Dissertations / Theses on the topic 'Picture stones'

Picture stones were produced on the island of Gotland during the Iron Age, about 100-1150 AD. In this dissertation it has been made clear that biographical- and pre-iconographic perspectives enables new understandings of the stones. The wave-shaped cist stones, about 30 of the nearly 500 picture stones, were clearly produced as different from the axe- or mushroom-shaped large- and dwarf stones. This has been shown by their difference in shape, size and the frequency and placement of motifs. Reuses of cist stones does however concur with the other stones and suggest they were used for the same reasons and purposes. In this dissertation it has also been made clear that there is no concrete evidence that the cist stones were erected as cists constructions, especially for women or used for offerings. The term “small wave-shaped” picture stones has therefore been introduced as a substitute.

In the ongoing discussion about the gotlandic picture stones, there is a highly debated question if we can interpret their reuse in gotlandic churches as a ritual practice or not. Also, if the reuse was of ritual character, was it in order to oppress and humiliate an earlier faith?  Or to redeem and initiate the old faith into Christianity, in a respectful manner towards the past?      This work focuses on the churches with Romanesque architecture since they are the closest kept monuments that could shed more light on the time period that spans on the transition from Viking age to Middle age Gotland. The aim of the thesis is to shed more light on the period when the first stone churches on Gotland were built as a manifestation of Christianity. It is of great interest here to question how the first stone church builders on Gotland looked upon their forefathers and their past.       Investigations of how picture stones are placed and reused in Romanesque churches have been made, with overviews of their context and dating. This in order to contribute to the ongoing debate about the reuse of picture stones. The discussion is completed by pointing out clear examples of meaningful use in accordance to the churches heavily symbolic room and space. The Romanesque churches were seen as representations of the temple of Jerusalem. Connecting the placing of picture stones to the value of these churches room and space, can result in interpretations of continuity and cultural process.

This research focuses on the analysis of pictorial images from objects of Germanic/early Scandinavian cultures in order to discriminate elements which are only applied for decorative reasons from those which also express symbolic values. At the outset I introduced an interpretation of the terms �signs� and �symbols� in order to inform the reader to which extent these terms were applied. It appeared that techniques, such as the geographical and chronological classification, traditionally used by archaeologists and historians to analyse objects/artefacts, were not always sufficient enough to gain all information which images may offer. Sometimes it seems to be difficult to determine if certain images shown on objects from early mediaeval, central and northern European origin, were created as a space-filling decoration only or if they held additional, probably symbolic, information as well. I have investigated aspects from visual perception, as applied within the domains of psychology, visual art and design. The methods, as they are introduced in this thesis, can be used as a identification scheme, applied on objects of great diversity. I have applied them on guldgubber (little embossed gold foils), bracteates and Gotland picture-stones. Objects of great historical and geographic difference, as well as physical diversity, such as size and material were chosen purposely to create an overview of the symbolic expressions in Germanic/early Scandinavian artefacts and to test the extent of the identification method derived from the domain of visual perception. A detailed analysis of sixty four guldgubber, found in Lundeborg, near Gudme, on the island of Fyn (Denmark), is placed in an appendix. An analysis of these objects appeared to be particularly interesting because it is not known what the purpose of guldgubber were to the present day.

Andersson, J. 2008. Bildstenarna och den muntliga traditionen på Gotland under yngre järnålder. The Picture Stones and the Oral Tradition of Gotland During the Late Iron Age. Högskolan i Kalmar ht 2008.

This is a study of the picture stones of Gotland and the oral tradition connected to them. This study consists of two main parts; in the main part the discussion focus on the oral tradition and the continuity of the same, where the memory plays a significant role. It also contains a discussion of the physical environment and its influences of the oral tradition. The second part concentrates around the picture stones, the variation of the scenes and the numerous of them. 

Keywords: oral traditions, picture stones, late iron age, Gotland, Nordic mythology.

 

 

The ghost story--in all its forms--has haunted humans since the first tales of the strange and inexplicable were told around the campfires of pre-history. Such stories explore collective ideas of death and the afterlife, the eeriness of certain places, and the awe that is felt in the presence of the Unknown. Pictures of Lily and Other Stories contains three examples of the genre, each written in a different sub-genre. "Money," the story of an impoverished college student who gets a housesitting job that is more perilous than it first appears, owes much to the haunted house stories of British master M.R. James, while "Under the House" parallels the haunted love stories of Edith Wharton. Finally, the novella "Pictures of Lily" explores gothic themes in the tradition of Shirley Jackson and Oscar Wilde.

This study begins with a question: what are the formal attributes of narrative in the feminine? Structural analysis of narrative posits a universal narrative grammar based on the quest: a subject seeks an object. At its most abstract, a subject crosses a boundary. Within this teleological framework, the subject's progress is complicated by helpers and opponents. Teresa de Lauretis argues that this narrative grammar implicates binary, patriarchal gender. How is such a grammar transformed by feminist writing? Narratological analysis of Daphne Marlatt's How Hug a Stone and Nicole Brossard's Picture Theory permits systematic description at the three interpretive levels of fabula, story and text, and thus enables comparison with hypothetical universal narrative grammar. Narratological analysis illuminates the ways that both Marlatt and Brossard transform the quest into more open-ended, gender-neutral and female-positive forms. In How Hug a Stoner the narrator's quest for her mother becomes a journey into the mothertongue and the realm of the arche-mother. The quest structure is displaced from the structuring level of fabula to the level of story, where it is a function of the powerful focalization by a paradigmatic female subject-in-formation. In Picture Theory, Nicole Brossard develops a dialogic narrative grammar involving a multiple lesbian actant who separates, reassembles and generates energy. This energy guides the actant in a spiralling movement out of the circle of "f6minit6," towards the Utopia signified by a hologram of "la femme integrale." Both authors generate a fabula structure which thwarts the generically masculine and single questing hero. At the story level, Marlatt pushes focalization to the limits of language, and in so doing, provides formal criteria for "writing the body." Brossard refuses single focus, engaging multiple perspectives which "metamorphose mental space" and "open the mind." At the textual level, both authors construct meaning intertextually, thus acknowledging the collectivity of meaning. Both face the consequences of writing as a woman, and in so doing, contribute to a new epistemology which validates the experience of women.
Arts, Faculty of
English, Department of
Graduate

This central premise of this thesis is that Lars von Trier is a political director. Through a detailed formal analysis of five films I proceed to discuss the political implications of form, something that has not been acknowledged by scholarship so far. In this thesis, I employ Brecht as a methodological tool so as to discuss the shift from a dialectical cinema devoted to the production of knowledge effects, to a post-Brechtian one that brings together points of tension that remain unresolved. Chapter 1 proceeds to a historical evaluation of Brecht's reception in film theory and considers the ways that Brecht's theory and practice can address the cinematic and political concerns of the present. The chapter also locates von Trier under the rubric of the post-Brechtian by comparing him to past film practices. Chapter 2 moves to a discussion of von Trier's Europa trilogy and focuses on issues of historical representation. Emphasis is placed on formal elements that challenge the narrative laws of classical cinema. The chapter argues that von Trier follows Brecht's mistrust of a historical representation based on pictorial verisimilitude, without however sharing his forward-looking politics and his view of history as Marxist science. Chapter 3 discusses Dogme 95 and The Idiots (1998). Firstly, the chapter discusses Dogme's combination of a political modernist rhetoric with a realist one and places Dogme's return to the past in a historical context. Secondly, the chapter considers the role of performance as a formal and thematic element in The Idiots. I draw attention to the ways that the camera becomes performative and brings together material of dramaturgical importance with moments that are the product of cinematic contingency. My discussion is very much informed by contemporary post-Brechtian performance and film studies invested in the discussion of ‘corporeal cinema'. Chapter 4 discusses Dogville, a film with obvious references to Brecht. Unlike previous readings, I shift the emphasis from the film's assumed ‘Anti-Americanism' and proceed to a formal analysis that can rethink the film's politics and innovations. While Brecht has been thought to be as a fleeting presence in von Trier's films by most critics, this thesis suggests that our knowledge of von Trier's formal innovations can be deepened and enlivened by discussing them in conjunction with Brecht's theory. By returning to Brecht, we can also rethink the importance of form as the key to a film's politics.

Esta tese estuda a presença das histórias ilustradas de Wilhelm Busch (1832- 1908) no sistema literário brasileiro. Para tanto, ela analisa como o sistema literário alemão, registra a produção de Busch e como esta se constrói a partir de dois pólos de influência: a tendência humorística do periódico Fliegende Blätter (1845-1944), de que as histórias ilustradas buschianas parecem herdar uma porção, e a postura crítica em relação ao contexto sócio-histórico da comunidade de expressão alemã na segunda metade do século XIX, com o qual as histórias ilustradas buschianas mantêm uma relação dialógica. O estudo que aqui se desenvolve parte da prática da reflexão sobre o texto literário, de sua leitura e análise, a partir das quais foi possível encarar as histórias ilustradas buschianas não como fenômeno isolado de seu contexto nem como puro reflexo dele, mas como um dos elementos que influenciam e são influenciados no conglomerado sistêmico que é o ambiente cultural e literário de uma nação. Com essa concepção, este trabalho revela que, em que pese a permanência de sua obra no horizonte da literatura brasileira desde sua primeira tradução, em 1901, a imagem de Busch no cânone literário brasileiro, ou da literatura alemã instituído a partir do Brasil, apresenta uma assimetria com a que ele têm no sistema cultural alemão. Tal assimetria decorre da redução do potencial de significação que as histórias ilustradas buschianas apresentam nas suas versões traduzidas para o português, resultante da atuação de alguns dos agentes literários envolvidos nesse processo de transposição intercultural.
The present thesis points out the presence of Wilhelm Buschs picture stories (1832-1908) in the Brazilian literary system. For that matter, it analyses how the German literary system registers Buschs production and how it is constructed from two influence poles: the humorous tendency of the weekly German humor magazine Fliegende Blätter (1845-1944), from which it seems to have inherited a portion, and the critical posture related to the socio-historic context of the expressive German community in the second half of the XIX century, with which Buschs picture stories has a dialogic relationship. The study that here develops comes from the reflection about the literary text, its reading and analysis, from which it is possible to face Buschs picture stories, not as a phenomenon isolated from its context or as its reflex, but as one of the elements that both influence and are influenced within the systemic conglomerate, which is a nations cultural and literary atmosphere. With that conception in mind, this paper reveals that, despite the perpetuation of this work on the Brazilian literature horizon starting with its first translation, in 1901, Buschs image in the Brazilian literary canon, or the German literature established from Brazil, presents an asymmetry in relation to the one he has in the German cultural system. Such asymmetry comes from the reduction of the potential of meaning that Buschs picture stories bear in their versions translated into Portuguese, as a result of some of the literary agents involved in this intercultural transposition process.

La civilisation celtique insulaire se caractérisait par un fort substrat païen. Le sacré pouvait s’incarner dans toute chose et se matérialiser au sein du paysage, qu’il soit naturel ou aménagé par l’homme. Dès le Néolithique, la pierre fut adoptée afin d’honorer les divinités et son emploi perdura pendant de nombreux millénaires. Grâce aux sources textuelles vernaculaires, il est possible de recenser de nombreuses valeurs d’usage à l’élément lithique, puisqu’il fut aussi bien associé au domaine astronomique qu’à celui du funéraire. Son utilisation n’était pas dévolue à une seule catégorie d’individus, rois, guerriers et religieux pouvant tour à tour en avoir la jouissance. L’arrivée des émissaires de la nouvelle foi entre les Ve et VIe siècles bouleversa les rites et les pratiques des populations locales. Bien qu’elles se soient soumises aux préceptes du Dieu unique, elles réussirent à conserver des fragments de leur héritage qui perdurèrent par le biais du vieux fond mythologique, couché par écrit par les scribes médiévaux. La présente étude propose une incursion dans cette époque méconnue, où histoire et légende se mêlent
The insular Celtic civilization was characterized by a strong pagan substratum. The sacred was embodied in everything and could be observed in the landscape, whether natural or man-made. Since the Neolithic, stones were used to honor divinities and this practice continued for many millennia. Thanks to vernacular textual sources, it is possible to identify many uses of the lithic element, since it was associated with astronomy as well as with burial practices. However, it was not reserved to a specific group and kings, warriors, druids or clerics could all have access to it. With the arrival of the emissaries of the new Christian faith between the 5th and the 6th centuries, local rites and practices were disrupted. Although the Celtic people submitted to the precepts of the one God, they still succeeded in preserving fragments of their heritage that survived through their mythology as recorded by medieval scribes. This study is an attempt at a foray into an obscure period where history and legend merge

Qu'est-ce qui prédispose le Portugal, le Brésil, le Québec, et l'Indiana aux USA, à mettre en place des sites institutionnels des récits de vie comme les musées de la personne, contrairement en France, où des initiatives de ce genre relèvent de la vie privée ? Nous nous interrogeons sur la force que peuvent revêtir ces récits de vie vidéos et sur le choix de ces pays de les podcaster : s’agit-il de redonner la parole à toutes les générations, les rendre plus visibles ou audibles, dans le but de transmettre, de laisser des traces pour la postérité ? Quelle est la teneur des ces traces, et qu’est-ce qui s’opère dans l’interaction entre générations ? Nous recherchons à podcaster et étudier les traces sémiotiques, sémantiques, sémiologiques des récits de vie issus de ce réseau de sites « Musée de la personne » de ces 4 pays. Nous considérons que les traces de la mémoire vivante des récits présents sur des supports numériques ou audiovisuels, constituent un édifice aussi matériel qu’un musée dans un espace donné. Le récit de vie traduirait une immémorialité, « un mouvement permanent entre temps présent et temps passé, des informations ou des événements passés et présents marquent le dialogue présent ». Nous sommes en présence de normes nouvelles, mais surtout en présence de paradigmes successifs ou de mouvements paradoxaux de recontextualisation et de reconfiguration symbolique, au fur et à mesure que ces récits de vie se transmettent d’un citoyen à un autre. Ces récits et « ces pratiques mémorielles sont très vivants chez les Anglais et les Australiens ». Il nous semble que les récits de vie peuvent participer à la formation du lien social entre générations, entre citoyens nationaux et non nationaux. Ce lien social doit s’inscrire dans l'attention et la responsabilité portée et partagée entre ascendants et descendants. Ce programme d'attention aux générations s'appelle la « neguentropie ». Il s'agirait d'un programme éthique et responsable de l'attention portée à autrui, basé sur la générosité.Tous ces dispositifs d'attention, ces récits de vie doivent s’inscrire dans une « noopolitique » de la santé publique aussi bien physique que mentale. Il s'agit de prendre garde « aux déficits attentionnels et aux troubles intergénérationnels ». Un « psychopouvoir » devrait être mis en place par nos gouvernements au service « d'une politique industrielle des technologies de l'esprit »
What predisposes Portugal, Brazil, Quebec, and Indiana in the USA, to set up institutional sites of “life stories” on supports (media) videos (like virtual museums), unlike in France, where such initiative remains private life? We will try to focus on the strength of life stories, and we will try to understand why countries chose to podcast them. Actually, do they use life stories in order to hand over to the rising generation, and to make them more visible and audible, so that life stories are passing on and leave prints forever (to let posterity)? Besides, what is the content of these prints, and what do they occur to the generations? Also, what about the interaction between them? In fact, we will try to podcast and study semiotic, semantic and semiological prints of life stories that we can find on the following websites, called “Museum of the person" which is suitable for the four countries that we have previously mentioned. It seems that life stories prints found in digital and audiovisual media, are like a material building, as real as a museum in a given and real place. Moreover, we have to say that a life story is like a "permanent movement between the past and the present” that influences the present dialogue. We are facing with such new standards, especially with successive paradigms or paradoxical movements of recontextualization and symbolic reconfiguration, every time that a life story is told from a citizen to another. Life stories and memory passing down generation to generation, are very common to English and Australian people. It truly seems that life stories prints are part of a social link between all the generations, and also between national and non-national citizens. This important social link takes part of aspecific care/ attention to memories and their responsibility that are shared between ascendants and descendants. This care program is called "neguentropy". It is an ethical and responsible program based of the attention to others, and generosity. All this plan of actions, relying on the attention of life stories, should be part of a”physical and mental public noopolitic health program”. The aim is to face attention deficit disorder and intergenerational discord. Finally, a "psychopower" should be set up by our governments in order to serve an “industrial policy of spirit mind technology”

This dissertation investigates meaning-making in children's joint-reading transactions with literary apps. The analysis of meaning-making focuses on embodiment as a central aspect of literary app's texts and their reading and on children's negotiation of agency in the act of joint-reading. Meaning-making is understood through a multimodal social semiotics perspective, which considers that meaning is realised in the dynamic transaction between reader, text and social context. Therefore, the dissertation integrates the analysis of the apps and of the children's responses to capture the dynamics of meaning-making in such transactions. Case studies were conducted with six families, who read the apps The Monster at the End of This Book (Stone & Smollin, 2011) and Little Red Riding Hood (Nosy Crow, 2013) in an English public library. The central method of data collection involved video-recorded observations of parent-child joint-reading events, complemented by graphic elicitation, informal interviews and a questionnaire. The video data was analysed through multimodal methods. The findings indicate that the participant readers used their bodies not only as a material point of contact and activation of the interactive features but also as a resource for meaning-making in their transactions with the apps. The reader's body was essential in their engagement with the material and interactive affordances of the apps, in reader's expressions of their responses, and in the sharing of the reading experience with the parents. The body of the reader, through spontaneous and interactive gestures, is a mode of communication in the multimodal ecologies of both the text and the reader's responses. Furthermore, the child readers constantly negotiated their agency within the constraints posed by the text, which include the narrative itself and its interactive features, and those posed by the joint-reading situation. The bodies of the readers played an essential role in this dual negotiation of agency. Children's agency was scripted, that is, the readers exerted their agency within the limitations of a script. The script, however, allowed readers to improvise, and their performances also involved resistance to the script through playful subversion. In the joint-reading event, children's agency was foregrounded, positioning the children as protagonist readers, who performed most of the interactions and lived the aesthetic experience of the text fully, to the expense of their parents, who mostly participated as supporting readers, transferring their agency to the children through scaffolding.

Chequebook journalism is the convention of paying for stories. It is considered antithetical to good journalism, yet is essentially ignored in many codes of conduct. This research report investigates television actuality programs Carte Blanche, Special Assignment and Third Degree in which the theory, as well as the practice of chequebook journalism was discussed with the journalists and executive producers. Discussion expanded into other contingent, morally suspect areas of payment, and the lines they felt should not be transgressed. Four focus groups of viewers then debated chequebook journalism and the quality of these programs. It was anticipated that the practice of journalism would be in line with audience views yet the standard of journalism as herein established surpassed viewer estimation. Whereas the topic has been written of extensively in many first world Englishspeaking countries, no research has been conducted in South Africa, thus adding valuable information to the study of journalism.

碩士
國立高雄師範大學
視覺設計學系
102
Recently, many picture books focusing on the creation of a market, introducing a lot of features and customs or describing each of the city, let the public see the context of the landscape and feel the depth of the rich life. Kaohsiung, the Taiwan second largest city, its development of department stores and shopping malls was quite historic and diverse. From the Japanese colonial period, there were many different types and sizes of department stores. They were not only people’s collective memory, but also affected the urban transfer. They established differently unique features at different times. They were the very important players in the development of urban culture. Chapter one introduces the motivation , scope , and procedure of this creation. Chapter two investigates the picture books and the development of Kaohsiung department stores and shopping mall. Chapter three analyses the excellent works of picture books. Chapter four records the process and methods of this creation. The creation was based on a variety of old photographs and field photographs. The author drawed with pencil tracing and included the individually creative imagination. Finally, he used the computer software to color, and displayed the thirty realistic and funny pictures. The readers can have a historic trip and go shopping by reading the interesting book. They can also experience and understand the unique features and the city development of Kaohsiung.

He, Mali.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 104-112).
Abstracts in English and Chinese.
Abstract (English version) --- p.i
Abstract (Chinese version) --- p.iii
Acknowledgement --- p.v
Table of Contents --- p.vii
List of Tables --- p.ix
List of Figures --- p.x
Chapter Chapter 1. --- Local Media Industry in the Global Context --- p.1
Chapter 1.1 --- Introduction --- p.1
Chapter 1.2 --- The Issues of Globalization --- p.5
Chapter 1.3 --- Cultural Industries: Political Economy in Practice --- p.12
Chapter 1.4 --- Hollywood Reacquainted --- p.14
Chapter Chapter 2. --- Industrial Reforms and the Current Development of the Chinese Film Industry --- p.18
Chapter 2.1 --- Trajectory of the Chinese Film Industrial Reforms --- p.18
Chapter 2.11 --- The Internal Industrial Reform --- p.20
Chapter 2.12 --- The Reforms on External Policy --- p.22
Chapter 2.13 --- Closer Economic Partnership Agreement (CEPA) --- p.26
Chapter 2.14 --- Consequences of and Implications for the Chinese Film Industrial Reforms --- p.29
Chapter 2.2 --- A Glance at the Current Development and Dilemma in the Chinese Film Industry --- p.31
Chapter Chapter 3. --- Research Questions and Methodology --- p.39
Chapter 3.1 --- Analytical Framework --- p.39
Chapter 3.2 --- Research Questions --- p.42
Chapter 3.3 --- Methodology --- p.43
Chapter Chapter 4. --- The Analysis of Localization of the Foreign Media Capital in Crazy Stone --- p.48
Chapter 4.1 --- Trajectory of Warner Bros. Entering Mainland China Market --- p.49
Chapter 4.2 --- Investment Mode of Crazy Stone --- p.53
Chapter 4.3 --- Successful Strategies Contributing to the Success of Crazy Stone --- p.60
Chapter 4.3.1 --- Localization of the Creative --- p.60
Chapter 4.3.2 --- Localization of the Content --- p.65
Chapter 4.33 --- Localization of the Economic --- p.74
Chapter 4.34 --- Localization of Marketing Strategies --- p.80
Chapter 4.35 --- Success of Crazy Stone --- p.87
Chapter Chapter 5. --- Conclusion and Discussion --- p.89
Chapter 5.1 --- Localization as Prerequisites --- p.89
Chapter 5.2 --- "Localization, Regionalization and Globalization一A Chinese-specific Possible Film Development Model" --- p.92
Chapter 5.3 --- Implications for the Chinese Film Industry --- p.96
Chapter 5.4 --- Limitation and Discussion --- p.100
Notes --- p.104
References --- p.108
Appendices --- p.114
Appendix 1 --- p.114
Appendix 2 --- p.115
Appendix 3 --- p.116

碩士
國立臺中教育大學
美術學系碩士在職專班
104
The social environment of Peng Hu has been changing in surprising speed by the cultural impact of capitalism. There are many traditional affairs has been disappered without the connection among last, next and this generation. “Peng Hu” has been packing unlikly itself due to the massive warppings and marketing with the trade of the business and utilitarianism. The purpose of this creative research is the creative material transfered from the growing environment of ourself and life experience via old things and image from memories. Hope earnestly to recall experienced traditional, cultural emotion and temperature via the emotional reflection captured distinguishing feature and temperature of traditional culture in Peng Hu in order to concern the land, humanities and letters in Peng Hu. This creative researche stablished firmly the main subject of the creative content via seeking and capturing the remained image in Peng Hu through the certificate and extend from the sencod chapter-documentary information with the interview of practical investigation. At the mean time, absorbed to the subconsciousness and the dreaming performance in surrealism, and explored the creative performance and transform ways of country seeking among three different style arts. The third chapter-analyze to the creative picture thought of the author , and combine the subconsciousness of the surrealism and the picture hint that transformed the creative picture to the portrait hint. The fourth chapter-there are two series-“survivor” and “forerunner” to explain and analyze separately. Seeking and exploring the remained memories from growing time in brain via the process of the creative research and reestablished. The author can fill the gradual enlarged vacancy in memories and the now that becomes the past gradually in Peng Hu via the creative way of the picture. Anticipate to seeking the balanced point among the past, now and future, and the “memories” and the “traditional culture” could continue extending.

碩士
國立臺灣藝術大學
書畫系造形藝術碩士班
106
Before the discovery of Mawangdui's silk paintings, the Han dynasty’s paintings were almost based on picture stone and brick reliefs, and thus Han picture stones serve as the optimal reference source for studying aesthetics theories and life customs in the Han dynasty. This paper looks at the theme, expression, and production process of Han picture stone, and draws from them the source of creating paintings. Chapter 2 mainly presents the author's research on stone engravings. As the themes of picture stone are wide-ranging, the author roughly divides them into four categories: (1) social production and life related to the tomb owners; (2) stories about loyalty, filial piety, chastity, and righteousness; (3) mythologies; (4) dragon and phoenix totems. The presentation techniques fall into three parts: (1) production process; (2) carving techniques; (3) composition. Chapter 3 concerns the analysis of modern famous works, focusing on the copy art such as seal carving, printmaking, and pop art, which are similar to picture stones in rubbing techniques, and studying the similarities between the copy art and picture stone. In Chapter 4, the author brings current events into paintings based on Han picture stones. With popular animation protagonists or game characters as elements, the work is represented by simple images in the composition, such as Han dynasty tile combinations or the appearance of stone engravings, thus creating contemporary art styles. In addition, the author creates works with her own style using the techniques of sealing and rubbing, like pictorial seals, printmaking, and Western pop art.

The thesis focuses on the role of an adult-parents in the viewing and reading of a series of picture-free text books (so-called wimmelbuch) by S. Bernerová  Winter, Spring, Summer, Autumn, Night. The aim of the thesis is to describe what interactions occur between a parent and a child between two and three years of age when reading "picture books", so-called wimmelbuch. The theoretical part of the thesis deals with the topics of reading literacy development (especially for two-year and three-year-olds), pictorial books, books of the type wimmelbuch, adult as a children's book mediator, illustrations and reading rituals. The empirical part includes quantitative and qualitative research. The quantitative part of the research is based on data from an online questionnaire for parents of preschool children. In the framework of long-term qualitative research, the interaction between parent and child between two and three years of age in four selected families is monitored and described, while working with books of the type wimmelbuch by Susanne Berner. The result of the questionnaire is that more than half of the parents interviewed have some of books of the type wimmelbuch by S. Berner, and most of them think that these books are developing children's reading literacy. Most often, viewing/reading takes...

This thesis examines the influence of life experiences and personally significant texts on the formation of an individual’s personal and professional identity. Through autoethnographic exploration, the author explores the experiences and texts that have constituted his personal curriculum, shaped the way he views the world around him, and informed the role he hopes to embody as an educator. The author argues that by sharing our stories and analyzing the cultural artifacts we have connected with over a lifetime, we become more cognizant about and better equipped to take responsibility for the people we are in the process of becoming. The sharing and exploration of our lived curricular experiences, he suggests, may cause students to invest more heavily in their education and potentially foster more widely representative and meaningful school cultures.
Graduate
0727
0399
0401
travisrichey@hotmail.com

M.A. (English)
Victorian studies is a field much-studied and, during the century that has passed since the end of Queen Victoria‘s reign, literary criticism on the subject has been extensive. In the main, however, criticism has tended to focus on the protagonists of Victorian novels, whether to argue that their journeys are immoral, or represent a warning against immorality, or to examine their behaviour and so arrive at conclusions regarding identity. Through a close reading of Oscar Wilde‘s The Picture of Dorian Gray (1891), Robert Louis Stevenson‘s The Strange Case of Doctor Jekyll and Mr Hyde (1886), and Bram Stoker‘s Dracula (1897), and by focussing on the reactions and responses of Victorian society (as the texts represent it) to the novel‘s transgressive characters rather than on those characters themselves (as has been the trend) this dissertation moves away from readings of duality and moral judgment and towards a greater understanding of the intricacies of late-Victorian society itself. In addition, and through this process, this dissertation interrogates the bifurcated and contradictory nature of the Victorian moral structure and destabilizes the binary oppositions of character judgment that were so fundamental in its creation. Furthermore, through a discussion of the historical context of the text‘s chosen for this study, this dissertation challenges the formulation and authenticity of Victorian morality by considering the manner in which power informed the behaviour and decisions of middle-class Victorians at the turn of the century. To this end, I will consider how the philosophies of Friedrich Nietzsche, especially those pertaining to power and morality, are invaluable in problematizing the binary system of categorization that so dominated the late-Victorian cultural space. Finally, I argue that the texts I have elected to study represent a climate of unrest and dissatisfaction with the Victorian moral climate at the fin de siècle (or turn of the century) and that they are instrumental in our understanding of that moral climate and the subsequent changes to it.