The concept of border of document allows us to deploy the significant content of a document in several regimes of meaning. A document can be studied as a semiotic mediation according its communicational intention (intention to inform, intention to signify, intention to inform oneself, intention to interpretate). After studying those values of the document, the question is about whether a documentary border persists unchanged when regimes of meaning are updated. The slipping of documentary borders is examined through the content of the diverse works of Jocelyn Bonnerave. His doctoral thesis in anthropology documenting practices in performing arts influenced his theatrical work and his literary research. Bonnerave uses his notebooks of field observations in both his scientific papers and his artistic productions at the same time. Thus, the ambiguous status of the notebook is studied to analyze the metamorphosis of the documentary subject. The oscillation between informational content and aesthetic aspect allows attention to document aesthetics and constitutes a new perspective in the study of the document.
International audienceDocumentary languages are professional tools aiming at condensing information which are presented as systems of knowledge representation. Here, they are studied as discourses creating their own system of representation and generating a process of particular stereotyping. This stereotyping relies on the notion of documentary artifice and depends on the three types of semantic relations: equivalence relations, hierarchical relations, associative relations. These relationships set up the context of documentary unit signification. The first stage of this stereotyping lies in the principle of documentary fixedness. According to this principle, the meaning of a unit is first stabilized by the equivalence relations which give it its documentary status, and then fixed by the hierarchical relations which place it within an identified thematic class. Its second stage is linked to the phenomenon of documentary fragmentation achieved by the associative relations. These relations cast the signified of the unit into one (or several) domain(s) which is(are) different from its initial inscription class.Los lenguajes documentales, herramientas profesionales de condensación de la información, se presentan como sistemas de representación del conocimiento. Su estudio como discursos que producen su propio sistema de representaciones y generan un estereotipaje singular es el objeto de este artículo. Dicho estereotipaje convoca la noción de artificio documental y depende de tres tipos de relaciones semánticas que fabrican el contexto de significación de las unidades documentales. Su primera etapa consiste en la fijación documental que estabiliza el significado de una unidad a través de relaciones de equivalencia que le otorgan su estatus documental, y luego la fija entre las relaciones jerárquicas que la inscriben en un marco temático identificado. Su segunda etapa tiene que ver con el fenómeno de fragmentación documental que operan las relaciones asociativas,Les langages documentaires, outils professionnels de condensation de l’information, se présentent comme des systèmes de représentation des connaissances. Ils sont ici étudiés comme des discours produisant leur propre système de représentations et générant un processus de stéréotypage singulier. Ce stéréotypage, qui s’appuie sur la notion d’artifice documentaire, dépend des trois types de relations sémantiques qui fabriquent le contexte de signification des unités documentaires. Sa première étape réside dans le principe de figement documentaire selon lequel la signification d’une unité se trouve stabilisée par les relations d’équivalence qui lui octroient son statut documentaire, puis figée par les relations hiérarchiques qui l’inscrivent dans un cadre thématique identifié. Sa seconde étape relève du phénomène de fragmentation documentaire réalisé par les relations associatives qui projettent le signifié de l’unité dans un (ou plusieurs) autre(s) domaine(s) que sa classe d’inscription première
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