Documents found
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231.More information
When a book is translated, publishers will often modify or completely change the cover design. This paper examines the similarities and differences that result in a sample of cover designs taken from Terry Pratchett’s Discworld series. The essay analyzes these images as a form of intersemiotic translation, which prioritizes the marketing apparatus of a novel over its narrative content.
Keywords: book covers, Terry Pratchett, couvertures de livres, Terry Pratchett, book covers
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232.More information
Keywords: ACTES DE LANGAGE, CONSENSUS, STRATÉGIE D'INTERACTION, DÉCISION STRATÉGIQUE
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235.
La Ligne rouge de Hans Zimmer. Matrice d'un « nouvel Hollywood » électro-minimaliste et contemplatif
More informationThrough a comparative study of several films with a contemplative narrative context such as Thin Red Line (Terrence Malick, 1998), a score-matrix that marked a clear evolution in Zimmerian aesthetics, Hannibal (Ridley Scott, 2001), The Da Vinci Code (Ron Howard, 2006) “the most sophisticated synthesis of the influences of minimalism” (Berthomieu 2013, p. 698), to scores that Hans Zimmer composed for Christopher Nolan as Inception (2010) and Interstellar (2014), this article shows how Zimmer manages to impose a new musical trend in Hollywood by integrating a pared-down writing impregnated notably by the minimalism of Arvo Pärt to loops developed by synthesizers or electronic sounds: if tributes to works of Arvo Pärt are appropriate to highligh inner torment or dark meditation, Zimmer also takes up more general principles of this form of minimalism – often an immutable and infinitely repeated oscillation around a minor perfect chord – almost systematically mixed with this creative energy of hybrid timbres, to create another temporality bringing a form of ineluctable to the image while maintaining empathy and discreet synchronism as supports for the action (The Thin Red Line, Batman Begins, The Da Vinci Code, Inception). The fifth – alone, in ostinato or repeated on a motif –, which is the quintessence of the Zimmerian tintinnabuli (beyond the perfect Pärtian agreement), emphasizes the suspended moment (The Thin Red Line, Hannibal, Interstellar), while a form of radicalization of this minimalism which sometimes goes as far as the negation of any melody, replaced by a single note, becoming abstract texture, or by a diatonic cluster in blend mode (The Da Vinci Code, Interstellar), evokes despair, death, or nothingness. Far from being a “world” which “is reduced to the emptiness of a present without a dream” (Berthomieu 2004, p. 75), Zimmer's electro-minimalist and contemplative writing, marked by a strong narrative coherence, is connected to the aesthetic program of the films for which it is intended.
Keywords: Zimmer, électro-minimaliste, minismalisme, contemplatif, Pärt, statique, électronique, synthétique, hybride, texture abstraite, matrice, épure, radicalisation, Zimmer, electro-minimalism, minismalism, contemplative, Pärt, static, electronic, synthetic, hybrid, abstract texture, matrix, outline, radicalization
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236.More information
AbstractAbstractThis article presents the results of a research on how children view children's authors. We surveyed 206 pupils between the ages of five and nine at a school located in a middle-class area of a large city. The children were asked to answer four questions orally: 1) What is a writer? 2) Should a person who writes for young people also be young? Why? 3) Where do writers get their ideas? 4) What difference(s) is (are) there between a book for children and a book for adults? A frequency analysis of the responses to each question offers some revealing insights into a vision of writers and writing that is at once naive, original — and often accurate. The children's words are used to illustrate the principal results.
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240.More information
This article reflects on the link between books and video games not by considering the book as “support” for the video game nor, inversely, by considering the video game as an adaptation of the existing fictional universe, but by envisioning these two objects as complementary elements in an innovative reading/game playing experience that is linked to the development of a new transmedia genre that appears to consist of “enriched” books.