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Argumentation and fiction are quite different types of communicative phenomena. However, overlaps between them happen to be very frequent. We can both fictionalize by means of argumentation and argue by means of fiction. The main goal of this paper is to analyse the different types of overlap that may arise between argumentation and fiction. In this paper, the defended hypothesis is that by considering who the “character” that is arguing is, we can get an exhaustive account of any possible overlap, as well as an explanation of the different functions that such overlaps can play.
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AbstractThis article discusses a theatre creation process which has been systematized by the experimental Italian companies of the “Generation 90,” at the beginning of the 21st century, and whose name would be, as we propose, “Multitheater Project”: the theatre artist conceives creation as creative process, whether of long or of medium duration, in which he moves forward step by step, not only by producing shows, but also by working with other artistic media. In regard to the history of companies, the application of such a working method happens with the affirmation of the use of digital technologies of sound and vision. In this article, we will raise issues about the relationships between the “Multitheater Project” and digital intermediality in theatres, by considering two examples: the L'ospite project (Le visiteur, 2003-2004), produced by Daniela Nicolò and Enrico Casagrande's Motus company and inspired by Pier Paolo Pasolini's Petrolio (Pétrole, 1972-1975) and Teorema (Théorème, 1968), and the Ada, cronaca familiare project (Ada, chronique familiale, 2002-2006), produced by Chiara Lagani and Luigi De Angelis' Fanny & Alexander company, based on Vladimir Nabokov's novel Ada or Ardor: a Family Chronicle (Ada ou l'ardeur, 1969).
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Transtextual relations: intertextuality, hypertextuality, metatextuality and paratextuality. Paratextuality: at the intersection of text and « off-text », a theorizing endeavor in the pragmatics of literature. Modality and operation of paratext in Vladimir Nabokov's Feu pâle. The paratexts status, its referential opacity and syntactic structure.
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