scholarly journals Jan Mukařovský na França

2021 ◽  
Vol 12 (19) ◽  
pp. 94-112
Author(s):  
John Pier
Keyword(s):  
Roland Barthes ◽  
Roman Jakobson ◽  
Gerard Genette

Embora o estruturalismo tenha se originado no final dos anos de 1920 na Tchecoslováquia, avanços importantes de acadêmicos do Círculo Linguístico de Praga permaneceram amplamente desconhecidos dos praticantes do estruturalismo francês. Este artigo identifica algumas das áreas em que os estruturalismos tcheco e francês divergem. No entanto, alguns princípios do estruturalismo tcheco encontraram lugar no âmbito da pesquisa francesa, como o modelo funcional de comunicação de Roman Jakobson. Alguns pontos de comparação entre os dois estruturalismos, incluindo a “atividade estruturalista” de Roland Barthes ou a estética de Gérard Genette, são brevemente discutidos. Um conhecimento historiográfico mais amplo das duas tradições tem o potencial de enriquecer nossa compreensão de questões que até agora foram insuficientemente exploradas e de abrir novas perspectivas. 

True Images: Metaphor, Metonymy and Montage in Marcel Proust's A la recherche du temps perdu and Jean-Luc Godard's Histoire(s) du cinéma

Paragraph ◽  
2010 ◽  
Vol 33 (1) ◽  
pp. 37-51 ◽  
Author(s):  
Miriam Heywood
Keyword(s):  
New Media ◽  
Gilles Deleuze ◽  
Text And Image ◽  
Word And Image ◽  
Roman Jakobson ◽  
Gerard Genette

This article compares the poetics of Marcel Proust's A la recherche du temps perdu and Jean-Luc Godard's Histoire(s) du cinéma in order to realign our understanding of metaphor, metonymy and montage with the inter-formal dialogues that new media artworks increasingly demand of audiences. An analysis of Godard's ‘quotation’ of Proust's words and ideas from Le Temps retrouvé sets out an explicit rivalry between text and image. However, drawing on formalist and structuralist approaches to both literature and cinema, including Roman Jakobson and Gérard Genette, as well as more recent discussions developed by Gilles Deleuze and Lev Manovich, I will argue that the nature of the image manifested in both artworks corresponds to a shared aesthetic that exceeds distinctions between word and image, literature and video.

scholarly journals Til sammenligning

2019 ◽  
Vol 47 (127) ◽  
pp. 111-130
Author(s):  
Rikke Andersen Kraglund
Keyword(s):  
Literary Theory ◽  
Julia Kristeva ◽  
Roland Barthes ◽  
Literary Texts ◽  
Middle Ground ◽  
Discursive Space ◽  
Broad Concept ◽  
Universal Feature ◽  
The One ◽  
Gerard Genette

Generally, the conception of intertextual references in literary theory has been either very broad or very narrow and detail-oriented. On the one hand, Roland Barthes and Julia Kristeva conceive of intertext as a universal feature of all texts. No text is original and made by itself isolated from those existing before it. All texts, in short, are intertexts because they refer to other texts, conventions, and presuppositions beyond authors’ intentions. But this broad concept is difficult to work with in analyzing works of literature. It poses problems of identification and does not mark out a manageable area of investigation or object of attention with the undefined and infinite discursive space it designates and its idea about anonymous citations. Generally, the conception of intertextual references in literary theory has been either very broad or very narrow and detail-oriented. On the one hand, Roland Barthes and Julia Kristeva conceive of intertext as a universal feature of all texts. No text is original and made by itself isolated from those existing before it. All texts, in short, are intertexts because they refer to other texts, conventions, and presuppositions beyond authors’ intentions. But this broad concept is difficult to work with in analyzing works of literature. It poses problems of identification and does not mark out a manageable area of investigation or object of attention with the undefined and infinite discursive space it designates and its idea about anonymous citations.  On the other hand, we have the more restricted view that focuses on specific, readily recognized signs of intertextual relations between literary texts. Gérard Genette offers a vocabulary to describe the interaction between only two identifiable texts. In this article, I shall propose a third alternative that takes the middle ground and investigate what a rhetorical approach to intertextuality means for the understanding of the concept of comparison.

scholarly journals The possibility of an island; or, The double bind of Houellebecq’s apocalypse: when the end is not the end

Literator ◽  
2008 ◽  
Vol 29 (2) ◽  
pp. 25-46 ◽  
Author(s):  
E. Snyman
Keyword(s):  
Science Fiction ◽  
Scientific Research ◽  
Roland Barthes ◽  
Future Generations ◽  
Double Bind ◽  
New Order ◽  
Michel Houellebecq ◽  
French Author ◽  
Gerard Genette ◽  
New Millennium

The purpose of this article is to demonstrate that “The possibility of an island” (2005), the latest novel by the controversial French author Michel Houellebecq, utilises a variety of so-called marginal genres such as millennial, apocalyptic, Utopian writing and science fiction to question and to continue the millennial project he elaborated in “Atomised” (2001). The latter novel, first published in French in 1998, explores the idea of a new order that would gradually come into existence during the new millennium, namely that of a neo-humanity produced through cloning. In “The possibility of an island” this Utopian construction turns unequivocally into a dystopia. This novel thus adds a double bind to the Apocalypse foreseen in “Atomised”: the end was not the end, but just the beginning of an intermediary phase.This analysis of Houellebecq’s novelistic techniques is based on theoretical descriptions of the genres on which the two novels draw, as well as narratological concepts formulated by Roland Barthes and Gérard Genette. The conclusion of the article points out that Houellebecq’s utilisation of marginal genres enables him to question contemporary civilisation and to investigate the consequences of scientific research on future generations.

scholarly journals Studying the Place of Intertextuality in Iranian Painting (Case Samples: Qajar Era)

2016 ◽  
Vol 10 (12) ◽  
pp. 156 ◽  
Author(s):  
Panahi Siamak ◽  
Farazjou Forough ◽  
Majdi Shima
Keyword(s):  
Art History ◽  
Julia Kristeva ◽  
Roland Barthes ◽  
Community Art ◽  
First Time ◽  
Gerard Genette

Intertextuality studies are as one of the significant approaches in literature and art. This term for the first time was proposed by Julia Kristeva 60s and later it was expanded by persons such as Roland Barthes, Gerard Genette & et al. Nowadays we are living in a world which is full of texts and these texts are born in it, grow and finally give their place to other texts but they aren’t disappeared. These texts are knotted to each other with intertextuality rules and they have interaction with each other. They sometimes deny or confirm each other but any way they influence on each other. In fact existence of sign world and existing texts and their effects in creation of each artistic effect are inevitable.This paper intends to consider the applicable studies of intertextuality in Iranian community art by concentrating on Qajar era painting. And it refers to the role of intertextuality in producing and reading the works by studying the case samples.The methodology in this research with review of art history and due to the analyses done on the works (sample to sample) will be analytic-descriptive according to the allegorical method.

La pseudo-métaphysique du signe

Dialogue ◽  
1984 ◽  
Vol 23 (4) ◽  
pp. 597-618
Author(s):  
Guy Bouchard
Keyword(s):  
Roland Barthes ◽  
Roman Jakobson ◽  
Triadic Relation ◽  
Mode Of Being

Selon Roland Barthes (1964, 103), l'élément commun au champ notionnel au sein duquel le signe rivalise avec le signal, l'indice, l'icône, le symbole et l'allégorie serait que chacun de ces termes renvoie nécessairement à une relation entre deux relata. Mais la seule notion de relation ne suffit pas à caractériser le signe, surtout lorsqu'on lui confère une portée générique en vertu de laquelle il englobe sinon tous, du moins la plupart de ses « rivaux ». Une façon de préciser les choses consiste à déclarer que le signe n'est pas une relation binaire, mais une triade; c'est la voie, on le sait, qu'a préconisée Peirce: « In its genuine form, Thirdness is the triadic relation existing between a sign, its object, and the interpreting thought, itself a sign, considered as constituting the mode of being of a sign »(1966, 8.332). Une autre solution consiste à qualifier les termes de la relation; c'est ce que propose, par exemple, Roman Jakobson:La définition médievale du signe—aliquid stat pro aliquo—que notre époque a ressuscitée, s'est montrée toujours valable et féconde. C'est ainsi que la marque constitutive de tout signe en général, du signe linguistique en particulier, réside dans son caractère double: chaque unité linguistique est bipartite et comporte deux aspects, l'un sensible et l'autre intelligible—d'une part le signans (le signifiant de Saussure), d'autre part le signatum (le signifié). Ces deux éléments constitutifs du signe linguistique (et du signe en général) se supposent et s'appellent nécessairenment l'un l'autre (1968, 162).

scholarly journals Ambivalensi Identitas dalam Novel Black Bazar karya Alain Mabanckou

2021 ◽  
Vol 9 (2) ◽  
pp. 79
Author(s):  
Afifah Faizah
Keyword(s):  
Roland Barthes ◽  
Stuart Hall ◽  
Gerard Genette

Black Bazar merupakan salah satu novel karya penulis frankofon yang berasal dari Republik Kongo, yaitu Alain Mabanckou. Novel ini bercerita tentang kehidupan tokoh Fessologue di Paris sebagai seorang pria imigran kulit hitam yang berasal dari Republik Kongo. Lingkungan sosial yang baru membuatnya harus meniru perilaku orang Prancis agar dapat berintegrasi di sana. Artikel ini membahas pencarian identitas Fessologue melalui peniruan yang menyebabkan keadaan ambivalen. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dengan kajian naratologi Gérard Genette dan analisis struktur naratif Roland Barthes dengan diperdalam menggunakan teori representasi dan identitas Stuart Hall, serta teori hibriditas budaya Homi K. Bhabha. Hasil penelitian menunjukkan bahwa penokohan dan latar cerita menggambarkan ambivalensi identitas budaya tokoh Fessologue. Peniruan-peniruan yang dilakukan Fessologue tercermin dalam gaya berpakaian, gaya hidup, dan cara berpikirnya agar sama dengan orang Prancis. Proses peniruannya tersebut tidak terus berlanjut sehingga timbul ambivalensi dalam dirinya karena berada di antara dua budaya, yaitu budaya Prancis dan Kongo. Keadaan ambivalen menyadarkannya bahwa tidak ada budaya yang murni sehingga tidak perlu mengagungkan kemurnian suatu identitas budaya.

scholarly journals Como fazer um Livro do Desassossego

2021 ◽  
Vol 31 (1) ◽  
pp. 55-78
Author(s):  
Marcelo Cordeiro de Mello
Keyword(s):  
Roland Barthes ◽  
Fernando Pessoa ◽  
Gerard Genette

O Livro do Desassossego, obra que Fernando Pessoa não terminou nem organizou, deixa a quaisquer editores uma série de dilemas que decorrem de sua própria natureza fragmentária e irregular: é uma obra assinada por diferentes heterônimos, composta em diferentes momentos e enfim deixada de lado pelo autor. O presente artigo procura comparar e analisar diferentes edições do Livro do Desassossego, desde as mais antigas e tradicionais até as mais modernas e experimentais. Para tanto, procura entender o Livro do Desassossego dentro do contexto da produção pessoana, e faz referência a obras de autores da Teoria Literária, como Gérard Genette e Roland Barthes, que refletiram sobre a natureza do objeto livro. A ideia é propor uma reflexão sobre a tarefa do editor e as possibilidades que a ele se apresentam diante de uma obra de tão problemática organização.

scholarly journals Metonímia e realismo em “A enxada”, de Bernardo Élis

2018 ◽  
Vol 27 (2) ◽  
pp. 59-76
Author(s):  
Maria Cecília Boechat
Keyword(s):  
Short Story ◽  
Theoretical Foundation ◽  
Roland Barthes ◽  
Literary Realism ◽  
The Novel ◽  
Social Content ◽  
Figures Of Speech ◽  
Figure Of Speech ◽  
Roman Jakobson ◽  
Tzvetan Todorov

Resumo: Análise do conto “A enxada”, de Bernardo Élis, publicado em Veranico de janeiro (1966) e tornado antológico por Alfredo Bosi, que o selecionou para compor sua coletânea O conto brasileiro contemporâneo (1975). A análise procura mostrar um dos procedimentos estruturantes da narrativa, que consiste no recorrente e variado uso da metonímia. A relação entre essa figura de linguagem e o realismo literário foi estudada por linguistas como Román Jakobson e Tzvetan Todorov e pelo semiólogo Roland Barthes, cujos trabalhos consistem no fundamento teórico da análise proposta. Nessa perspectiva, o objetivo é mostrar que, embora o conto de Bernardo Élis, por seu forte conteúdo social, tenha sido explorado principalmente em seu viés sociológico, a relação que a narrativa estabelece com a realidade rural brasileira não se pretende factual ou documental, mas encontra-se explicitamente mediada pela linguagem e pela tradição literária brasileira, em que se insere pela retomada de um episódio do romance A bagaceira (1928), de José Américo de Almeida.Palavras-chave: Realismo; Figuras de linguagem; Bernardo Élis.Abstract:Analysis of the short story “A enxada”, written by Bernardo Élis, published in the book Veranico de Janeiro (1966) and turned anthological by Alfredo Bosi, who selected it to be included in his collection O conto brasileiro contemporâneo (1975). This study aims to show one of the structural procedures of the narrative, which consists in recurrent and varied use of metonymy. The relation between this figure of speech and literary Realism was studied by linguists such as Román Jakobson and Tzvetan Todorov and by the semiologist Roland Barthes, whose works are comprised of the theoretical foundation of the analysis proposed. From this perspective, the focus of this article is to prove that, even though the story of Bernardo Élis, due to its powerful social content, has been explored mainly through its sociological bias, the connection that the narrative establishes with the Brazilian rural reality does not intend to be factual or documental. Nonetheless, it is found clearly mediated by language and the Brazilian literary tradition in which it is placed with the recallof an episode from the novel A bagaceira (1928), written by José Américo de Almeida.Keywords: realism; figures of speech; Bernardo Élis.

scholarly journals O tempo no terceiro mundo de Glauber Rocha: o roteiro cinematográfico como gênero literário

2017 ◽  
Vol 18 (2) ◽  
pp. 204-224
Author(s):  
Rafaela Rogério Cruz
Keyword(s):  
Roland Barthes ◽  
Tzvetan Todorov ◽  
Gerard Genette

Glauber Rocha, numa carta a Augusto Carlos Calil expressou vontade de reunir em antologia uma série de roteiros seus. O diretor baiano e toda a sua obra cinematográfica já gozam do respeito tanto da crítica quanto do público, tendo reconhecida a sua importância na produção artístico/cultura brasileira do século XX, contudo seus roteiros, base literária dos filmes, estão ainda para ser descobertos como obra literária independente. Este artigo, através da análise da categoria tempo, tem como objetivo entender como o roteiro articula conceitos de ficção e narratividade em comparação com o romance e o drama, gêneros literários já bem estabelecidos. Com o intuito de cavar para o roteiro um lugar nos estudos literários, nossa leitura é guiada por teóricos cuja preocupação com a narrativa literária é um grande legado para a teoria e crítica, sendo alguns deles: Roland Barthes (1972), Gerárd Genette (1979) e Tzvetan Todorov (2006).

scholarly journals "Prima Facie": um estudo sobre as capas dos livros de artista

2021 ◽  
Vol 8 (2) ◽  
Author(s):  
Amir Brito Cadôr
Keyword(s):  
Prima Facie ◽  
Roman Jakobson ◽  
Gerard Genette

O artigo se baseia nas funções da linguagem, de acordo com Roman Jakobson, para estabelecer uma tipologia das capas de livros, seus usos e funções — capas informativas, poéticas, expressivas ou metalinguísticas. As reflexões sobre a estrutura da capa são baseadas no texto de Gerard Genette sobre os paratextos editoriais. Alguns aspectos históricos do livro são abordados, bem como as tendências mais recentes da arte contemporânea, como a escrita não-criativa. Apresenta também a relação complementar entre as informações da folha de rosto e da capa, os livros cuja narrativa começa na capa, os que possuem mais de uma capa e as obras que são constituídas apenas pela sobrecapa. O artigo apresenta estudos de caso de livros antigos e recentes, artistas estabelecidos e jovens artistas, brasileiros e estrangeiros.

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