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Butterflies, Busy Weekends, and Chicken Salad: Genetic Criticism and the Output of @Pentametron 蝴蝶、繁忙的周末和鸡肉沙拉:基因批评和@Pentametron的输出
Q2 Arts and Humanities Pub Date : 2018-07-16 DOI: 10.21825/AJ.V7I1.8619
Leah Henrickson
Textual analysis places great emphasis on determining the development and direction of authorial intention to illuminate a text’s layers of meaning. How, though, is one to determine the development of authorial intention in a text that appears to remove the traditional human author? This paper explores issues of authorship presented to genetic criticism (critique génétique) by algorithmically-produced texts – that is, texts produced through programmed logic in a computer rather than through direct human agency – such as those of the Twitter bot Pentametron (twitter.com/pentametron). This paper considers the perceived importance of authorship and human agency in the creation of a text. Algorithmic texts challenge contemporary notions of textual creation and development, in turn posing challenges to genetic criticism that are similar to those posed by cut-up texts in other media. This paper argues that Pentametron’s rather nonsensical algorithmic output stresses the reader’s responsibility for meaning-making, and suggests that such algorithmic texts are not so much final texts to be subjected to genetic critique themselves, but are more aptly considered to be forms of avant-texte. These avant-textes serve as inspiration for human-computer symbioses, for re-creations wherein readers make sense out of the seemingly senseless.
文本分析非常重视确定作者意图的发展和方向,以阐明文本的意义层次。然而,在一个似乎去除了传统人类作者的文本中,如何确定作者意图的发展?本文探讨了通过算法生成的文本向基因批评(critical génétique)提出的作者身份问题——也就是说,文本是通过计算机中的程序逻辑产生的,而不是通过直接的人类代理产生的,比如推特机器人Pentametron(Twitter.com/Pentametron)。本文考虑了作者和人类代理在文本创作中的重要性。算法文本挑战了当代文本创造和发展的概念,反过来又对基因批评提出了挑战,这与其他媒体中的切割文本提出的挑战相似。本文认为,Pentametron相当荒谬的算法输出强调了读者对意义创造的责任,并认为这种算法文本与其说是受到基因批判的最终文本,不如说是先锋文本的形式。这些先锋文本为人机共生提供了灵感,为读者从看似毫无意义的事物中获得意义的再创作提供了灵感。
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引用次数: 0
Music for Wilde: An Annotated Listing of Musical Adaptations of Works by Oscar Wilde 王尔德的音乐:奥斯卡·王尔德作品的音乐改编的注释列表
Q2 Arts and Humanities Pub Date : 2018-07-16 DOI: 10.21825/AJ.V7I1.8617
Tine Englebert
An annotated listing of documented musical adaptations of works by Oscar Wilde, including detailed information on composers, lyricists, performances (venues and dates) where available.
奥斯卡王尔德作品的音乐改编的注释列表,包括作曲家,词作者,演出(场地和日期)的详细信息。
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引用次数: 0
Tweeting the Author: Tao Lin’s Performance of Authorial Identity on Twitter 推特作者:陶林在推特上的权威身份表现
Q2 Arts and Humanities Pub Date : 2018-07-16 DOI: 10.21825/AJ.V7I1.8618
Justin Greene
This article takes a closer look at how the American author Tao Lin uses Twitter to perform his authorial identity. Twitter serves as a primary platform for Lin to shape and reshape the public images of him as an author. Lin’s Twitter presence operates as 140-character bursts of authorial self-presentation. The tweets he chooses to post combined with his views on Twitter as a presentational platform show that Lin is conscious of his identity performance, especially online. With this knowledge, he uses the language of Twitter to enact his authorial identity and influence the representations that circulate in the literary world, but he fell short because of the dominant role print media play in images of authorship. To counteract this and gain cultural legitimacy for his online identity in the literary world, Lin resorts to remediating his Twitter profiles into a fetishized print book. Lin’s coquettish relationship with Twitter shows his audience that the platform is more than a place to generate attention for oneself; it is a site for the continual reshaping of identity on a mass scale.
本文将深入探讨美国作家陶林如何利用Twitter来表现自己的作者身份。推特是林塑造和重塑他作为作家的公众形象的主要平台。林的推特就像作家自我展示的140字爆发。他选择发布的推文,结合他在推特这个呈现平台上的观点,表明他意识到自己的身份表现,尤其是在网上。有了这些知识,他使用推特的语言来制定他的作者身份,并影响在文学界流传的表征,但由于印刷媒体在作者形象方面的主导作用,他做得不够。为了抵消这一点,并为他在文学界的网络身份获得文化合法性,林诉诸于将他的推特个人资料修复为一本被偶像化的纸质书。林与推特的暧昧关系向他的观众表明,这个平台不仅仅是一个吸引人们关注的地方;它是一个大规模不断重塑身份的场所。
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引用次数: 1
Robert R. Edwards, Invention and Authorship in Medieval England (Ohio State University Press, 2017) Robert R.Edwards,《中世纪英格兰的发明与作者》(俄亥俄州立大学出版社,2017)
Q2 Arts and Humanities Pub Date : 2018-07-16 DOI: 10.21825/AJ.V7I1.8616
Martin Laidlaw
Robert R. Edwards, Invention and Authorship in Medieval England, Ohio State University Press, Columbus, 2017, 280 pp. $105.95.
罗伯特·r·爱德华兹:《中世纪英格兰的发明与作者》,俄亥俄州立大学出版社,哥伦布,2017年,280页,105.95美元。
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引用次数: 0
L’auctorialité dans Marzi, une bande dessinée autobiographique en collaboration Marzi的艺术,一个合作的自传体漫画
Q2 Arts and Humanities Pub Date : 2017-12-21 DOI: 10.21825/AJ.V6I2.7699
Benoît Glaude
For twelve years the autobiographical character Marzi has been growing up through short comics stories in the Spirou magazine, created in Belgium and France by a French artist, Sylvain Savoia and a Polish writer, Marzena Sowa. Realized through collaboration, such an autobiography opens up a grey area for questions concerning authorship. It shatters the notion that autobiography in comics has to be the individual work of a 'complete' author. This article considers the reception of Marzi' s authorship through internal and external perspectives, starting with the publication context of the weekly Spirou and ending with close readings of the autobiographical work. In rendering complex the autobiographical equation suggested by literary scholar Philippe Lejeune, protagonist=narrator=author, the case of Marzi shows that fictive agents such as the 'mega-narrateur' and the author are, above all, activated during the reading of the work. Depuis douze ans, le personnage autobiographique Marzi grandit dans le journal de Spirou , au fil de brefs recits de bande dessinee realises en Belgique ou en France par un dessinateur francais, Sylvain Savoia, et une scenariste polonaise, Marzena Sowa. Une telle autobiographie, realisee en collaboration, constitue un cas limite pour les questions d’auctorialite, elle bouscule l’idee que l’autobiographie en BD doit etre l’œuvre solitaire d’un « auteur complet ». Cet article envisage la reception de l’auctorialite de Marzi de points de vue externes et internes, en partant du contexte de publication de l’hebdomadaire Spirou , pour aboutir a des microlectures de l’œuvre autobiographique. En complexifiant l’equation autobiographique posee par le poeticien Philippe Lejeune, heros = narrateur = auteur, le cas de Marzi montre que les instances fictives du mega-narrateur et de l’auteur constituent avant tout des faits de reception actives par l’œuvre.
12年来,自传体人物马尔齐一直在《斯皮鲁》杂志上的短篇漫画故事中成长,这些故事是由法国艺术家西尔万·萨瓦亚和波兰作家马尔泽纳·索瓦在比利时和法国创作的。这种自传是通过合作实现的,它为作者身份问题开辟了一个灰色地带。它打破了漫画中的自传必须是一个“完整”作者的个人作品的观念。本文从《斯皮鲁周刊》的出版语境开始,以对马尔齐自传体作品的细读结束,从内部和外部两个角度考察马尔齐的作者身份被接受的情况。文学学者菲利普·勒琼(Philippe Lejeune)提出了一个复杂的自传体方程,即主角=叙述者=作者。马尔齐的例子表明,像“超级叙述者”和作者这样的虚构主体,首先是在阅读作品的过程中被激活的。从douze ans, le personnage autobiographique Marzi grandit在《德时还是非盟费尔德brefs recits de邦德dessinee意识到在比利时,法国par un dessinateur法语,皱叶甘蓝,等一个scenariste波兰连衫裙,Marzena索。一个故事的自传,在合作中实现,构成了一个无限的限制,没有几个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题,没有一个问题。这篇文章设想了《马尔齐的独裁者》的接受,《马尔齐的外部网络》的观点,《斯皮鲁的自传》的出版背景,以及《马尔齐的自传》的微观演讲。在菲利普·勒琼的自传中,主人公=叙述者=作者,马尔齐·蒙特尔的自传中,主人公的故事是虚构的,叙述者的故事是虚构的,作者的故事是虚构的,作者的故事是虚构的,作者的故事是虚构的,作者的故事是虚构的。
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引用次数: 1
A Narrative Approach to Authorship: The Work of Evi Tampold from Her Mother/Publisher’s (and Her Own) Perspective 作者身份的叙事方法:从她母亲/出版商(和她自己)的角度看埃维·坦波德的作品
Q2 Arts and Humanities Pub Date : 2017-12-21 DOI: 10.21825/AJ.V6I2.7766
Carol Nash, Evi Tampold
Collaborative authorship in graphic medicine is examinable from a number of perspectives.  One neglected approach is to look for developments in how an individual artist collaborates over the course of illustrating different graphic medicine novels.  In the first, the artist collaborated with her younger self in trying to regain memories of an until then forgotten past.  In the second, she worked closely with the writer to try to determine exactly what the author intended, adding a new dimension to the piece unavailable without the illustrations.  In the third still to be completed work, her illustrations are based on collaboration with only the text and a few photographs, lacking direct contact with the author.  How this artist’s three methods of collaboration have defined her collaborative authorship will be the focus.  What is unique is this study will be undertaken from the stand point of the illustrator’s publisher, who is also her mother.
图形医学中的合作作者可以从多个角度进行审查。一种被忽视的方法是寻找个体艺术家如何在为不同的平面医学小说绘制插图的过程中合作的发展。在第一部作品中,这位艺术家与年轻时的自己合作,试图重新唤起人们对那段被遗忘的过去的记忆。在第二篇文章中,她与作者密切合作,试图确定作者的确切意图,为没有插图的作品增加了一个新的维度。在第三幅尚待完成的作品中,她的插图仅基于文本和几张照片的合作,缺乏与作者的直接联系。这位艺术家的三种合作方式如何定义她的合作作者将成为焦点。独特的是,这项研究将从插画家的出版商的角度进行,出版商也是她的母亲。
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引用次数: 0
Gaston Franssen, Rick Honings (eds.), Idolizing Authorship: Literary Celebrity and the Construction of Identity, 1800 to the Present (Amsterdam University Press, 2017) Gaston-Franssen,Rick Honings(编辑),Idolizing Authorship:文学名人与身份建构,1800至今(阿姆斯特丹大学出版社,2017)
Q2 Arts and Humanities Pub Date : 2017-12-21 DOI: 10.21825/AJ.V6I2.7010
Zita Farkas
A review of Gaston Franssen, Rick Honings (eds.), Idolizing Authorship: Literary Celebrity and the Construction of Identity, 1800 to the Present , Amsterdam University Press, Amsterdam, 2017, 282 pp. € 89.
加斯顿·弗兰森,里克·霍宁斯(编辑),偶像化作者:文学名人和身份的构建,1800年至今,阿姆斯特丹大学出版社,阿姆斯特丹,2017年,282页,89欧元。
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引用次数: 0
Comics and Authorship: An Introduction 漫画和作者:介绍
Q2 Arts and Humanities Pub Date : 2017-12-21 DOI: 10.21825/AJ.V6I2.7702
Maaheen Ahmed
If media authorship can be understood "as a site of cultural tension" (Johnson and Gray 2013, 10), then a deeper understanding of comics authorship will also provide clues regarding the sustaining—and constraining— of creative practices in other media ecologies and intermedial interactions (such as, for instance, adaptations). For comics, this implies combining insights from comics scholars, practitioners as well as agents involved in the publication and dissemination of comics. This issue, building on the findings of extant scholarship on authorship in comics and other media, hopes to provide incentive for further adventures into the (almost) unknown of comics authorship.
如果媒体作者身份可以被理解为“文化紧张的场所”(Johnson and Gray 2013, 10),那么对漫画作者身份的更深入理解也将为其他媒体生态和中间互动(例如,改编)中创造性实践的维持和约束提供线索。对于漫画来说,这意味着结合漫画学者、从业者以及参与漫画出版和传播的代理人的见解。这一期,建立在现存的关于漫画和其他媒体作者身份的学术研究的基础上,希望为进一步探索(几乎)未知的漫画作者身份提供激励。
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引用次数: 2
Ambiguous Authorities: Vertigo and the Auteur Figure 模棱两可的权威:眩晕与导演形象
Q2 Arts and Humanities Pub Date : 2017-12-21 DOI: 10.21825/AJ.V6I2.7700
Isabelle Licari-Guillaume
This article examines authorial performance in the context of DC’s Vertigo line. In the 1990s, Vertigo gained its reputation as an innovative and progressive imprint by promoting the work of British scriptwriters, who were hailed as true author figures, despite the inherently collaborative nature of the mainstream comics industry. In a manner reminiscent of “auteur theory”, writers such as Neil Gaiman, Warren Ellis or Grant Morrison developed attractive author personas which they consistently displayed through interviews, letter columns or social media, but also, more importantly, by inserting their avatars within the comics they scripted. Upon closer examination, however, it becomes clear that their work in fact simultaneously asserts and destabilizes writerly authority, in a manner that is consistent with Linda Hutcheon’s view of postmodernity. By multiplying author figures and playfully disseminating authority, Vertigo authors question their own authorial control over the text, asserting instead the crucial role played by the reader.
本文以DC的《迷魂记》系列为背景来考察作者的表现。20世纪90年代,《迷魂记》通过宣传英国编剧的作品而获得了创新和进步的声誉,尽管主流漫画行业天生具有协作性质,但英国编剧被誉为真正的作家人物。尼尔·盖曼(Neil Gaiman)、沃伦·埃利斯(Warren Ellis)或格兰特·莫里森(Grant Morrison。然而,经过仔细研究,很明显,他们的作品实际上同时断言和破坏了写作权威,这与Linda Hutcheon对后现代性的看法是一致的。通过增加作者形象和开玩笑地传播权威,《迷魂记》的作者质疑自己对文本的作者控制,转而主张读者所扮演的关键角色。
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引用次数: 2
“Things are Complicated”: Paul Cornell at Marvel and DC “事情很复杂”:保罗·康奈尔在漫威和DC
Q2 Arts and Humanities Pub Date : 2017-12-21 DOI: 10.21825/AJ.V6I2.7701
M. Flanagan
Paul Cornell’s work for the ‘Big Two’ U.S. comic publishers transfers a distinctly British (mostly English) sensibility into a field where cues normally revolve around American cultural iconography and values. The key to his authorship is Cornell’s homespun method. Unlike the efforts of Marvel’s UK wing in the 1970s and '80s - transplanting American characters into a postcard-like Britain - his approach explores a British dimension of the Marvel Universe that offers a challenge to the codes of that realm. Whether working with established heroes such as Captain Britain, twists on archetypes like Knight and Squire (English analogues of Batman and Robin), or superheroic ‘big guns’ like Wolverine, Cornell writes against tired, automatic canonicity. This paper mainly focuses on the directly British representations in the Cornell titles Captain Britain and MI-13 (2008-9) and Knight and Squire (2010).
保罗·康奈尔(Paul Cornell)为美国“两大”漫画出版商所做的工作,将一种明显的英国(主要是英国)敏感性转移到了一个通常围绕美国文化形象和价值观展开的领域。他写作的关键在于康奈尔朴素的方法。与上世纪七八十年代漫威英国分公司的努力不同——将美国角色移植到明信片般的英国——他的方法探索了漫威宇宙的英国维度,对那个领域的规则提出了挑战。无论是与英国队长这样的知名英雄合作,还是对骑士和乡绅(英国版的蝙蝠侠和罗宾)这样的原型进行扭曲,还是像金刚狼这样的超级英雄“大枪”,康奈尔的作品都反对乏味、自动的经典化。本文主要关注康奈尔大学的《英国队长与米-13》(2008- 09)和《骑士与乡绅》(2010)中英国人的直接表现。
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引用次数: 0
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