art of translation. In this essay, I wish to focus on these paratextual writings to examine the self-defining strategies employed by Marie de Gournay in order to legitimize her translation activities. Faced with the obstacles caused by “the little credit given to [her] sex”, as well as the specific challenges posed by her sources, Gournay interestingly presents her work as composed in “such an unscholarly season” (“une saison si peu studieuse”), that is at a time when the humanist ideals of the sixteenth century were no longer valued. This article seeks to attend to the ethos constructed through the dedications and other liminary pieces in the second book of the Advis, and to examine how Gournay’s discursive ethos serves to anticipate and guide the reception of her translations. In this context, paratexts should be viewed, not as mere accessories, but rather as an essential discursive framework for the interpretation of Gournay’s translations—it is actually quite clear from the arrangement of the volume that the liminary material was designed as a tight interpretive frame for the translated texts. This study will eventually allow us to determine the place of translation within the range of authorial practices embraced by Marie de Gournay.
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Luneau, Marie-Pier. "Pour le meilleur et pour le pire : évolution des figures auctoriale et éditoriale au Québec." Documentation et bibliothèques 51, no. 2 (April 22, 2015): 69–77. http://dx.doi.org/10.7202/1030088ar.
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C’est une lapalissade, l’éditeur tel qu’on le connaît aujourd’hui n’a pas toujours existé. Il fut un temps où l’auteur devait se charger lui-même des tâches réservées désormais à l’éditeur, notamment celles liées à la promotion du livre. Quel impact la consolidation de la fonction éditoriale a-t-elle eu sur la figure mythique de l’auteur ? En observant d’un point de vue diachronique l’évolution des rapports entre auteurs et éditeurs au Québec du XIXe siècle à nos jours, cet article analyse en particulier le discours des auteurs sur la mise en marché de leurs livres.
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Fortier, Frances. "La problématisation de l’autorité narrative dans la fiction québécoise." Dossier 36, no. 1 (January 12, 2011): 97–112. http://dx.doi.org/10.7202/045237ar.
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Les fictions d’autorité en contexte narratif recourent à diverses modalités d’instauration ou de contestation, comme en témoignent les romans contemporains québécois et français retenus, examinés à partir de deux configurations majeures illustrées par les textes Hier de Nicole Brossard et Maleficium de Martine Desjardins. L’étude de ces deux fictions, qui dégagent nettement l’autorité narrative de toute forme auctoriale, permet de mettre en regard tout un ensemble de textes aux postures apparentées qui, malgré des enjeux esthétiques distincts, repensent le procès romanesque en exploitant la suspicion à l’intérieur même du cadre fictionnel. Une telle crise de l’autorité romanesque, où celle-ci prend figure d’ultime illusion à déconstruire, apparaît ainsi comme un phénomène transculturel.
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Eche, Antoine. "L’abbé Prévost (1697-1763) et Marc-Antoine Eidous (1724-1790): esquisse comparée de traducteurs de récits de voyages au XVIIIe siècle." Convergences francophones 2, no. 2 (October 20, 2015): 12–24. http://dx.doi.org/10.29173/cf303.
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Dans cet article, l'auteur s'intéresse à la figure du traducteur de récits de voyages au XVIIIe siècle en interrogeant dans un premier temps l'intérêt récent pour ce champ d'étude. S'attachant ensuite aux éléments paratextuels, l'auteur met au jour les modalités de la représentation du traducteur et de son approche traductive dans les traductions de l'abbé Prévost, plutôt connu pour son oeuvre romanesque et ses traductions des romans de Richardson, et de Marc-Antoine Eidous, traducteur, un temps collaborateur à L'Encyclopédie, et maintenant oublié. Cette comparaison révèle une attitude un temps commune (celle de la revendication auctoriale) mais aussi combien le poids de contraintes externes (le contexte éditorial par exemple) peut s'avérer déterminant dans la création de cette représentation.
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Hébert, Pierre. "L’homme derrière une vitre." Dossier 30, no. 1 (January 21, 2005): 81–92. http://dx.doi.org/10.7202/009890ar.
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Résumé L’un des paradoxes les plus remarquables chez Louis Dantin est que ce critique et auteur détestait les différends et que, néanmoins, il n’est à peu près pas une de ses oeuvres qui n’ait choqué les lecteurs de son temps. Dantin se croyait presque fatalement incapable de ne rien écrire qui ne tournât à l’hétérodoxie… Le recours à l’anonymat et au pseudonymat pose donc ici un intéressant problème : quel est leur rôle à l’intérieur de la transgression ? Cet article pose que, dans les quatre étapes qui conduisent à l’acte transgressif selon George-Elia Sarfati, la signature fictive joue un rôle essentiel à partir de la troisième étape, créant une distinction nécessaire entre l’homme qui demeure en retrait et son délégué transgresseur, la figure auctoriale.
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Farah, Alain. "Un piratage énonciatif signé La Rédaction ? Le cas Valérie par Valérie (2008)." Tangence, no. 105 (May 14, 2015): 109–19. http://dx.doi.org/10.7202/1030449ar.
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L’ouvrage Valérie par Valérie paraît en 2008 aux éditions Al Dante/Questions théoriques. Il porte la signature de La Rédaction, collectif dont la paternité est attribuée à Christophe Hanna. Ce livre contient le témoignage d’une ancienne figure de la téléréalité, phagocyté par la parole, le ton et les préoccupations d’un « nègre ». À travers cette narration indécidable se dévoilent les rouages d’un procédé de piratage de l’écriture, en même temps qu’émerge une mise en question du statut d’auteur, voire de l’acte créateur lui-même. Présentant l’écrivain comme un rédacteur, et l’écriture comme un agencement de fragments glanés au fil de ponctions et de vols, Valérie par Valérie actualise ainsi l’attaque dirigée par Isidore Ducasse contre la fétichisation de la signature auctoriale.
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Sá, Luiz Fernando Ferreira. "Entre ovídio e pessoa." Remate de Males 41, no. 2 (December 30, 2021): 337–52. http://dx.doi.org/10.20396/remate.v41i2.8661491.
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Shakespeare, de acordo com Pessoa, é causa da ausência de construção a que a modernidade está condenada e que passa a caracterizá-la. Nessa medida, Pessoa retoma a imagem de Shakespeare como uma figura da modernidade que a representa no que esta tem de imperfeição construtiva. Poderíamos aproximar a expressão de Pessoa a Milton e considerá-lo um “supra-Ovídio” ou criador de uma “supra-Bíblia”. A escrita de Milton altera o cânone desafiando a auctoritas do texto religioso.
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Randall, Marilyn. "Le roman en perspective curieuse." Dossier 38, no. 1 (January 14, 2013): 59–72. http://dx.doi.org/10.7202/1013448ar.
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« Trou de mémoire sera, lui aussi, une anamorphose, une série d’effets de perspective et de trompe-l’oeil. » Ce jugement sur le roman, émis par René Dionne en 1968, est suivi de près par un autre : « Trou de mémoire ne réussit qu’à dissimuler bien imparfaitement, malgré le fin drapé de sa prose et de sa composition en trompe-l’oeil, l’individu Hubert Aquin **. » Ces deux constats — que l’anamorphose gouverne la forme du roman et que la figure de l’auteur y est cachée — n’ont cessé de dominer la critique de Trou de mémoire depuis sa publication. Si l’anamorphose semble tournée résolument vers l’activité lectorale, posant un dilemme qui exige une multiplicité de perspectives, voire une schizophrénie perceptuelle, elle révèle en même temps la présence d’une intention auctoriale à l’origine du sens. L’anamorphose pose une énigme herméneutique située aux antipodes de la logique de « l’oeuvre ouverte » : qui ne déchiffre pas la « figure cachée » a raté sa lecture ; qui la déchiffre a perdu sa liberté interprétative ; l’auteur lui impose le sens final qu’il est seul à déterminer. L’anamorphose figure l’inscription à même l’oeuvre de la présence de l’auteur et de son intention. Que l’anamorphose comme clé de lecture de Trou de mémoire n’ait pas abouti à ouvrir tous les mystères de l’oeuvre ne fait que renforcer sa signification fondamentale, celle de révéler derrière les perspectives multiples du texte la présence singulière de son auteur.
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Pérez-Ugena Coromina, María. "La mediación en sociedades interculturales. Referencia a la posible actuación del Defensor del Pueblo en procesos de mediación = Mediation in intercultural societies. Possible Ombudsman’s action in mediation processes." EUNOMÍA. Revista en Cultura de la Legalidad, no. 14 (March 19, 2018): 87. http://dx.doi.org/10.20318/eunomia.2018.4157.
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Resumen: El objeto de este trabajo es una reflexión acerca de los conflictos que surgen en sociedades interculturales como consecuencia de marcos más plurales, acompañada de una propuesta de cauces de solución. Nos planteamos la conveniencia de utilizar mecanismos extrajudiciales de resolución de conflictos, en particular la mediación, como medio especialmente adecuado para este tipo de controversias. La integración en sociedades plurales exige un esfuerzo y toma de postura por el Estado. Los poderes públicos deben implicarse en lograr un mayor grado de convivencia democrática, incidiendo en el aspecto real y no formal de la libertad y la igualdad, de manera coherente con la concepción social del Estado. El Defensor del Pueblo es una figura idónea para poder actuar como mediador en conflictos propios de la interculturalidad. Su contacto con los problemas sociales, de una parte, y su posición neutral, basada en la auctoritas, de otra, le atribuyen unas características muy interesantes para que pueda ejercer esta función. Asumiría así el Estado este papel a través de la institución que resulta más cercana a la ciudadanía. Esto, a su vez, podría revertir en una mejora de la percepción social del Defensor del Pueblo.Palabras clave: Interculturalismo, mediación, Defensor del Pueblo.Abstract: The purpose of this work is a reflection on the conflicts that arise in intercultural societies as a consequence of more plural frameworks, accompanied by a proposal of channels of solution. We consider the convenience of using extrajudicial mechanisms for resolving conflicts, particularly mediation, as a particularly appropriate means for this type of dispute. The integration in plural societies requires an effort and takes position by the State. The public authorities must be involved in achieving a greater degree of democratic coexistence, focusing on the real and non-formal aspect of freedom and equality, in a manner consistent with the social conception of the State. The Ombudsman is an ideal figure to be able to act as mediator in conflicts of interculturality. His contact with social problems, on the one hand, and his neutral position, based on the auctoritas, on the other, attribute him some very interesting characteristics so that he can exercise this function. The State would assume this role through the institution that is closest to citizenship. This, in turn, could lead to an improvement in the social perception of the Ombudsman.Keywords: Interculturalism, mediation, Ombudsman.
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Jaquet, Daniel, and Bartłomiej Walczak. "Liegnitzer, Hundsfeld or Lew? The question of authorship of popular Medieval fighting teachings." Acta Periodica Duellatorum 2015, no. 2 (October 1, 2015): 197–240. http://dx.doi.org/10.1515/apd-2015-0015.
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Abstract In numerous 15th and 16th century Fightbooks several sets of teachings appear alongside the glosses of Liechtenauer’s Epitome on armoured fighting and fighting on horseback (Harnischfechten and Rossfechten) often enough to be considered auctoritas on these subjects. However, their authorship from various witnesses are attributed to different authorial figures - Andreas Liegnitzer, Martin Hundsfeld, Jud Lew. From 1452 until 1570, a number of diverse teachings are ascribed to them or faithfully reproduced without attribution: the most widely copied include the entitled Shortened sword for armoured hand and Shortened sword from the four guards, sword and buckler, dagger, wrestling and fighting on horseback. By a comparative analysis of existing witnesses, and by establishing the filiation tree of the related sources, we attempt to determine their original authorship. The analysis also yields additional conclusions regarding the influence of these authorial figures on other texts, proposes the filiation tree of the examined witnesses and presents the attempted study as a model for further research.
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Maule, Rosanna. "Une histoire sans noms : les femmes et le concept d’auteur dans le cinéma des premiers temps." Cinémas 16, no. 1 (June 12, 2006): 35–58. http://dx.doi.org/10.7202/013050ar.
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Résumé Depuis longtemps au coeur des études cinématographiques, le concept d’auteur reste encore largement inexploré dans les études portant sur le cinéma des débuts. Ce décalage s’explique par le fait que, dans le cinéma des premiers temps, le rapport établi entre sujet et pratique filmique était différent, parce qu’étranger aux stratégies d’énonciation et de réception qu’on trouvera plus tard dans le cinéma « institutionnel ». La plupart des travaux publiés sur ce sujet analysent des figures auctoriales empruntées aux arts « majeurs ». Cependant, le cinéma des premiers temps invite à situer l’auteur dans des contextes culturels différents, et ce projet est primordial pour les féministes étudiant le rôle des femmes dans le cinéma des premiers temps.
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García Gavín, Santiago. "Retractación: La traducción como legitimación de fuentes antiguas: su influjo en la literatura." Mutatis Mutandis. Revista Latinoamericana de Traducción 10, no. 1 (June 9, 2017): 284–96. http://dx.doi.org/10.17533/udea.mut.v10n1a13.
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En este artículo pretendemos investigar la función de la traducción en cuanto lugar común literario ante el trasfondo de un cambio en la concepción de la literatura que va, desde una legitimación de las fuentes antiguas hasta la exigencia de originalidad de la creación literaria y que se extendió desde los umbrales de la Edad Media hasta la misma Edad Moderna. Si la referencia a la traducción fue en la Edad Media un proceso productivo para dar soporte a la auctoritas y a una parte de la “verdad simbólica”, en la Edad Moderna sirvió como pretexto para el mantenimiento de la ficción de autenticidad a la que recurre el autor con finalidades diversas. La introducción de innovaciones culturales y literarias juega aquí su papel, al igual que el distanciamiento fútil de la fábula y la utilización paródica de la figura retórica.
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Lang, Simone Elisabeth. "Unzuverlässigkeit und Heterodiegese: Überlegungen zu den Möglichkeiten und Bedingungen unzuverlässigen Erzählens in heterodiegetischen Texten." Journal of Literary Theory 12, no. 1 (March 26, 2018): 55–76. http://dx.doi.org/10.1515/jlt-2018-0004.
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Abstract It has long been insisted that there is no actual heterodiegetic unreliability, since heterodiegetic narrators first stipulate the fictive world through their speech and hence are omniscient (see Martínez-Bonati 1973, 186; Ryan 1981, 531; Jahn 1998, 101; Fludernik 2003, 213; Cohn 2000, above all 312; Petterson 2005, 73). Moreover, as a consequence of this assumption about what is meant by heterodiegesis, it has been deduced that heterodiegetic narrators cannot make false statements – for whatever reasons – about the composition of the fictive world. In the present article, I would like to discuss the conditions which make heterodiegetic unreliability possible – with particular reference to the definition of heterodiegesis I have proposed (see Lang 2014a). First, I explain (expanding on my essay from 2014) in part one, under the heading »What Heterodiegesis Is Not«, why the concepts of »omniscience« and »auctoriality« only have possible but not necessary connections to heterodiegesis. The fundamental reason for this is that there are heterodiegetic texts whose narrative instances neither (a) are omniscient nor (b) exhibit auctorial narrative behavior. In particular, the reasons are as follows: a) Heterodiegetic texts can feature changing internal focalizations, and hence can withhold, in sections, knowledge they should in fact possess, if we consider the text as a whole. Whoever does not acknowledge that such heterodiegetic narrators are not omniscient would need to explain why it is that those narrators withhold their knowledge. However, that would only be possible on the basis of speculation. b) If, following Petersen (1993), auctoriality is understood as a narrator intervening with subjective evaluation into his or her narrative, then this can or cannot be the case as much for heterodiegetic texts as for homodiegetic texts. The refined consideration of these two terms leads, after a brief presentation of the theory of unreliable narration (2. What Is Unreliable Narration in the First Place?), according to which a two-pronged differentiation between mimetic and axiological unreliability is deemed sufficient, to the question of how these considerations can be connected to narrative unreliability and to what extent narrative stance and focalization are linked to narrative unreliability or even provide the conditions for it (3. Narrative Unreliability and Heterodiegesis). In this section, I demonstrate why both axiological and mimetic unreliability are possible in all forms of heterodiegesis. Through the strict separation of narrative standpoint (heterodiegetic or not), narrative behavior (subjectively evaluating or not) and focalization (epistemically limited or not), I argue that the parameter of narrative standpoint is mostly overestimated in the attribution of narrative unreliability. In the case of axiologically unreliable narration, the reason is that normative judgments can be passed on the behavior of both fictive and real persons and that – for reasons elaborated in the first section – these judgments (or evaluating stances) can be put forward by a homodiegetic narrator as much as by a heterodiegetic narrator. In both cases, the evaluations can either be consonant with the norms of the work as a whole, in which case the narrators are reliable, or not, in which case they are unreliable. What distinguishes heterodiegetic and homodiegetic narrators in relation to axiological unreliability, is the fact that only homodiegetic narrators can prove to be axiologically unreliable through their actions in the narrated world, when these actions do not conform to their own norms; owing to their standpoint outside of the narrated world, this is not possible for heterodiegetic narrators. Whereas axiological unreliability in heterodiegetic texts is partly accepted in existing research, mimetic unreliability in heterodiegetic texts is much more strongly contested. It is true that not every internally focalized heterodiegetic narrative is unreliable in which information about the narrated world is withheld, marking the limited perspective of the focalized figure. Yet there are cases in which the introduction of internal focalization runs counter to the abundance of detail previously depicted and in this way amounts to a withholding of information that is not provided by a heterodiegetic narrator. He or she thereby keeps silent about the relevant information and can therefore be characterized as unreliable. Additionally, heterodiegetic narrators can also make contradictory statements, rendering them, at least temporarily, unreliable. The reasons for rejecting a connection between unreliability and heterodiegetic narrators lie in the observation that heterodiegetic narrators are inventors of their stories, but also in the suggestion that heterodiegetic narrators are the only ones who afford access to the narrated world. Against this view, we can argue that the invention of a story also leaves open the possibility of not telling relevant facts for a sufficient understanding, in other words, of keeping silent; and, in just the same way, the privileging of a heterodiegetic narrator can be suspended. To conclude, in the fourth section, I will use the short story »The Flight Simulator« by Christian Hardinghaus to substantiate my theoretical discussion and present a narrative that, first, is narrated heterodiegetically and, secondly, is mimetically unreliable in a twofold sense.
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Labriola, Rodrigo Fernández. "Montaigne, leitor de si próprio." Remate de Males 31, no. 1-2 (August 20, 2012): 53–75. http://dx.doi.org/10.20396/remate.v31i1-2.8636222.
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O trabalho reflete sobre o processo da escrita dos Ensaios, de Michel de Montaigne, concentrando-se paulatinamente em algumas das proposições críticas realizadas pelo teórico brasileiro Luiz Costa Lima, em especial aquelas que propõem a sagração do indivíduo moderno e o surgimento do Eu no horizonte autobiográfico. A hipótese consiste em conjecturar um Montaigne leitor de si próprio, que seria primeiramente um Montaigne no ato de corrigir com acréscimos, emendas, rasgaduras ou rescritas. Uma análise filológica das mudanças entre as diversas edições e manuscritos — focada, sobretudo, naqueles ensaios que tratam dos vínculos da história e da retórica com os comentários sobre as descobertas e os povos recentemente achados no Novo Continente — sugere que a escrita propositalmente antirretórica de Montaigne é simultânea ao longo das correções de uma modificação na concepção da história, com alicerces nas testemunhas e nos fatos; outrossim, tais são também as condições para o resultado (nos Ensaios) de uma figura do autor apoiada já não na auctoritas medieval, mas numa subjetividade individual.
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Argüello Guzmán, Luis Alfonso. "Lector modelo: Umberto Eco, El." Question/Cuestión 2, no. 66 (June 30, 2020): e490. http://dx.doi.org/10.24215/16696581e490.
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Este artículo es resultado de una indagación sobre la lectura literaria y la teoría del lector en Umberto Eco. Para Eco, el lector participa en el proceso de lectura como acción estética y lingüística que codifica su rol. La perspectiva estética comienza en la lógica de producción de la obra de arte abierta y las posibilidades receptivas del intérprete/ejecutante. Por otra parte, la perspectiva lingüística se produce a través de una poética del lector que hace de la obra literaria narrativa su objeto de análisis. Estas dos perspectivas estéticas y lingüísticas consolidan un análisis sobre el lector que da origen a las nociones de lector semántico y lector semiótico, de la cual surge la figura del Lector Modelo que organiza el modo de leer una obra literaria narrativa desde unos niveles de intención lectora: intentio auctoris, intentio operis, intentio lectoris e intentio intertextualitis.
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Markopoulou, Athina. "Books in ashes and scattered writings: Fictive archive destruction in fin-de-siècle Modern Greek literature." Journal of Greek Media & Culture 8, no. 1 (April 1, 2022): 43–58. http://dx.doi.org/10.1386/jgmc_00046_1.
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In Greece’s most well-known thesaurus of neologisms from the late nineteenth century, two compelling terms are detected: syllogomania (‘collection frenzy’) and bibliomania (‘book frenzy’). Both very vividly illustrate the cultural landscape of fin-de-siècle Greece. The institutionalization of archives and the consolidation of the book culture were important aspects of the new-born state’s cultural politics and poetics. It is in this context that instances of literary discourse thematizing archival destruction appeared, taking the form of symbolic resistance against the canonization and institutionalization of memory. In the two texts discussed in the article, ‘Kostakis’s Manuscripts’ by Alexandra Papadopoulou (1896) and ‘Old Papers’ by Mikhail Mitsakis (1884), the laws of order, accumulation and preservation are opposed by a desire for disorder and dispersion. In the former, the manuscripts of a dead author are burnt to ashes by his girlfriend, who wishes to save them from being published. In the latter, a man scatters his writings in the wind, as a way of reactivating his memory. Both texts enact the cultural ambivalences of fin-de-siècle modernity by narrating the constant tension between, on one hand, canon and archive; and, on the other, waste and destruction. Through the destruction of fictional archives, the possibility of a counter-memory is claimed. Papadopoulou’s and Mitsakis’s claim of an overturning of the dynamics between cultural memory and oblivion can be considered as a call for questioning the laws that govern cultural memory’s circulation and for repositioning their auctorial figures in the history of Modern Greek literature.
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Huss, Bernhard. "Der kompetente Sünder. Zur auktorialen Selbstdarstellung Francesco Petrarcas in De otio religioso." Romanistisches Jahrbuch 69, no. 1 (November 1, 2018): 159–83. http://dx.doi.org/10.1515/roja-2018-0006.
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Abstract Francis Petrarch has developed many diverse strategies to present himself as an author. When constructing his own figura auctoris, he refers to a highly stylized version of his autobiographical ego to which he ascribes a particular epistemic competence. Indeed, such competence serves as the basis of both authority and authorship. In his De otio religioso, Petrarch addresses the community of the Carthusian monks of the Abbey of Montrieux in Southern France. Paradoxically, he introduces himself to them as being competent with regard to questions of monastic life, although in this respect his addressees should be much more competent than Petrarch can be. At the same time the author depicts himself as a great sinner. As such, he cannot dispose of considerable knowledge in religious matters. Instead, he points out his extraordinary cultural expertise as a philologist, humanist and owner of books, a knowledge that makes him, the sinner, become an author able to instruct the monks. Petrarch negotiates the claims to validity asserted by two different cultures (Christian vs. pagan, late antique/medieval vs. antique/early-modern) and seeks to position himself as an author with authority in both fields.
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Lapointe, Martine-Emmanuelle. "Mort et renaissances de l’écrivain maudit." Dossier 38, no. 1 (January 14, 2013): 27–41. http://dx.doi.org/10.7202/1013446ar.
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Le présent article s’attache à deux des modes de lecture de l’oeuvre aquinienne qui traversent la critique et l’essai québécois contemporains. La lecture biographique, plus volontiers mythifiante, de certains essayistes et biographes aquiniens permettra, d’une part, de réfléchir à la fascination qu’exerce encore aujourd’hui le sacrifice d’Aquin sur ses lecteurs contemporains. D’autre part, il s’agira de mieux cerner l’inscription de l’oeuvre aquinienne dans les dossiers que la revue Liberté a fait paraître entre 2006 et 2012. En réactualisant la dimension politique de l’oeuvre d’Aquin, les auteurs de la revue réfléchissent à la fois sur la quasi-disparition de l’engagement politique dans la sphère culturelle et sur le décentrement de la parole littéraire à l’époque contemporaine. D’un point de vue comme de l’autre, Aquin et son oeuvre méritent d’être relus, d’être tirés de la bibliothèque ou du tombeau afin de répondre, ne serait-ce que par la négative, aux angoisses et aux obsessions des contemporains. Nous entendons en somme dépasser certaines idées reçues sur la construction des figures auctoriales, lesquelles viseraient selon certains auteurs à « simplifier [l’oeuvre] pour [la] rendre comestible ** ». Malgré ses limites évidentes, le mythe offre à l’oeuvre une possible survie dans le concert des médias contemporains et permet de saisir les enjeux d’une certaine représentation, historique sans doute, de la littérature québécoise.
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Bakken, Arild Michel. "Textual Self-branding: the Rhetorical Ethos in Mallarmé’s Divagations." Authorship 1, no. 1 (November 23, 2011). http://dx.doi.org/10.21825/aj.v1i1.777.
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This article examines, from a rhetorical perspective, the textual presence of the auctorial figure in Mallarmé’s collection of prose writings, Divagations. It challenges the traditional and structuralist idea of Mallarmé as a poet eager to exclude his own persona from his work, and even as the initiator of the “death of the author.” Recent Mallarméan studies have been shifting the field’s attention away from the myth of the ivory tower to focus on the poet’s social project as it appears in the Divagations. Such a project presupposes a rhetorical commitment, and thus an auctorial presence in the text. The question that is raised here is then what role the figure of the poet plays in Mallarmé’s rhetorical strategy. A close rhetorical analysis of the Divagations reveals that the poet constantly, although discreetly, writes his own persona into the text. Throughout the Divagations, Mallarmé deploys much effort to give his persona qualities likely to win the support of his audience. It is argued that this manifest ethos preoccupation has a double function. The rhetorically efficient image of the poet is obviously intended to add authority to his social project. However, the poet’s constant cultivation of his textual figure shows that the ethos has gained a certain autonomy. An important preoccupation for the poet is in fact to brand himself as an author: contrary to the traditional idea of the absent poet, the auctorial figure seems to be one of the primary subjects of the Divagations. The argument thus invites us, in order to avoid overlooking this central aspect of Mallarmé’s project, to take the ethos perspective into account in any approach to Mallarmé’s prose work.
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Taouchichet, Sofiane. "Représentations auctoriales dans Excel Saga : figures, enjeux et métafiction." Comicalités, April 13, 2019. http://dx.doi.org/10.4000/comicalites.3359.
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Siess, Jürgen. "Y a-t-il un auteur dans la pièce ? Ethos du personnage et “figure auctoriale”." Argumentation et analyse du discours, no. 3 (October 15, 2009). http://dx.doi.org/10.4000/aad.674.
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Jaquet, Daniel, and Bartłomiej Walczak. "Liegnitzer, Hundsfeld or Lew? The question of authorship of popular Medieval fighting teachings." Acta Periodica Duellatorum 2, no. 1 (October 29, 2015). http://dx.doi.org/10.36950/apd-2014-004.
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In numerous 15th and 16th century Fightbooks several sets of teachings appear alongside the glosses of Liechtenauer’s Epitome on armoured fighting and fighting on horseback (Harnischfechten and Rossfechten) often enough to be considered auctoritas on these subjects. However, their authorship from various witnesses are attributed to different authorial figures - Andreas Liegnitzer, Martin Hundsfeld, Jud Lew. From 1452 until 1570, a number of diverse teachings are ascribed to them or faithfully reproduced without attribution: the most widely copied include the entitled Shortened sword for armoured hand and Shortened sword from the four guards, sword and buckler, dagger, wrestling and fighting on horseback. By a comparative analysis of existing witnesses, and by establishing the filiation tree of the related sources, we attempt to determine their original authorship. The analysis also yields additional conclusions regarding the influence of these authorial figures on other texts, proposes the filiation tree of the examined witnesses and presents the attempted study as a model for further research.
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Miranda Gonçalves, Rubén. "La resolución de conflictos de los ciudadanos con la administración pública a través del defensor del pueblo. Aproximación a las figuras del ombudsman español y portugués." Revista do Programa de Pós-Graduação em Direito 26, no. 28 (July 14, 2016). http://dx.doi.org/10.9771/rppgd.v26i28.20200.
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<p>El Ombudsman nació, aproximadamente, en el año 1809 en Suecia. Desde entonces, otros países del entorno fueron configurando dicha institución en sus ordenamientos jurídicos internos como garante de la defensa de los derechos fundamentales y de las libertades públicas.</p><p>Las ventajas de que ofrece son varias: es un órgano independiente y no partidista, es el encargado de resolver las quejas específicas de los ciudadanos contra las injusticias y errores de la Administración Pública y, como órgano dotado de <em>auctoritas</em>, emite recomendaciones.</p><p>En el presente estudio, además de analizar la figura del Ombudsman español, se hace una pequeña referencia a la institución del Ombudsman portuguesa.</p>
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Jeannotte, Marie-Hélène. "De la voix au papier. Stratégies de légitimation des publications de mythes oraux des Premières Nations au Québec." Articles 7, no. 2 (June 21, 2016). http://dx.doi.org/10.7202/1036860ar.
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Le passage de l’oralité à l’écriture fait disparaître les caractéristiques inhérentes à l’oralité. Mais plus encore qu’un simple changement de canal (de la voix à l’imprimé), la publication de récits de la tradition orale implique une métamorphose de tout l’acte de communication. Elle fait en outre surgir des problèmes éthiques liés à l’appropriation culturelle. Les auteurs et les éditeurs qui choisissent de publier les récits oraux autochtones doivent adopter des pratiques propres à légitimer leur démarche. Quelles stratégies, auctoriales ou éditoriales, emploient les acteurs du livre pour justifier les changements de destinataires, de destinateurs, de code et même, souvent, du message lui-même? Par quel processus un auteur, un éditeur, s’octroie-il ou se voit-il octroyer le capital culturel nécessaire à valider le rôle de passeur qu’il se donne? Mon analyse s’attarde à trois cas de figure : un essai ethnologique (La forêt vive, de Rémi Savard, Boréal, 2004); une adaptation littéraire (Anish-Nah-Bé, de Bernard Assiniwi, Leméac, 1971); et une publication issue d’une communauté autochtone (La femme venue du ciel, de Louis-Karl Picard-Sioui, Hannenorak, 2011).
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Da Silva Medina, Maria Juliana. "GREGÓRIO DE MATOS: O PROBLEMA, O MÉTODO E O PROBLEMA DO MÉTODO." Nau Literária 9, no. 1 (June 30, 2013). http://dx.doi.org/10.22456/1981-4526.38301.
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Confundido com a própria obra – cuja autoria não se pode comprovar, posto que do corpus a ele atribuído não há senão textos apógrafos, o poeta baiano Gregório de Matos Guerra continua suscitando polêmica nos dias de hoje: como tratar o seu legado poético? Depurar o todo até chegar à mens auctoris, como preconiza o método lachmanniano, defendido por Antônio Houaiss, ou, ao contrário, construir uma visão alargada da tradição gregoriana, levando em conta não apenas a matéria poética em si, mas também a cadeia histórica de transmissão e recepção? Considerando estas duas vertentes, e considerando também que a figura controversa de Gregório de Matos Guerra é produto de discursos historicamente construídos, este artigo trata das dificuldades em estabelecer-se o cânon gregoriano e faz um breve percurso pela historiografia literária brasileira, determinante na representação que temos, hoje, do poeta e sua obra.
Palavras-chave: Cânon gregoriano; Apógrafos; Método; Historiografia literária.
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"Michel Zimmermann, ed., “Auctor” et “auctoritas”: Invention et conformisme dans l'écriture médiévale. Actes du colloque tenu à l'Université de Versailles-Saint-Quentinen-Yvelines (14–16 juin 1999). (Mémoires et Documents de l'Ecole des Chartes, 59.) Paris: Ecole des Chartes, 2001. Paper. Pp. 592; black-and-white figures and tables. €30.48. Distributed by Librairie H. Champion, 7, quai Malaquais, F-75006 Paris, France, and Librairie Droz, 11, rue Massot (B. P. 389), CH-1211 Geneva 12, Switzerland." Speculum 77, no. 03 (July 2002): 1030–31. http://dx.doi.org/10.1017/s0038713400097621.
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