Academic literature on the topic 'Author's figure'

Cette étude examine la reconstruction de la figure d'auteur de Jean Giono après la Seconde Guerre mondiale, en évaluant ses fondements littéraires et historiques. Écrivain célèbre et reconnu depuis la fin des années 1920, Giono se retrouve au sortir de la guerre dans une situation d'ostracisme : inscrit sur la « liste noire » des auteurs accusés de collaboration, démodé à l'heure de l'existentialisme, Giono doit, à l'âge de cinquante ans, repartir de zéro. Les épreuves de la guerre et de la prison, l'échec de son combat pour la paix et les « vraies richesses », ont en outre fortement ébranlé ses conceptions de la littérature comme de la nature humaine. Cette crise conduit Giono à engager une profonde réinvention de sa figure d'auteur, dans une quête identitaire inséparable d'une entreprise de reconquête. Notre travail interroge les processus et les enjeux de cette reconstruction, qui est portée par l'écrivain lui-même, à travers la refonte de son oeuvre et de sa posture, mais aussi par le public, témoin et sujet actif de cette « renaissance ». Après la guerre, Giono reconfigure son être-auteur par rapport à son propre modèle auctorial d'avant-guerre, mais aussi en relation avec les forces nouvelles qui dominent alors le champ littéraire : celles issues de la Résistance, qui promeuvent le modèle de l'écrivain engagé ; celles des avant-gardes formalistes, qui cherchent à inventer un « Nouveau Roman ». À travers le cas de Giono, il s'agit ainsi de mettre au jour la façon dont se fait, se défait et se refait un auteur, dans une interaction constante avec les réactions du public et les évolutions d'un champ littéraire lui-même traversé par les mouvements de l'Histoire<br>This study examines the reconstruction of the author's figure of Jean Giono after the Second World War, assessing its literary and historical foundations. A famous and recognized writer since the end of the 1920s, Giono finds himself in a situation of ostracism at the end of the war: registered on the "black list" of authors accused of collaboration, out of fashion at the time of existentialism, Giono has, at the age of fifty, to start again from scratch. The ordeals of war and prison, the failure of his fight for peace and "true riches", have also strongly shaken his conceptions of literature and human nature. This crisis leads Giono to undertake a profound reinvention of his author's figure, in a quest for identity inseparable from an enterprise of reconquest. Our work questions the processes and the stakes of this reconstruction, which is carried by the writer himself, through the redefining of his work and his posture, but also by the public, witness and active subject of this "rebirth". After the war, Giono reconfigures his being-author in relation to his own pre-war authorial model, but also in relation to the new forces that then dominate the literary field: those stemming from the Resistance, which promote the model of the committed writer; those of the formalist avant-gardes, which seek to invent a "New Novel". Through the case of Giono, we thus aim to bring to light the way in which an author is made, unmade and remade, in a constant interaction with the reactions of the public and the evolutions of a literary field itself crossed by the movements of History

For all the critical attention paid to the author in literary theory and criticism, there has been no study of the film medium’s fascination with authors and authorship. Every year, Hollywood produces numerous films about poets, playwrights, novelists, and screenwriters. This thesis explores the narrative and cinematic potential of the author. In broad terms, it is an exercise in genre criticism, establishing the defining characteristics of films characterising authors. It is also a very specific type of genre criticism, taking a cognitivist approach that defines the author as a set of historically and socially established expectations and characteristics against which the characters in these films are measured. After establishing the phenomenological parameters and critical value of the cognitivist approach in Chapter 1,1 then take up Andrew Bennett’s outline of the author as a cultural concept, discussing its utility in dealing with films figuring authors and authorship. Chapters 3 to 8 explore a selection of the sub-genres of films containing authors, starting with characterisations of the author as a detective, then moving to films using and depicting writer’s.block, horrific characterisations of the author, characterisations of female authors, the biopic, and films characterising screenwriters in Hollywood. The work concludes with an analysis of Charlie Kaufman and Spike Jonze’s Adaptation (2002), whose broad exploration of authorship traverses more of these sub-genres than any other film, offering an opportunity to bring together the findings of Chapters 1 to 8. I focus on English language, feature length, narrative films released between 1927 and 2007. Rather than taking a chronological approach and tracing the history of the medium’s treatment of the author, I select films from various periods, identifying in them the defining characteristics of the genre. But more than this, the genre and its characteristics represent the persistent interpretive function of the author in face of the critical trend away from biographically based interpretation towards textual and semiotic analysis.

This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Sciences<br>English

Whilst the idealisation of extreme slenderness is widely recognised as a problematic issue, the negative portrayal of larger individuals is rarely criticised for its link with stigmatisation and problems with self-esteem. To the contrary, the representation of larger individuals in dehumanising terms – whether in news reports, advertising and research accounts – is generally regarded as a necessary means to encourage the pursuit of a ‘better’, ‘healthier’ self. However, these negative stereotypical portrayals – generally excluding the perspective and consent of those depicted – can also have adverse effects on human dignity, legitimacy and self-esteem of those thus depicted. Building on the work of fat studies scholars, as well as feminist marketing researchers, this research project seeks to contribute to the inclusion and rehumanisation of fuller-figured individuals, by involving them in the dialogue of visual and research representation. To do so, this research invited a group of fuller-figured women living in the UK and Canada, to ‘envision’, ‘model’, and ‘review’ their own self-presentations, primarily via the use of self-directed portraits, blogs, and conversations. Whilst the inclusion of their embodied perspectives is expected to contribute to humanising the representation of larger individuals – and offer a glimpse into what could be if we started considering women ‘of size’ as authors of their own depictions – it also contributes in filling a gap left by consumer researchers who have overlooked the way larger individuals make sense of their selves, bodies and well-being. As such, this research contributes to existing consumer research theories by explaining the ways individuals can envision their selves/bodies in the shadow of, but also in contrast with, the dominant marketplace promotion of slenderness. In terms of contribution, this research illustrates the relevance of therapeutic and embodied perspectives to understand the self, the body and to engage in acts of consumption. A new ‘self-nurtured’ discursive position offers challenges to the meanings generally attributed to larger individuals, and to the traditional approaches taken by consumer researchers to solve the ‘obesity crisis’. Overall, this research provides empirical, methodological and theoretical contributions to the field of consumer research. It also offers practical implications for the representation of larger individuals, and recommendations for those interested in the social marketing of health to enjoin people of all sizes in mindful acts of self-care and consumption.

The orans, although a gesture with a long ‘pagan’ past, was easily adopted by Christians for its symbolic meanings of prayer and piety and quickly attained a number of other more nuanced meanings as it was refined and reused. By restricting the scope of this thesis to the orans in the Christian catacombs of Rome, it becomes possible to approach the figure from a multi-directional perspective, not merely concerned with what the gesture meant to the Christian, but with its literary and material pedigrees, its transition to Christian art, and its cultural significance. To this end, chapter one examines ‘pagan’ precursors of the Christian orans through an examination of coins, sculptures, inscriptions, and reliefs, as well as by looking at the two figures whose appearance most influences that of the orans – the goddess Pietas, and the Artemisia-Adorans funerary portrait type. Chapter two addresses the importance of the orans in the Christian literary community, and examines not only the actual usage of prayer with raised hands by the Christian faithful, but also examines the aesthetic and theological reasons for the popularity of the gesture – the parallel between the spread arms of the orans and the posture of the crucified Christ. Finally, chapter three presents a spatial-thematic analysis of the usage of the orans in the Roman Christian catacombs, using a corpus of 158 orantes. This chapter enables the reader to draw conclusions about the veracity of the academic theories presented in the previous chapters, as it compares the usage of the orans against its scholarly interpretation.