Ma il mare bagna Trieste? La città “terraiola”

Le città di mare costituiscono dei limina che non sono delle frontiere ma delle aree di passaggio atte a concentrare energie molteplici. Trieste non fa del tutto eccezione, però presenta qualche particolarità. Anna Maria Ortese ha scritto che il mare non bagna Napoli, riferendosi ad alcuni quartieri poveri i cui abitanti non uscivano mai dai vicoli. Non sarebbe del tutto sbagliato pretendere che il mare non bagni neppure Trieste o, per lo meno, che si astenga dal bagnare gran parte della sua abbondante letteratura. Trieste è uno straordinario groviglio. È marittima, adriatica, sì, ma è per indole proprio terraiola come si suol dire dei tennisti che apprezzano la terra battuta. Terraiola perché la terra a Trieste ha un significato che forse il mare non ha. L’autentico terraiolo preferisce rimanere a fondo campo o addirittura dietro alla linea che ne segnala l’estremità. Non si avvicina alla rete e se lo fa sarà malvolentieri. Molti scrittori triestini non hanno provato una grande attrazione per la rete o, almeno, se non giocavano a tennis, per la rete dei pescatori

La guerre au théâtre : stratégie et dramaturgie

El presente estudio se interroga sobre la paradoja que plantea la representación de la guerra en el espacio escénico. Espacio bélico y espacio escénico son difícilmente reconciliables dadas sus características intrínsecas (entre otras, la tendencia centrífuga del primero y la centrípeta del segundo). Para salvar esta paradoja, los dramaturgos han desarrollado estrategias poético -retóricas como el uso de la metáfora, la metonimia y el fuera de escena. Por otra parte, el escenario a la vez que se instituye como espacio de una representación, se comunica con un espacio exterior que está más allá, pero que no se manifiesta siempre necesariamente. En virtud de esta vinculación, la representación de la guerra es atravesada por una serie de mediaciones. En primer lugar, la circulación de aquello que "flota" entre el escenario y el afuera del escenario, que los tropos (metáfora, metonimia) permiten recuperar al menos virtualmente. En segundo, el vestigio del episodio guerrero, inscrito en la Historia, que, en tanto vestigio, oscila entre la presencia y la ausencia. Finalmente, las restricciones del teatro mismo y sus principios éticos y estéticos, que trasforman la guerra en sus modos de manifestación espontáneos. El presente trabajo analiza la articulación de estas instancias en obras de Esquilo, Shakespeare y Genêt.This paper ponders over the paradox of the representation of war on stage. Martial space and scenic space are almost irreconciliable due to their intrinsic traits (among others, the former's centrifugal tendency and the latter's centripetal one). To solve this paradox, playwrights have developed poetic-rhetoric strategies like metaphor, metonymy, and off-stage. In addition, the stage which stands as the space of representation, at the same time communicates with an outer space beyond itself, which is not always made explicit. It is due to this bond that the representation of war is crossed by a series of mediations. First, the circulation of that which floats between the stage and the off-stage, and which the tropoi (metaphor, metonymy) allow to retrieve, at least virtually. Second, the vestige of the war event, inscribed in History, which as such vestige oscillates between presence and absence. Finally, the restrictions of drama itself, and its ethic and aesthetic principles, which transform war into its spontaneous modes of manifestation. This paper analyzes these instances in the works of Aeschylus, Shakespeare, and Genêt.Fil: Westphal, Bertrand. Université de Limoge

Le paysage mental, un, personne, cent mille

1. « Un, personne, cent mille », voilà les chiffres qui s’appliquent le mieux à ce que l’on appelle le « paysage mental ». Chacun formule le sien et donc le paysage mental n’existe pas, et s’il existe c’est dans le jeu de ses variations infinies. Il échappe à la géométrie euclidienne. Il est insaisissable. « Un, personne, cent mille ». En effet, la situation présente quelque trait pirandellien. Comme le nez de Vitangelo Moscarda, héros du célèbre roman de Pirandello, le lieu que nous dessino..

Entretien avec Bertrand Westphal

Jean-Marc Moura Dans votre récent ouvrage, La cage des méridiens (Minuit, 2016), vous écrivez : “La littérature et les arts sont appelés à tracer, à identifier des connexions qui activeraient la carte d’un monde renouvelé”. En quel sens pourrait s’opérer ce renouvellement littéraire ? Bertrand Westphal Il n’est guère original de le dire, mais tant pis : nous habitons une planète dont beaucoup de gens conservent une vision superficielle, la vision d’une surface homogénéisée bâtie sur des réfl..

Les référents du littéraire

Le processus de création littéraire, qu'essaie d'appréhender l'étude de l'arrière-texte, met en jeu un triple rapport : au monde extérieur, théâtre de nos vies individuelles et collectives, au monde intérieur des pensées conscientes ou inconscientes, aux œuvres littéraires ou artistiques qui font jouer ensemble ces deux mondes. Dès lors se repose la question du ou plutôt des référents, cette catégorie hétérogène étant envisagée ici sur un mode pluriel. L’espace – géographique, psychique, sémiotique – pourrait être la notion aidant à concevoir l’articulation de cette pluralité à l’œuvre dans la relation littéraire

With greater power comes greater responsibility? takeover protection and corporate attention to stakeholders

Using takeover protection as an indicator of corporate governance, this study examines how an exogenous shift in power from shareholders to managers affects corporate attention to non-shareholding stakeholders. Two competing hypotheses are entertained. The shareholder view predicts that stronger takeover protection will lead to a decrease in corporate attention to shareholders and non-shareholding stakeholders alike, as managers divert resources from shareholders to the pursuit of their private interests. The stakeholder view, in contrast, predicts that stronger takeover protection will increase corporate attention to non-shareholding stakeholders. Because catering to non-shareholding stakeholders contributes to the long-term value of the firm, managers will be more likely to attend to those stakeholders when relieved from short-termism triggered by the threat of hostile takeovers. Using a sample of 878 U.S. firms from 1991 to 2002, the study finds that an exogenous increase in takeover protection leads to higher corporate attention to community and the natural environment, but has no impact on corporate attention to employees, minorities, and customers. Additional analyses show that firms that increase their attention to stakeholders experience an increase in long-term shareholder value. These findings provide additional evidence that relief from short-termism is a likely source of the increase in corporate attention to non-shareholding stakeholders following the increase in takeover protection. Copyright © 2008 John Wiley & Sons, Ltd.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/61437/1/733_ftp.pd

The Way to the Top: Career Patterns of Fortune 100 CEOs

How have the CEOs of Fortune 100 companies worked their way to the top position? Are there several paths to the top, or have most present-day CEOs moved up the ranks in a similar fashion? We examine the employment trajectories of all of the current Fortune 100 CEOs across their entire working careers to answer these questions. The analysis developed in this article is carried out in two steps. We first use sequence analysis to find the patterns that are characteristic of the career paths of these CEOs. We then apply clustering techniques to identify distinct groups of career paths that have led individuals to the uppermost management level. Our results show that the careers of the Fortune 100 CEOs have largely followed traditional career paths that are symbolized by steady progression toward more responsibility, little mobility between firms and industries, and a strong focus on general management functions