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The following article aims to analyze some epistemic keys in the way in which indigenous Diaguita intellectuals approach the writing of history. These writings put into play, on the one hand, the ethnic identity of the indigenous intellectual and the question about the subject and the place of enunciation from which his epistemic-political positioning is constructed. On the other hand, they propose a project of criticism and decolonization of history, to the extent that their writings propose a direct and open confrontation with the hegemonic (colonial) versions of history. From these two dimensions, we are interested in reflecting on the possibility that these writings configure a native episteme for the rewriting and rereading of indigenous history. [ABSTRACT FROM AUTHOR]

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay examines the possibly subversive functions of cynical enunciations as found in Puerto Rican author Rafael Acevedo's 2014 novel Al otro lado del muro hay carne fresca (There's Fresh Meat on the Other Side of the Wall). It asks how the relocation of the cynical figure from a factual context into the world of dystopian fiction and metafiction may challenge a passive stance and allude to alternative enunciations beyond the reaffirmation of an extant neoliberal power structure. Through the stubborn insistence on the continuity of cynical discourse, as ambiguous and ever self-scrutinizing wavering motion among levels of enunciation, Acevedo's narrator explores and discusses counter-narratives and reflections in the parallel world of fiction. [ABSTRACT FROM AUTHOR]

From its beginnings, the tango song configured certain characters and modulated different voices. In this context, during the 20s in the 20th century, flourished a set of compositions known as “tangos of reproach”, inheritors of the challenge tone of the gaucho literature. This work outlines this transfer and then deals with the subject who assumes the enunciation and the rhetoric deployed by the tangos of reproach, considering their conditions of circulation. The hypothesis is that tango did not reflect preexisting social identities, but instead played an active role in its production and presented them in a problematic way, in a cultural framework crossed by social, identity and political contradictions. We maintain that songs are intermedial and complex discursive objects, whose study cannot be reduced to textual analysis, since it must contemplate its performance and its circumstances of circulation. [ABSTRACT FROM AUTHOR]

The Hebrew translation of Euclid's Elements ascribed to Rabbi Jacob is based on two leading sources. The definitions and the enunciations rely on an extant Arabic version which until recently was commonly considered to be a revision made by Thābit ibn Qurra of a translation by Isḥāq ibn Ḥunayn. The proofs and diagrams are based on a different version whose exact identity is unknown and had strong affinity to an Arabic version of the Elements axcribed to al-Ḥajjāj ibn Yūsuf ibn Maṭar. Focusing on the first six Books, this paper presents a fresh analysis of the sources and use of sources in Rabbi Jacob's translation, on the basis of a systematic comparison of this translation to the recently "discovered" new source of al-Ḥajjāj's work, namely the Arabic version of the Elements in MS Paris, BULAC ARA. 606. [ABSTRACT FROM AUTHOR]

It is believed that the way in which media speak about emerging technologies can influence the public perception of their benefits and risks. Risk statements highlight the possible negative effects, real or imaginary, that a particular event could have on audiences. Just as journalism varies over space and time, what is considered a risk is deeply rooted in specific social, economic, and technological contexts. This variability implies that journalistic practices are neither universal nor static; instead, they change and adapt according to circumstance. Moreover, technological advances have allowed the press to better understand their audiences and adhere to their demands. In this context, the discursive construction of the risk of artificial intelligence was studied in the press of four European countries: Belgium, Spain, France, and Portugal. In total, 290 texts published in January 2024 were examined. Mentions of "artificial intelligence" were found in the following newspapers: Le Soir, El País, Le Figaro, and Público. Fourteen risk categories and seven groups of voices responsible for their enunciation were identified, with significant variations between the studied newspapers. It was concluded that national contexts make it possible to differentiate the way in which the press communicates the risks associated with artificial intelligence. Although these results do not directly reflect public awareness of the risks in each of these countries, they open a line of research on the possible influences of the progressive monitoring and knowledge of audiences in the construction of the media agenda. [ABSTRACT FROM AUTHOR]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Semiotica is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Virality plays on the emotion that drives people to quickly retransmit a message, without really analysing it or subjecting it to criticism. The more emotional the message is, the more appropriate it seems to go viral, which is one of the premises of viral marketing. This explains the virality of violent content on the Internet. From this pint of view can the fight against hate speech use virality when its aim is to call for reflection? We show that virality can serve as a catalyst for reflection, and that emotion can also be positive (Danblon, 2013). From this point of view, we take a look at the Council of Europe's Youth Campaign against Hate Speech, which uses social media to bring together and share in a community also made up of real-life interactions. We then analyse more particularly some visuals, memes, a community semiotic form which allows to start from emotions to reflect on the stereotypes which underlie hate speech.

This article analyzes viral environmentalist videos on YouTube. To do so, it observes the rise of the term “viral video” in the media and examines virality from a lexical point of view. Then, virality is connected with temporality in reference to an epidemiology of cultural representations on one hand, and with the discourse of knowledge transmission, on the other hand. The material characteristics of the corpus are then described, which shows one aspect of the virality of these videos, and the content of popularization and environmentalist discourse and the scenography of these videos are finally explained, which presents another aspect of virality.

Parentheticals are utterances which appear inserted in others introducing an additional or clarifying information. This paper analyses the prosodic behaviour of parentheticals to study in more detail their discursive functioning. As features of these kind of utterances it is possible to notice a decrease in intensity and tone, and an acceleration in the speech rate. In respect to enunciation and modality, the exam of the parameters that determine the perception of these utterances by the interlocutors allows establishing a correlation between the two discursive planes that are compared and the phonetic procedures that characterise their acoustic emission, linked to the parameters that present more accentuated differences: tone and speech rate. The variations recorded reflect an adaptation between the prosodic form of parentheticals and the strategic functions that these constructions carry out in the discourse as argumentative resources. [ABSTRACT FROM AUTHOR]

The article highlights the dangers of conducting research without being aware of the place of enunciation. It reviews the deformation of the American reality by European science in the 17th and 18th centuries. Subsequently, it illustrates with examples the attempts to overcome this problem in the American eighteenth century, a period that gave rise to a marked interest in investigating the American reality, an endeavor that reached its climax with the emergence of the so-called Social Sciences in the mid-twentieth century. Finally, we reflect on some of the implications of situated and localized thinking. René Zavaleta's concept of variegation is used for this purpose. It is found that thinking and researching situationally, by attending to specific contexts, avoids losing sight of the heterogeneity and complexity of situated realities. It is something that can also contribute to create emancipatory possibilities. [ABSTRACT FROM AUTHOR]

In an interview published in the first volume of the Brazilian poetry and cultural criticism magazine Ouriço, the Portuguese poet, editor, and literary critic Manuel de Freitas answers peremptorily a question on the connections between poetry and music in the contemporary world: "I do not foresee a great future for either music or poetry." There is something ambiguous about this statement, especially when we consider the fact that Manuel de Freitas was dialoguing with someone who, at that time, was also one of the editors of his recently published book in Brazil, Jukebox, a collection of the same-titled poetic series published in Portugal in 2005, 2008 and 2012. It is noteworthy that his statement also became the title of the interview, "I do not foresee a great future for poetry," in a publication almost entirely dedicated to promoting contemporary poems and active poets. We witness in that situation a strategy to insert poetry into the Brazilian editorial landscape, recurring to the discourse of the denial of contemporary poetry, supported by a broader renunciation of the contemporary, perceived as a time of crisis. The poems in Jukebox contribute to the argument, since several of them point to a certain insufficiency of the poetic discourse either to enunciate the present or to evoke the past. This context is a relevant test to the proposition -- defended, for example, by Marcos Siscar -- that the discourse of crisis is a specific way of inserting poetry into contemporaneity, including in its enunciation every aspect of exaggeration, paradox, or apparent illogicality. [ABSTRACT FROM AUTHOR]

This article analyzes the work "Quarto de Despejo" by Carolina Maria de Jesus from the perspectives of border epistemology and the mystique of survival. It discusses the author's contributions to a counter-hegemonic epistemology that values subaltern knowledge. The analysis articulates the concepts of epistemic border, locus of enunciation, mystique of survival, and validation of knowledge. The article presents her trajectory and work, highlighting the tensions her writing provokes in dominant knowledge structures through the production of literary knowledge from the denied space of favelas, where, through the lens of Maria Zambrano, it is possible to identify the manifestation of a mystique of survival. The work concludes that Carolina leaves a lesson about the legitimacy of knowledge stemming from concrete life and the daily struggle of the oppressed. Her existence and work inherently represent an expression of a mystique of survival and the validation of a border epistemology. [ABSTRACT FROM AUTHOR]

We will see how in Plato’s Phaedrus there are initially two types of desires, one of which would be the epithymía desire and the other would be the hímeros desire, the latter being a noble desire, portrayed exclusively in Socrates’ palinody. We will study the semantic field associated with each of these desires within the three initial recitations of the dialogue, discerning the nature of each of them, their potential, direction and unfolding. The dialogue highlights the controlled enunciation of these desires in the Platonic conceptual plot, when Phaedrus draws Socrates’ attention to this remarkable aspect of the use of words (tois onómasin, Phdr. 234c7) in Lysias’ recitation, just as Socrates at the end of the Palinody reaffirms the poetic vocabulary (tois onómasin, Phdr. 257a5) to which he has been submitted. In this way, a physiological reading emerges, discerning the statics, movements and directions of the desires and friendships described, as well as their qualities and quantities. [ABSTRACT FROM AUTHOR]

In this text I propose a philosophical method for approaching contemporary art. I formulate a philosophical strategy that responds to the need to say something about artistic pluralism and about a certain idea of crisis that today's art is thought to be suffering. Through the creation of basic principles, I want to offer a critical way of approaching contemporary art, of judging it and appreciating it correctly. I point out that we discuss art and when we do so we believe that what we say is true; the aesthetic community is realistic and therefore we can appeal to the objectivity of the enunciations we make about works of art. The word criticism, however, does not refer here to what one would think of as professional criticism, but to a critical thinking about art based on reasons justified through their positioning in categories. [ABSTRACT FROM AUTHOR]

This article analyzes how the poetry collection Susy, secretos del corazón (1989) by the Argentinian poet, playwright and cultural manager Susana Villalba (Buenos Aires, 1956) establishes a critical dialogue with the comic strip of the same name, published in the sixties and seventies in Latin America. The collection of poems also engages in dialogue with other cultural references through an enunciative process that reveals the social constructs aiming to define and establish femininity. The critical stance of the text becomes evident as it illuminates how the experience of romantic love in women is codified. At the discursive level, from the use of textual mechanisms related to collage and pastiche, an open, mobile, multiple, playful poetic voice is generated-it unfolds to reveal the role of social factors in the construction of subjectivity. [ABSTRACT FROM AUTHOR]

Latin American marxism, understood as a category, phenomena and process hasn’t been studied broadly, despite how fruitful the Marxist tradition has been in our region. It is proposed in the next pages a series of theoretical-methodological approaches and coordinates to push out into its analysis, respecting the analytical plurality and heterogeneity that characterizes it, describing its enunciation origins and development and outlining the essential ingredients that separate it from other approaches giving its specificity within Latin American critical social thought. The purpose of the article is to provide the researcher a basic framework to dive into deeper inquiries that concern the different topics circumscribed to the marxisms in Latin America. [ABSTRACT FROM AUTHOR]

From a position as students, disciples, and collaborators of María Bertely, we reflect on her contributions to the gestation and development process of the project "Milpas Educativas: Socionatural Laboratories for good living". After specifying the locus of enunciation and the sources that support the analysis, the political and epistemological referents that are essential to understanding the essence of an educational project with a clear ethnopolitical and alter-globalization position are made explicit. These, in addition, allow us to appreciate the contributions of Bertely as coordinator and caretaker of the Intercultural Inductive Method and committed academic who felt mandated by the community educators of the Union of Teachers of the New Education for Mexico (UNEM) and the indigenous communities that appointed them. Subsequently, Bertely's contributions to the gestation phase of the project are analyzed, emphasizing her efforts before the financing body and the resulting achievements. Next, we reflect on her contributions to the development process of Milpas Educativas, highlighting the political, epistemic, axiological, and pedagogical dimensions that characterized them. We conclude by presenting some of his most important legacies to Mexican and Latin American educational anthropology, emphasizing her political commitment to the indigenous cause. [ABSTRACT FROM AUTHOR]

Copyright of Kipus: Revista Andina de Letras y Estudios Culturales is the property of Universidad Andina Simon Bolivar, Sede Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Escena: Revista de las Artes is the property of ESCENA. Revista de las Artes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pedagogía y Saberes is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of CIRCULO de Linguistica Aplicada a la Comunicacion is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of CIRCULO de Linguistica Aplicada a la Comunicacion is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Filosofía UIS is the property of Universidad Industrial de Santander and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this essay, a reflective analysis is carried out on the hermeneutics of devices in educational intervention, based on documentary research and its analogical integration in a philosophical, epistemological and methodological construct, achieved from the works of Beuchot (2018) and Deleuze (1999). The article begins by discussing the need to update approaches to intervention, to place them in a phronetic or prudent place with current events and educational emergencies, among which the post-pandemic, the Fourth Industrial Revolution, the urgency of respecting human rights stand out, the best interests of children and adolescents, the change in social roles and the crisis in multiple sectors, including the teaching profession. It continues with a critique of the old intervention models and their approaches, to propose a procedure from the analogical hermeneusis of devices. To achieve this, the conceptions of intervention and devices are analyzed from Remedi (2004), Yurén (2005); to Deleuze (1999), along with the conceptualization of analogical hermeneutics created by Beuchot (2018). From this, the proposal is built in its elements, namely: hermeneutical analysis of devices and the following are discussed: analogy of proportion (metonymy - metaphor), attribution (primary - secondary degrees), phónesis (rigor - flexibility ), which is articulated with the conceptualization offered in relation to the lines of the devices (visibility, enunciation, force, objectification). The article closes with some arguments about the relevance of what was offered; as well as the reflection in relation to some ethical elements of the intervention in its phases (reference, design, reconstruction), this to emphasize the collectivist, social and planetary ethical character that any process of change or action on educational conditions must have [ABSTRACT FROM AUTHOR]

Copyright of ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Anthropocene is a time of crisis with environmental, climatic, economic, social, political and epistemological dimensions, involving not only humanity, but planet Earth as a whole. Although the imminence of the non-existence of a world in becoming brings us anguish and longing, it is also an opportunity to think about other possible futures and the paths that can be (or are already being) taken to achieve them. We start from the hypothesis that the imagination of new aesthetic-ethical-political projects in the Anthropocene is inseparable from dialog with the voices of the land, its politics of ancestry and epistemes experienced daily in the heat of life. In this sense, the article aims to analyze reflections by indigenous and quilombola thinkers that enable us to escape the anthropocentric blindness of the modern world and understand other ways of dealing with time, other knowledges and enunciations, thus guaranteeing new perspectives for our survival in the Anthropocene. [ABSTRACT FROM AUTHOR]

The phenomenon of disinformation is characterized by being a way of telling the facts in a distorted way that modifies the perception of what is «real». In this sense, it deserves the attention of being analyzed by semiotics, since its look makes it possible to approach the problem of truth from a strategic point of view. For this discipline, the concept «truth» is not understood as a correspondence between what is said and the facts, but as an effect of meaning that is created in the discourse. In this regard, it is proposed that one way to deal with fake news is to revalue the figure of the journalist, as long as his job is to produce information that, in addition to being truthful, is credible. Likewise, the need to train the journalist to be able to master different enunciation and persuasion strategies present in any discursive configuration is emphasized. [ABSTRACT FROM AUTHOR]

As a symbolic enunciation of Black subjection and resistance, the cry has functioned as a central trope in negritude poetics. This essay revisits the trope by focusing on another geography of the negritude imagination beyond the francophone world. I analyse how the work of two women poets from the African archipelago of São Tomé and Príncipe, Alda Espírito Santo (1926–2010) and Maria Manuela Margarido (1925–2007), reorients the cry as a modality of decolonial critique. I argue that they intentionally mobilize the sonorous force, intensity, and frequency of the cry in their poetry to grapple with the colonial ritual of terror in the Portuguese empire. In the intersection of mourning and resistance, the cry functions as both a critique of colonial violence and the voicing of radical hope for a decolonial future. This essay brings postcolonial and decolonial thought into conversation with lyric studies as it maps out the connection between Espírito Santo's and Manuela Margarido's poetry, intellectual work, and political activism. It illuminates the entanglement of the voice, power, and resistance in negritude poetics. [ABSTRACT FROM AUTHOR]

Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

How can contemporary female artists sing the downside of romantic love, especially jealousy, without risking to be perceived as chained to patriarchy, or appearing naive, complacent and bitter ? How can a feminist singer present herself as the enunciator of a lyrical discourse that gives pride of place to self-pity and suffering ? This study weaves together enunciative and thematic criteria in the field of French popular music to determine the aesthetic and political constraints that affect female and feminist singers today.

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Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Filozofija i Drustvo is the property of University of Belgrade, Institute for Philosophy & Social Theory and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Imagofagia is the property of Imagofagia - AsAECA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Do Nigerian political parties take left/right ideological positions? Perspectives in comparative politics see party competition in Africa's 'third wave' democracies as devoid of disagreement on class or economic grounds – and thus as 'absent' of left/right ideology. Yet, a dearth of disagreement among governing parties can also suggest ideological agreement or 'convergence'. This article maps the development of the left/right cleavage in Nigeria's party system, examining the evolution of economic pledges in the manifestos of parties that took power across Nigeria's four attempts at electoral democracy. It finds that relative to the deeper levels of economic disagreement voiced in earlier periods, the governing parties of Nigeria's Fourth Republic are now largely unanimous in the enunciation of their economic visions. Evidence of such convergence troubles a strict insistence on either the polarisation or 'absence' of economic ideology among governing parties in Africa's largest electoral democracy. [ABSTRACT FROM AUTHOR]

The present article discusses, in a first step, ground-breaking recent publications on the lyric subject, and dedicates itself, in a second step, to a new concept of lyric persona, which is devised to overcome the constrictions of the categories of subject and subjectivity and to open access of theory to all kinds and eras of lyric poetry from the Old English Seafarer to modern concrete poetry. The first book to be reviewed is Autor und Subjekt im Gedicht. Positionen, Perspektiven und Praktiken heute (2021), a collection of essays which pursues an argumentatively stimulating dialogical strategy. The articles begin with Wolf Schmid's twenty theses on the abstract author, an appropriation of the narratological »implicit« author to the theory of lyric poetry. This statement is followed by a number of articles which alternatingly argue in favour of and against the concept of the abstract author. Peter Hühn, for instance, believes the term to be analytically especially fruitful, while Ralph Müller speaks of it as a »narratological spectre«. It is significant that, using Schmid's term, Rainer Grübel analyzes a number of intriguing modern Russian poems, which he calls hybrid, since he identifies transitions from poetic to quasi reality-related passages and diagnoses concomitant stylistic changes in the texts. The international perspective is then widened by a comprehensive investigation of Russian, German and English terminological traditions. Marion Rutz demonstrates that handbooks and textbooks are by far not compatible. Among other terms she deals with the controversial German term »das lyrische Ich« (the lyric I). An investigation of the use of this term is then afforded by Hermann Korte's examination of the poetry and poetics of Gottfried Benn, Thomas Kling and Durs Grünbein. Subsequently, a group of articles deals with the fate of the subject in recent and current German poetry. Analyzing poems by Sabine Scho, Anne Cotton and Thomas Kling, Friederike Reents verifies, instead of »subject fatigue«, new possibilities of the subject. Analogous insights are gained by Mirjam Springer in her investigation of the lyric portrait and in a politically tempered article by Peter Geist, which discovers examples of varying degrees of imaginative self-construction going together with increasing author-relatedness. The volume concludes with a large-scale philosophically oriented article by Henrieke Stahl which constructs the model of a polymorphous subject based on Heinrich Barth's existential variant of transcendental philosophy. The second publication to be discussed is Varja Balžalorsky Antić's monograph The Lyric Subject. A Reconceptualization (2022), which, though treating roughly the same subject as Autor und Subjekt, is oriented a totally different way. Like the one year previously published work, Antić proceeds from the awareness that the numerous new developments of poetry call for a reconceptualization of the genre and especially of the concept of the subject. In order to clarify the relation between the subject of language and the subject of poetry, she makes wide-ranging excursions into philosophy and discourse theory, which have not been undertaken in that way by other researchers in the field. Antić's treatment of the prehistory of the concept of subjectivity is comprehensive. She erects her edifice of ideas on the basis of the theories of Émile Benveniste, Henri Meschonnic and others. Also, she goes back to Germanophone philosophers and theorists like Friedrich Schleiermacher and Wilhelm von Humboldt. In particular, she emphasizes the development of Benveniste's linguistics of enunciation to Meschonnic's poetics of enunciation, according to which subjectivity does not reside in the lyric persona, but in the »the transsubject, the I-you of enunciation expanded onto all discourse«. In this context Meschonnic's rhythm theory, which has profound ethical implications, is of central importance. Literary works which she subjects to analysis are troubadour poetry, in which she identifies polyphony and internal dialogism and consequently subjectivization, Nerval's sonnet »El Desdichado«, to which she applies Paul Ricœur's dialectic of ipse and idem, and Henri Michaux' long poem »La Ralentie«, in which she identifies »dispersed multiplicity« and simultaneously integrated totality. The last chapter »Recapitulation and Systematization of Subject Configuration« has deserved special attention. Inspired by a short article, »Persona. Its Meaning and Significance«, by James Dowthwaite (2023), the present author elaborates the concept of the lyric persona in the last part of the contribution. The creative capacity of persona is seen to occupy the free space between the empiric author and the finished product. The independence of the persona from the author has a liberating quality, which allows the author a fictional space and a range of possible expressions. The lyric persona can be called the aesthetic and cognitive laboratory between author and poem, which is responsible for the invention of speakers, the use of pronouns and all the formal and aesthetic elements represented in the poem. One advantage of the persona concept is that it has a liberating effect in regard to the overuse of the subject concept, though forms of I-saying are within the reach of the persona. Another advantage is the scope of the term persona. It can be applied from the Old English »Seafarer« to modern concrete poems like Edwin Morgan's »Pomander«. [ABSTRACT FROM AUTHOR]

Copyright of Recherches en Langue et Littérature Françaises is the property of University of Tabriz and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One of Guattari's most important conceptual contributions is his notion of transversality. This complex notion responds to the very concrete problem that, when we oppose certain power formations, we tend to reproduce these same power formations. This article proposes an examination of Guattari's concept of transversality through five of its aspects, which will be related to the various problematics they respond to. The aim is to show how power formations operate and how transversality responds to them, and also to highlight the primordial importance of practical and political issues to Guattari's conceptual work. As we will see, Guattari conceived of transversality in relation to the Leninist cut; it thus is linked to democratic centralism and to the subject-group. Transversality is also linked to enunciation and autopoiesis; it is characterised by Guattari as transmonadic and transitive. The notion of transversality will also be put in relation to the war machine, on which it will thus shed light. [ABSTRACT FROM AUTHOR]

This article aims to explore the construction of a common enunciative identity in a set of paratexts belonging to a corpus of works that contain texts translated by María Elena Walsh and Elsa Bornemann, namely La nube traicionera (published by Sudamericana in 1989) and Antología del cuento infantil (published by Editorial Latina in 1977). From a methodological framework that considers situations of enunciation and communication, as proposed by Maingueneau, I will attempt to demonstrate that the discursive manifestations found in this corpus reinforce author-translators' positioning as part of a groundbreaking literary-discursive tradition in Argentina. This literary and discursive disposition is characterised, among other things, by political commitment and a poetics that proposes novel, unprejudiced ways of looking at the world, far removed from indoctrination in all its shapes and forms. To complement this exploration, I will also venture towards a characterisation of the communicative identity of the enunciator, which ultimately constitutes the translator's ethos (Spoturno), as a relevant aspect for theorisations of Translation Studies in the field of children's and young adult literature. [ABSTRACT FROM AUTHOR]

An initial typological ambition is to position different digital narratives as media narratives, and to question the skills of their reader-scribers. Our approach is part of a plural epistemological and methodological framework, which, with a political and aesthetic aim, puts narratology and discourse analysis in tension, with a view to analysing the critical reflexivity of the reader-writers of media narratives. Our visit to the theories of reception shifts the focus from the consideration of active or passive individualities to the de-subjectivised question of enunciation, taking up the practices of reading-writing, which are played out at the interface of the political and the aesthetic. This confrontation opens up a space where the dominant discourse on art, which supports an aesthetic ideology, gives way to an aesthetics of emancipation.

This paper problematizes how the discourse on depression upheld by the first, second and third editions of the Diagnostic and Statistical Manual of Mental Disorders appropriated the distress-pathology contradiction. Based on the principles of Michel Pêcheux's French Discourse Analysis, developed, in Brazil by Eni Orlandi, the study emphasizes that: 1) the manual's first and second editions understood depression as an effect, whereas the third depicted it as a cause; 2) in the first and second editions distress and pathology were one and the same, but the third edition splits them into two different spheres; 3) anticipation, as a discursive mechanism, can help to comprehend the process by which the subject of enunciation is suppressed by the subject of the statement in the diagnostic manuals. [ABSTRACT FROM AUTHOR]