References of "Mingazova, Ella"
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See detailSlowness as Effect: Readability as Norm
Mingazova, Ella ULiege

Conference (2020, March)

Detailed reference viewed: 26 (3 ULiège)
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See detailDurée et découpage temporel dans le texte littéraire
Mingazova, Ella ULiege

Conference (2019, September)

Detailed reference viewed: 28 (1 ULiège)
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See detailBlank Space and the Aesthetic of the Brief
Mingazova, Ella ULiege

Conference (2019, March)

Detailed reference viewed: 30 (2 ULiège)
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See detailSlowness as Effect in Reading Proust
Mingazova, Ella ULiege

Conference (2019)

Detailed reference viewed: 23 (2 ULiège)
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See detailSlow Travel Writing: Anik See’s Saudade: the Possibilities of Place
Mingazova, Ella ULiege

in Studies in Travel Writing (2019), 23(2), 175-187

The Slow Travel movement encourages tourists to use slower modes of transport, to leave the beaten track, to meet locals and to learn some basics of the foreign language. All of these principles have been ... [more ▼]

The Slow Travel movement encourages tourists to use slower modes of transport, to leave the beaten track, to meet locals and to learn some basics of the foreign language. All of these principles have been present in travel writing for almost two centuries. Despite the importance of slowness for the genre, little attention has been given to this subject in travel writing studies. This article contends that the valorisation of slowness in travel writing is intertwined with some of its central features such as nostalgia, the experience of place and the traveller/tourist dichotomy. Slowness, the essay argues, shaped the genre as we know it today. The focus of the discussion is on Anik See’s Saudade: the Possibilities of Place (2008), which echoes traditionally formulated ideas about the importance of slowness for travelling and relies on a contemporary understanding of slowness as a trope of resistance to the excesses of capitalism. [less ▲]

Detailed reference viewed: 36 (5 ULiège)
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See detailThe Double-take of Seeing: On Teju Cole's Small Fates
Mingazova, Ella ULiege

in Image and Narrative: Online Magazine of the Visual Narrative (2018), 19(3), 144-156

From February 2011 to February 2013 Teju Cole posted Small Fates, a series of tweets condensing news briefs from Nigerian papers. His main source of inspiration for this literary project was Félix ... [more ▼]

From February 2011 to February 2013 Teju Cole posted Small Fates, a series of tweets condensing news briefs from Nigerian papers. His main source of inspiration for this literary project was Félix Fénéon’s Novels in Three Lines, a series of faits divers famous for their literary style published in 1906 in the French newspaper Le Matin. In his recommendations for the new millennium, Italo Calvino urges literature to “aim at the maximum concentration of poetry and of thought,” considering the accelerated lifestyle this “postindustrial era of technology” should bring about. Teju Cole’s choice of the fait divers as a model for Small Fates is particularly interesting in this regard. Just as Cole’s microfictions, Fénéon’s Novels in Three Lines are anchored in the cultural context of mass media and the feeling of acceleration and compression they occasion. As phrased by Luc Sante, Fénéon’s writings are narratives “compressed into a single frame, like photographs.” The literary effect of Cole’s tweets likewise relies on condensation at the levels of length and narrative, which allows for the instant perception of the entire literary work through sight. Their textual density, however, slows down the rapid and distracted form of reading usually associated with digital media. [less ▲]

Detailed reference viewed: 56 (2 ULiège)
See detailPenser la lenteur et la durée en fiction
Mingazova, Ella ULiege

Scientific conference (2018, October)

Detailed reference viewed: 27 (0 ULiège)
See detailÉcoulement du temps dans Zone de Mathias Enard
Mingazova, Ella ULiege

Conference (2018, May)

Dans cette contribution, j’examine la relations entre digression et lenteur narrative dans Zone (2008) de Mathias Enard. Ce roman de plus de 500 pages, écrit en une seule phrase – ou plutôt une partie de ... [more ▼]

Dans cette contribution, j’examine la relations entre digression et lenteur narrative dans Zone (2008) de Mathias Enard. Ce roman de plus de 500 pages, écrit en une seule phrase – ou plutôt une partie de phrase car le roman commence in media verba – fonctionne entièrement sur des procédés digressifs. Zone raconte l'interminable voyage en train de Francis Mirkovic, un ancien espion franco-croate, sous forme de monologue intérieur. En route vers le Vatican pour y acheter sa liberté grâce à des informations confidentielles, il est prisonnier de la lente avancée du train, tout comme le lecteur est lui aussi piégé par l’interminable phrase du roman. À l’avancée linéaire du train s’oppose la tortuosité de la pensée de Francis, tendue vers le passé, et exprimée par les détours de la digression. Ces digressions ont une fonction dilatoire car elles entravent la progression linéaire mais permettent l’inévitable avancée de la phrase et la révélation de l’intrigue tout en la ralentissant. Elles sont responsables de la longueur du roman; pour reprendre une expression de Tiphaine Samoyault, la longueur y mime l’écoulement du temps. De plus, elles superposent plusieurs couches temporelles et spatiales pour former les strates du dense récit : au passé de Francis se superposent de nombreux conflits historiques : guerre de Troie, deuxième guerre mondiale, les Guerres de Yougoslavie... L’envie de sauter ces passages ne peut être comblée car elles forment le coeur même du roman. [less ▲]

Detailed reference viewed: 44 (2 ULiège)
See detailPlaying the Accordion: On Narrative Slowness in Literature
Mingazova, Ella ULiege

Conference (2018, April)

Although narrative rhythm is regarded as a crucial aspect of literary fiction, relatively little attention has been devoted to the subject. One way of measuring variations in narrative rhythm has been ... [more ▼]

Although narrative rhythm is regarded as a crucial aspect of literary fiction, relatively little attention has been devoted to the subject. One way of measuring variations in narrative rhythm has been popularized by Gérard Genette (1972), who defines it as the relationship between the duration of the story and the length of the narrative. Rather than adopting this “intra-textual approach” (Toolan 2001), this presentation focuses on narrative rhythm, more precisely on narrative slowness, in its relation to narrative progression. As remarked by Meir Sternberg (1978), retardatory structure is a direct result of the temporal nature of narrative fiction: since the text is perceived successively by the reader a certain delay in the disclosure of relevant information is absolutely inevitable. This property of the literary medium allows for the creation and manipulation of the reader’s expectations. Strategic slowing down plays an essential role in the creation of narrative suspense, for instance. However, at its most extreme, narrative slowness can, on the contrary, impede the narrative progression and result in a failure to capture the reader’s attention thereby producing boredom. This phenomenon, related to concepts of eventfulness and duration, is sometimes exploited by authors in order to create a particular effect. This can be achieved through numerous narrative strategies, for example, by using repetitions and lengthy descriptions. This presentation focuses on the strategy of stretching the telling of an action in works such as Michel Butor’s La Modification, Nicholson Baker’s The Mezzanine and Kenneth Goldsmith’s Fidget. With the help of the concept of the “accordion effect” (Feinberg 1965, Davidson 1993), which posits that the description of an action can be contracted or endlessly stretched out, this presentation attempts to shed a new light on the relation between narrative rhythm and the length of the narrative. [less ▲]

Detailed reference viewed: 52 (2 ULiège)
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See detailLenteur dans le texte romanesque : entre excès et minimalisme
Mingazova, Ella ULiege

Conference (2018, March 16)

La lenteur en littérature est souvent pensée comme le résultat d’une préférence donnée aux temps faibles sur les temps forts. Cette préférence entraverait la progression narrative et ralentirait donc son ... [more ▼]

La lenteur en littérature est souvent pensée comme le résultat d’une préférence donnée aux temps faibles sur les temps forts. Cette préférence entraverait la progression narrative et ralentirait donc son développement. Une manière de penser le temps fort et le temps faible en narratologie a été formulée par Roland Barthes dans « Introduction à l'analyse structurale des récits » (1966), laquelle procède à l’aide de la distinction entre ce qu’il nomme le noyau et la catalyse. Les noyaux constituent « les charnières du récit » et forment l’armature chronologique et logique de l’histoire. Les catalyses complètent les noyaux et constituent des zones de repos. En d’autres termes, les noyaux correspondent aux événements ou temps forts de l’histoire qui s’enchaînent pour former l’intrigue de l’œuvre. Cet enchaînement logique de temps forts est la condition minimale pour qu’une narration soit comprise comme telle et est de plus ce qui fait son intérêt pour le lecteur. Les temps faibles ou catalyses, quant à elles, viennent compléter ces moments notables. La préférence donnée au temps faible dans le récit lent, qui évacue presque entièrement les événements au sens narratif, permet de comprendre pourquoi la lenteur est souvent associée à l’excès : excès de descriptions, de répétitions, de digressions ou encore, de façon plus générale, d’excès de sujet, comme le postule Pierre Bayard dans Le Hors-sujet: Proust et la digression. Cette communication examinera la relation entre temps faible et lenteur, plus complexe qu’il n’y paraît au premier abord, dans le roman La Salle de bain (1985). Ce roman de Jean-Philippe Toussaint est structuré autour de temps faibles où, comme le remarquent Marie-Pascale Huglo et Kimberley Leppik, « presque rien de notable ou de “ narrable ” ne survient ». Or, il s’agit d’un texte court, laconique et fragmentaire et régulièrement décrit comme minimaliste, se situant donc loin de l’excès de sujet proustien. Le but de cette intervention sera de démontrer qu’une autre conception de la lenteur, centrée sur l’absence de noyaux, y est en jeu. [less ▲]

Detailed reference viewed: 54 (2 ULiège)
See detailIntroduction to "Planned Obsolescence: Texts, Theory, Technology"
Guesse, Carole ULiege; Dupont, Bruno ULiege; Mingazova, Ella ULiege

Conference (2016, December)

As organizers, Bruno Dupont, Ella Mingazova and myself welcomed the participants and introduced the conference.

Detailed reference viewed: 89 (19 ULiège)
See detailPsycho in the Desert: Slowness in Don DeLillo’s Point Omega
Mingazova, Ella ULiege

Conference (2016, October)

Detailed reference viewed: 14 (0 ULiège)
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See detailA Slow Avalanche: Scales in Jon Fosse's ‘Dreamed in Stone’
Mingazova, Ella ULiege

Conference (2016, March)

Detailed reference viewed: 25 (2 ULiège)
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See detailFrédéric Dumas, Mark Twain : Tourisme et Vanité
Mingazova, Ella ULiege

in Lectures (2016)

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See detailSlowness and the Anthropocene: Don DeLillo's Point Omega
Mingazova, Ella ULiege

Conference (2015, April)

Detailed reference viewed: 36 (0 ULiège)