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La récriture d’une source dramatique est par excellence un espace d’imitation différentielle. À ce titre, les scènes d’ouverture sont des lieux stratégiques. L’analyse des récritures depuis la naissance de la comédie et de la tragi-comédie en France jusqu’à la Fronde révèle les spécificités génériques ou chronologiques des stratégies de différenciation. La première scène expose les éléments de l’intrigue mais aussi les partis-pris dramaturgiques, esthétiques et sémantiques du dramaturge.

The purpose of the article is to select practice-approved ways to the combinatorial presentation of the componentі of the musical expression, in which, on the base of the general beliefs about music-rhetorical base inventio tax ways of the joining to speech liberty of the combinatorial use the music material. The methodology consists of riverbed intonation approach that is to say by means of beliefs about the unity of process factors in music and speech, as this bequeathing in works of B.Asafiev and his followers in Ukraine, unrolled specified interdisciplinary generalization, on example text books A.Losev, R.Ingarden, E.Nazaykinkij, E.Markova and others. The scientific novelty of the work is based on original and the practically-creative approved the idea of joining in mechanism rhetorical inventio, practical persons, combinatorial collation fragment and holistic music that-image, which the sequence forms the speech continuum of the music. Conclusions. The made analysis of the theoretical life lengths from the theory of the improvisation and theoretical positions of the rhetoric has allowed formulating the concrete operations cortical music operations of inventio as a way of the semantic join generalising value that-symbol with author's and out author’s thematic acquisition in straightening of acquisition "spoken creation of the music". The last one meets the terms modern performance art with his "neo-gothic style" discharge from priority to composer activity.

Textes décrivant ses lieux de mémoire, photographies, documents personnels ou collectés dans la rue : Lieux forme un vaste et passionnant ensemble par lequel Perec visait à ancrer son autobiographie dans l’espace urbain. Georges Perec et ses lieux de mémoire est la première étude monographique à se fonder sur l’ensemble de ce « livre mythique », resté longtemps inédit. Elle en explore les constantes thématiques, les pratiques d’écriture, les graphismes et les photographies, montrant l’impact de la rhétorique classique sur la méthode de Perec, qui fait que ces textes sont une véritable topique de ses lieux de mémoire.« Précisément situé dans un champ critique exhaustivement balisé, le livre frappe par sa finesse et sa nouveauté – quant à l’œuvre de Perec, aujourd’hui devenue classique, mais aussi plus largement pour ce qui est de l’importance du quotidien, notamment urbain, dans la littérature et l’art contemporains. » (Christelle Reggiani, Sorbonne Université)Perec’s Lieux project consists of texts describing the author's places of memory, photographs, personal documents and ephemera collected in the street. With this vast and fascinating body of work, Perec aimed at anchoring his biography in urban space. Georges Perec et ses lieux de mémoire is the first book length study about this “mythic book”, which remained unpublished for a long time. It explores Perec’s recurrent themes, writing practises, graphisms and photographs, showing the impact of classical rhetoric on his methodology, which makes Lieux into a topics of his places of memory.“This study is precisely situated within an abundant critical field. It strikes the reader through its finesse and novelty both regarding Perec’s work, which has become a classic, and more largely the importance of the urban every day in contemporary literature and art.” (Christelle Reggiani, Sorbonne Université)

The article is devoted to the fundamental positions of rhetoric and their embodiment in music, which corresponds to the modern conditions of performing art activity. The methodological basis of the article is the position of linguistic musicology, presented by the heirs of B. Asafiev’s school in Ukraine, in which the concept of “musical vocabulary of the era” holds an honorable place. Particular attention is devoted to the features of stringed and plucked instruments, which make up the specifics and emblem of national Ukrainian art. The laws of rhetoric, especially the inventio principles, fixing the tone-sound specifics of expressive sound production were studied. The intensity of the artistic component in the creative construction of the instrumental playing and in the essence of the artist’s performing position was determined. The scientific novelty of work determined theoretical innovation for the Ukrainian musicology of the problem of rhetorical inventio in music and its application in musicological discourse.

Traballo Fin de Grao en Lingua e Literatura Españolas. Curso 2021-2022 Este trabajo pretende mostrar la necesidad de aplicar una concepción amplia y global de la retórica, no solo ceñida al estudio de los tropos y figuras, para un correcto análisis e interpretación del texto literario. La inventio y la dispositio, esto es, la selección y organización de los asuntos, son los cimientos que sostienen la creación del texto literario, y sobre los que se asienta el ornatus de la expresión que proporcionan tropos y figuras. Tras una exposición teórica donde se plantea esta importante cuestión de la dimensión de la retórica y su competencia con la dialéctica, que tuvo una gran trascendencia en el Humanismo y se vinculó al intento de disminuir la presencia de la escolástica, se pasará a demostrar de manera práctica esa trascendencia de inventio y dispositio en el análisis de una selección de poemas desde el siglo XV al XVII. Pese a haber sido escritos en diferentes épocas y por distintos autores y ser sus temas también distintos, la génesis y construcción de todos ellos se basa en operaciones propias de la inventio y la dispositio, lo que destaca más en algunos de ellos, donde el uso de tropos y figuras es bastante escaso. Se trabajará con ediciones autorizadas de los distintos poetas, y con tratados y manuales de retórica que permitan establecer el adecuado contexto histórico de este problema, y también facilitar las herramientas para el análisis de los textos.

"Total synthesis endeavors provide wonderful opportunities to discover and invent new synthetic reactions as a means to advance organic synthesis in general. Such discoveries and inventions can occur when the practitioner faces intransigent problems that cannot be solved by known methods and/or when method improvements are desired in terms of elegance, efficiency, cost-effectiveness, practicality, or environmental friendliness" (K. C. Nicolaou et al. from their review in

The cult of Saint Torquatus has strong roots in the city of Guimaraes, in the north of Portugal, where, tradition narrates his incorrupt body was found. The devotion to this martyr saint goes back ...

This article addresses the untimely relationship between criticism and language that emerged in Pasolini’s youth, which will be a changeable constant throughout his brief life. Giorgio Agamben points out that the young Pasolini does not subdue the Friulian dialect to the constitutional language, as he wants to say with the dialect high, difficult things, with greater freshness and power. Thus, the criticism operated by Pasolini mobilized eruptive debates, in which language shocked as inventum (institutional language) and language as inventio (language-poetry), for this confrontation to arise a critical and inventive philology.

This study uses patent renewal information to estimate private value of patents by technology and ownership status. Patent value refers to the economic reward that the inventor extracts from the patent by making, using or selling an invention. Thus, we measure the value of patent right (private value of patent) from the patentee perspective. Our empirical analysis comprises of 555 patents with application year during 1999 to 2002. The term of these patents either ended in 2018 or lapsed due to non-payment of renewal fee. We model renewal decision of patentee as ordered probit where patent renewal fee increases with the age of patent. Variables such as patent family size, technological scope, number of inventors and grant lag are used as explanatory variables in the corresponding regression. Hence, this paper combines the patentee renewal decision along with patents characteristics and renewal cost schedule to estimate the initial rent distribution. We find that a large number of patents expire at an early stage leaving few patents with high value corroborating the results of studies using European, American and Chinese data. As expected, certain technology class patents enjoy high valuation.

Malinowski aurait peut-être souhaité que son journal soit révélé à titre posthume afin de contester l’accent mis sur la méthode scientifique par l’anthropologie sociale de son époque. Le dévoilement du journal de Bronislaw Malinowski renverse la domination des explications du fait social par le déterminisme, ouvrant la voie à ce qui devient, dans les années 1960, le tournant discursif. Le journal offre un aperçu de l’impulsion de vitalité de Malinowski et de ses préoccupations existentielles, qui sont excisées dans le processus de réécriture, connu pour transformer les notes de terrain en l’expression formelle caractérisant les monographies. L’anthropologue rédige des monographies pour ses contemporains en construisant des récits étayés par des preuves scientifiques d’une manière qui dissimule par la censure, les automatismes et la catégorie plus large de la subjectivité, ainsi que la possible relégation temporelle de l’Autre, qui peut entraîner la discrimination envers celui-ci. La personnalité publique de l’anthropologue est stylisée par le souci professionnel de représenter correctement le natif-comme-texte. Puisqu’il réfléchit à son avenir publiable, on émet l’hypothèse que Malinowski aurait l’intention de rédiger les entrées de son journal afin d’apporter une contribution posthume à l’anthropologie. Si cela est vrai, le journal est l’espace où les stratégies d’auto-dévoilement surgissent au premier plan, révélant la vulnérabilité supposée de l’auteur. Le dévoilement de l’expérience de vie n’est pas le produit d’un monologue intérieur chaotique, mais possède une fin en soi, qui est de révéler, à travers le mode de l’aveu, l’anthropologue-comme-texte. On pensait autrefois qu’en anthropologie, le système de la vérité était basé sur l’écriture théorique. Maintenant, le journal est mis en évidence. L’héritage de Malinowski repose avant tout sur la sophistique utilisée pour réorganiser le système de vérité entre l’écriture théorique et l’intime, entre la monographie et le journal. Cette réorganisation des vérités est accomplie à travers Writing in Schein qui est mon idiome se référant au jeu textuel avec des composantes du discours destiné à produire la litterarité inspirée d’images brillantes dans l’art apollinien. Writing in Schein est alors la diffusion des apparences, qui amplifie la crise de la représentation entre la copie qui imite, et le simulacre qui invente, puisque la sophistique nécessaire pour aligner les éléments du discours est une folle simulation littéraire. Par l’acte unique du journal et son dévoilement prévu pour la postérité, Malinowski détruit l’enchainement de l’activité productive en anthropologie., Malinowski may have wished for his diary to be revealed posthumously in order to contest the intense focus on the scientific method, adopted in his time. The unveiling of Bronislaw Malinowski’s diary overthrows the dominance of explanations of social fact based solely on determinism, paving the way for what becomes known, during the 1960s, as the discursive turn. The diary offers insight into Malinowski’s impulse of vitality, along the existential concerns and narratives of personal experience, which are excised in the process of rewriting known to transform field notes into the type of formal expression that characterizes monographs. The anthropologist writes monographs for contemporaries by responding to their expectation of accounts backed by scientific evidence in a way that fosters concealment through censorship, automatisms and the larger category of subjectivity, as well as the possible time-relegation of the Other, which may result in discrimination against him. A positive public persona is stylized out of professional concern for properly staging the native-as-text. It is hypothesized that Malinowski possible future publication of the journal intends to compose its entries so as to make a posthumous contribution to anthropology. If that is true, the journal is the space where strategies of self-showing come to the fore, revealing the author’s assumed vulnerability. The unveiling of life experience is not the product of chaotic interior monologue or brooding, but has an end-goal which is to unveil, through the mode of avowal, the anthropologist-as-text. It was once thought that the anthropological system of truth is based on theoretical writing. Now, however diary is highlighted. Malinowski’s legacy rests foremost upon the sophistry used to reorder the system of truth between theoretical and intimate writing, between the monograph and the diary. This reordering of truths is accomplished through Writing in Schein, which is my idiom referring to the textual play with components of discourse intended to produce beautiful constructs inspired by shining images in Apollonian art. Writing in Schein is then the dissemination of appearances, which amplifies the crisis of representation between the copy that imitates, and the simulacrum that invents, since the sophistry required to align elements of discourse is a mad literary simulation. Through the single act of the diary and its unveiling planned for posterity, Malinowski destroys the sequence of productive activity in anthropology., Malinowski możliwie życzył sobie, aby dziennik został ujawniony pośmiertnie. Podsuwam hipotezę, że chciał on w ten sposób rzucić wyzwanie metodzie naukowej przyjętej przez ówczesną antropologię społeczną. Odsłonięcie dziennika Bronisława Malinowskiego odwraca uwagę od dominacji wyjaśniania faktów społecznych przez determinizm, torując drogę zwrotowi dyskursywnemu spopularyzowanego w dyscyplinie od lat sześćdziesiątych. Pamiętnik oferuje wgląd w impuls witalności Malinowskiego i jego obaw egzystencjalnych, które są strategicznie wykreślane z tekstu podczas przekształcania notatek terenowych w formalne wyrażenia, charakteryzujące monografie. Antropolog komponuje monografie dla współczesnych czytelników, konstruując tekstualne relacje poparte dowodami naukowymi i cenzurą automatyzmów, szerszej kategorii podmiotowości, a także czasowego degradowania Obcego. Postać publiczna antropologa jest stylizowana, aby poprawnie przedstawiać rdzennego-jako-tekst. Spekuluje się, że zastanawiając się nad swoją publikowalną przyszłością, Malinowski zamierza formułować wpisy do swojego dziennika, aby pośmiertnie przyczynić się do nauki o kulturze, i ludzkości. Jeśli to prawda, dziennik jest przestrzenią, w której ujawnia się jego rzekoma wrażliwość. Odsłonięcie doświadczenia życiowego nie jest wytworem chaotycznego monologu wewnętrznego, ale ma cel samo w sobie ujawnienia, poprzez poufałość, antropologa-jako-tekst. Kiedyś uważano, że w antropologii system prawdy opierał się na piśmie teoretycznym. Teraz dziennik jest podświetlony. Dziedzictwo Malinowskiego polega przede wszystkim na sofistyce, za pomocą której reorganizuje on system prawdy między pismem teoretycznym a prywatnym, między monografią a pamiętnikiem. Tę reorganizację prawd dokonuje się poprzez Scheinschrift, które jest moim idiomem odwołującym się do gry tekstowej mającej na celu wytworzenie systemu wyrazów piękna inspirowanych sztuką apollińską. Scheinschrift potęguje kryzys reprezentacji między modelem a kopiami. Scheinschrift jest zatem sofistyką niezbędną do zestrojenia elementów dyskursu i rozpowszechnienia pozorów, miejącymi na celu kształtowanie szalonej symulacji literackiej. Wyłącznym aktem pisma pamiętnika i jego odsłonięciem przeznaczonym dla potomności, Malinowski niszczy dawny łańcuch twórczej działalności antropologii., Creative dissertation.

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 63 (2015), issue 4. The painting Ascent into Heaven (88.8 x 39.9 cm; dendrological dating: 1482–1490) kept in the Palazzo Ducale in Venice is one of the four eschatological panels (the other three are: Earthly Paradise, Fall of the Damned, Hell) which probably were in the collection of the Venetian Cardinal Domenico Grimani in the 1520s. The panels’ original arrangement and function are unknown. The paintings are not signed and their attribution to Jheronimus Bosch (c. 1450–1516 ) is based largely on the grounds of stylistic criteria. In the study, I put Ascent into Heaven into two fundamental contexts for the iconographic analysis of this work: eschatological literature and Netherlandish/ Flemish painting and in the context of near-death experiences (NDE) as well. The answer to the question posed in the title of the study must remain twofold. On the basis of the data gathered in the study, the content of the painting can be comprehended by references to the most frequently quoted sources of inspiration for Bosch: one painting by Dieric Bouts (left wing of the Last Judgement Altarpiece; Lille, Palais des Beaux Arts), two illuminations by Simon Marmion (Le livre des sept Ages du monde; Brussels, Bibliothèque royale de Belgique, Ms. 9047, fols. IV & 12r) and a literary work Dat rike der ghelieven by Jan van Ruusbroec. Its content can be equally understood by reference to the role of the painter’s imagination (categories of inventio and fantasia), using his theological and astronomical knowledge. The above line of interpretation that emphasizes the influence of biblical logosphere, takes into account undeniable religious experience of the painter from ‘s-Hertogenbosch resulting from being a member of the Church. The factor of an epistemological importance which influences the form of the answer to the title question is hypothetical non-verifiable Bosch’s personal transcendental experience, thus it becomes impossible to evaluate the translation of what is spiritual (experience) into visual (image). Due to the elusive, not fully scientific nature of NDE this phenomenon should be excluded from the final conclusion.

The paper we present emerges as a theoretical reflection inside the Project AMATRA of the University of Granada, integrated into the European Project Technological on-line framework to integrate the work-flow of audiovisual accessible translation (WAVAT); CO. 262052. This project leaded by GIZERBITEK S.L. is orientated to create a technological website platform opens to any kind of users, where people, independently his functional characteristics can interact with any audiovisual resources. In the paper we defend the AD text as a new modern discourse, a coherence oral text and a speech act according to the five phases of the Quintilian Rhetoric: inventio, dispositio, elocutio, memoria and actio. We also offer examples of the main tropes and figures that ornament the AD text and made it a rhetorical discourse. El trabajo que presentamos surge como reflexión teórica dentro del Proyecto de investigación AMATRA del Departamento de Traducción e Interpretación de la Universidad de Granada. Se enmarca además dentro de los estudios de la audiodescripción para ciegos que llevamos realizando varios años. Gracias al software Taggetti, creado para etiquetar películas de la ONCE, hemos realizado incursiones en ámbitos culturales muy diversos como la Teoría de la literatura, el cine, la tecnología, la Didáctica museística, etc. En este artículo defendemos el texto audidescrito como un nuevo discurso moderno, como un texto oral coherente que se ajusta perfectamente a las cinco fases de la retórica quintiliana: inventio, dispositio, elocutio, memoria y actio. Para demostrar esta tesis ofrecemos una serie de ejemplos de unidades de significado de algunos guiones audiodescriptivos en las que aparecen los tropos más relevantes de la retórica clásica.

New Rhetorics has returned to the classical meaning of rhetoric as a science of discourse and not only as a study of literary figures. The contributions of contemporary linguistics, particularly pragmatics, to the analysis of discourse as «language in action» demonstrate the validity of the postulates of classical rhetoric. In this sense, it is perfectly possible to apply categories of rhetoric to the analysis of translation since it is a communicative activity that uses language as a means of transmission. However, it is convenient to overcome the traditional dedication at the most superficial level of elocutio and pay attention to other levels, be it before the performance of the discourse, such as intellectio, or being formants of it, such as inventio. We can consider the intellectio as the location of the author prior to the text from the point of view of field, mode and tenor. Inventio is an encyclopedia of topics and ways of treating them conditioned culturally and historically. The translation of a text can find problems at both levels that go beyond those strictly lexical, even if they end up being reflected in words. As an example, we use the translations into Spanish, with an intermediate language, of two poems by Ataol Behramoglu originally in Turkish.

Frente a su producción teatral o a sus novelas, la poesía de Antonio Gala ha sido mucho menos estudiada por la academia. En este artículo se realiza un acercamiento a la poesía de Gala, en concreto a su libro El poema de Tobías desangelado (2005), proponiendo una lectura, entre otras posibles, del poemario, que es una peregrinatio vitae y una peregrinatio amoris, en clave de lírica de viajes en particular y en clave de literatura de viajes en general. Para ello, tomando como referencia principal el trabajo de Idoia Arbillaga, se analiza y ejemplifica la concreción de las cuestiones retóricas propias del género presentes en el texto —inventio, dispositio, elocutio, etcétera— y se recopilan y organizan todos los elementos relativos al viaje, al paseo y al paisaje que Gala reúne en sus poemas —los vehículos utilizados, el contacto con otras culturas, sus religiones, sus monumentos, el compañero de peripecias, etcétera—. Compared to his theatrical production or his novels, Antonio Gala’s poetry has been much less studied by the academy. In this article, an approach to Gala’s poetry is made, specifically to his book El poema de Tobías desangelado (2005), proposing a reading, among other possible ones, of the book of poems, which is a peregrinatio vitae and a peregrinatio amoris too, in terms of travel lyric poetry in particular and in terms of travel literature in general. To do this, taking the work of Idoia Arbillaga as the main reference, the specific rhetorical issues of the genre present in the text are analyzed and exemplified —inventio, dispositio, elocutio, etc.— and all the elements related to the trip, also to the path and to the landscape, that Gala gathers in his poems, are collected and organized —the vehicles used, the contact with other cultures, their religions, their monuments, the companion, and so on—.