Dissertationen zum Thema „Character voice“
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Swickard, Michael. „Defining a Character Through Voice Quality: An Analysis of the Character "George" in Sondheim and Lapine's Sunday in the Park With George Using the Estill Voice Model“. Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2800.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
Veninger, Laurie Rose. „Mothers in two contemporary women's autobiographies : a linguistic study of voice, character and relationship“. Thesis, Lancaster University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.587550.
Timmins, Will Nicholas. „Out of character? : the voice of the 'I' and Christian identity in Romans 7“. Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708558.
Rusanen, Sirius. „Character voice in subtitles: a case study of the Japanese subtitles of The Witcher“. Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37461.
Holmes, William Paul. „Voice input for the disabled /“. Title page, contents and summary only, 1987. http://web4.library.adelaide.edu.au/theses/09ENS/09ensh749.pdf.
Typescript. Includes a copy of a paper presented at TADSEM '85 --Australian Seminar on Devices for Expressive Communication and Environmental Control, co-authored by the author. Includes bibliographical references (leaves [115-121]).
Byun, JaeHwan. „EFFECTS OF CHARACTER VOICE-OVER ON PLAYERS' ENGAGEMENT IN A DIGITAL ROLE-PLAYING GAME ENVIRONMENT“. OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/595.
Vass, Verity. „Aspects of narration and voice in Zora Neale Hurston’s Their Eyes Were Watching God“. The University of the Western Cape, 2017. http://hdl.handle.net/11394/6467.
Zora Neale Hurston is a significant figure in American fiction and is strongly associated with the Harlem Renaissance, the period noted for the emergence of literature by people of African-American descent. Hurston worked as a writer of fiction and of anthropological research and this mini-thesis will discuss aspects of her novel, Their Eyes Were Watching God, first published in 1937. While the novel traces the psychological development of the central female character, Janie Mae Crawford and, thus, demonstrates several features of a conventional Bildungsroman, the novel also contains some intriguing innovations in respect of narration and voice. These innovations imply that the novel can be read in terms of the qualities commonly associated with the Modernist novel. This contention becomes significant when it is understood that a considerable degree of critical responses to the novel have discounted these connections. The novel is widely accepted to be a story about a woman’s journey to self-actualisation through the relationships she has with the men in her life. Much of the criticism related to the novel is based on this aspect of it, with many stating that Janie’s voice is often silenced by the third-person narrator at crucial moments in the text and that, as a consequence, she does not achieve complete self-actualisation by the end of the novel. This thesis will examine the significance of the shifts between first-person and thirdperson narration and the manifestations of other voices or means of articulation, which give the novel a multi-vocal quality. The importance of this innovation will also be considered, particularly when it is taken into account that Hurston sought to incorporate some elements associated with the oral tradition into her work as a writer of fiction.
MacRae, Marianne. „A Rat-Shaped Tear ; and, Beyond the other : animals in the poetry of D.H. Lawrence, Elizabeth Bishop and Marianne Moore“. Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33081.
Válková, Jana. „Formy zadávání a zpracování textových dat a informací v podnikových IS - trendy a aktuální praxe“. Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-114263.
Stenquist, Sanya. „Having a voice : Representation in fiction and why it matters“. Thesis, Mälardalens högskola, Hälsa och välfärd, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-28310.
Felicio, Gisele Montoza. „Mulheres de vida dupla: as singularidades de Virgília, de Machado de Assis e de Lavínia, de Marçal Aquino“. Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/2180.
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Knowing human behavior and the societies through the literary text, without losing its artistic character, it becomes a research as possible when considering that each novel brings various social voices that reveal the thought or ideology of an age, according to Mikhail Bakhtin.. It will be analyzed in this study how the 19th century and contemporary societies react in front of women who live a double life. Machado de Assis introduces us, in Memórias Póstumas de Brás Cubas (2012), Virgília that through dissimulation maintains a double life. Marçal Aquino, in Eu receberia as piores notícias dos seus lindos lábios, features a protagonist Lavínia, which by means of psycho-emotional instability also maintains a double life.
Conhecer o comportamento humano e as sociedades por meio do texto literário, sem perder seu caráter artístico, torna-se uma pesquisa possível ao considerar que cada romance traz várias vozes sociais que revelam o pensamento ou a ideologia de uma época, de acordo com Mikhail Bakhtin. Será analisado no presente trabalho de que modo as sociedades oitocentista e contemporânea reagem diante de mulheres que vivem uma vida dupla. Machado de Assis nos apresenta, em Memórias Póstumas de Brás Cubas (2012), Virgília que por meio da dissimulação mantém uma vida dupla; Marçal Aquino, em Eu receberia as piores notícias dos seus lindos lábios (2011), apresenta uma protagonista Lavínia que por meio de sua instabilidade emocional e psicológica mantém uma vida dupla.
Ferguson, Beth Rosemary. „"What is the Best Thing About You?" An Exploratory Study of How Young Children Perceive Character Strengths“. Thesis, University of Canterbury. School of Educational Studies and Human Development, 2008. http://hdl.handle.net/10092/1068.
Gilfix, Hannah L. „Character Strengths of Ninth Grade Students in Accelerated Curricula: A Mixed-Methods Investigation“. Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7796.
Belmonte, Angelo. „Voices of lay principals : promoting a Catholic character and culture in schools in an era of change /“. [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19679.pdf.
Tuerk, Cynthia M. „"Harmless delight but useful and instructive" : the woman's voice in Restoration adaptations of Shakespeare“. Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/14895.
Dawber, Carol. „Voices of the West Coast: An investigation into the development of a distinctive West Coast character in New Zealand fiction“. Thesis, University of Canterbury. Humanities, 2012. http://hdl.handle.net/10092/7106.
Pakhomova, Natalia. „Marginal voices : Sergei Dovlatov and his characters in the context of the Leningrad literature of the 1960s and 70s“. Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38255.
Marginality unifies Dovlatov's art. This is evident in his marginal status as a writer in and outside the Soviet Union, and in his writing which uses the underappreciated short form of narration (the novella and short story), develops a non-traditional conversational style, pursues the themes of non-conventional behaviour and introduces eccentric characters.
However, it is not possible to discuss Dovlatov's status as a marginal writer without contextualizing his life and art in the ambience of the entire generation of Leningrad writers of the sixties. Writers and poets such as Brodskii, Goliavkin, Gubin, Vakhtin and Ufliand do not only represent the culture of Leningrad's artistic non-conformists, they are also Dovlatov's prototypes and protagonists. Apart from their marginal status, all these writers shared the determination to make independent choices in life and in art. They refused to be viewed as marginal authors by the dominant canon, which disregarded their works as insignificant. Here as well marginality emerges as a literary concept and a behavioural model, shaped by societal norms (the positive type of citizen or official Soviet writer) and traditional canons (the Russian didactic tradition or Soviet ideological writing). This literary concept includes an orientation towards American literature, the creation of marginal characters and themes as well as an exploration of different styles.
The works of writers of the Leningrad circle laid the foundation for the emergence of a literary phenomenon such as Dovlatov. It is in delineating this context that this dissertation demonstrates Dovlatov's original approach to marginality, as well as the way he turned his life experience into literature and became a spokesman for neglected fellow writers and citizens.
Ahmad, Ramiar. „The influence of yakuwarigo and gendered language on character portrayals : A case study of the Japanese translation of Harry Potter and the Chamber of Secrets by JK Rowling“. Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37450.
Sheppard, John W. „An Impact Study on Commitment to Obeying God's Voice Through a Small Group Study of Israel's Wilderness Journey“. Ashland Theological Seminary / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=atssem1608379124444879.
Ryttermalm, Karin. „The weak voice of the witches : A comparison of adjectives between male and female characters in Harry Potter and the Philosopher’s Stone and Harry Potter and the Half-Blood Prince“. Thesis, Södertörn University College, School of Language and Culture, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2476.
Boso, Ednéa Aparecida da Silva [UNESP]. „Mulheres em transgressão: a visibilidade da voz feminina em Vozes do deserto de Nélida Pinõn“. Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/94085.
O objetivo deste trabalho é demarcar o espaço da escritora Nélida Piñon na literatura de autoria feminina, refletindo sobre as vias de acesso que se abriram quando ela retomou uma das personagens mais conhecidas e míticas da história da Literatura Universal, Scherezade, no romance Vozes do deserto (2004). Este estudo permitiu que se realizasse uma reflexão mais acurada sobre a construção desta personagem a partir da perspectiva da critica feminista (SHOWALTER, 1994) e que se revelasse a condição feminina em um sistema hegemônico, coercivo e patriarcal que legitima as situações de poder, submissão, opressão e violência em relação às mulheres. Sendo assim, este trabalho é um convite para que se conheça a contribuição de Nélida Piñon à luz da evolução contemporânea e da emancipação consciente das mulheres que ousaram transgredir os limites do tempo e espaço em prol de sua visibilidade, independência, liberdade e reconhecimento como sujeito da história. Esses aspectos permitem contemplar as três fases: feminina, feminista e mulher, da literatura de autoria feminina estabelecidas por Elaine Showalter. Apesar de esta obra de Nélida Piñon ser ainda pouco estudada pela crítica brasileira, ela é importante também para os estudos da ginocrítica devido ao discurso crítico especializado sobre os textos produzidos por mulheres. Esta dissertação pretende valorizar o ser mulher que protagoniza não somente a história, mas a ascensão do seu próprio destino no mundo. Em conclusão, a escritora é nome de relevo para o universo literário brasileiro, sendo uma profunda conhecedora da história das mulheres e, portanto, atenta e comprometida com o atual cenário sócio-político cultural brasileiro
The genesis of this work is to demarcate the area of the writer Nélida Piñon in the female authorship literature reflecting about the access roads that were opened when the author retook one of the most well-known and mythical character of the Universal Literature – Scherezade – in the novel Voices of the Desert (2004). So, this study allowed to realize a more accurate reflection about this character’s construction from the perspective of feminist criticism (SHOWALTER, 1994) bringing out the feminine condition in a hegemonic system, coercity and patriarchal that legitimizes the power situations, submission, oppression and violence against women. Therefore, this work is an invitation to know Nélida Piñon’s contribution in contemporary evolution and women’s emancipation awareness who dared to transgress the boundaries of time and space to promote their visibility, independence, freedom and recognition as a subject of the history. These aspects allow to gaze on the three phases: feminine, feminist and female of the Women’s literature established by Elaine Showalter. Although this novel has been little researched by Brazilian criticism yet, it is also important to the gynocritical studies because the gynocriticism speech is a critical and specialized speech about texts written by women. So, this dissertation intends to enhance (value) the female who stars not only the history but makes possible the rise of her own destiny in the world. To conclude, the writer is outstanding name for the Brazilian Literary Universe and she demonstrates a deep knowledge about women’s history and, therefore, attentive and compromised with the current social political and cultural Brazilian scenery
Boso, Ednéa Aparecida da Silva. „Mulheres em transgressão : a visibilidade da voz feminina em Vozes do deserto de Nélida Pinõn /“. Assis : [s.n.], 2011. http://hdl.handle.net/11449/94085.
Banca: Altamir Botoso
Banca: Antônio Roberto Esteves
Resumo: O objetivo deste trabalho é demarcar o espaço da escritora Nélida Piñon na literatura de autoria feminina, refletindo sobre as vias de acesso que se abriram quando ela retomou uma das personagens mais conhecidas e míticas da história da Literatura Universal, Scherezade, no romance Vozes do deserto (2004). Este estudo permitiu que se realizasse uma reflexão mais acurada sobre a construção desta personagem a partir da perspectiva da critica feminista (SHOWALTER, 1994) e que se revelasse a condição feminina em um sistema hegemônico, coercivo e patriarcal que legitima as situações de poder, submissão, opressão e violência em relação às mulheres. Sendo assim, este trabalho é um convite para que se conheça a contribuição de Nélida Piñon à luz da evolução contemporânea e da emancipação consciente das mulheres que ousaram transgredir os limites do tempo e espaço em prol de sua visibilidade, independência, liberdade e reconhecimento como sujeito da história. Esses aspectos permitem contemplar as três fases: feminina, feminista e mulher, da literatura de autoria feminina estabelecidas por Elaine Showalter. Apesar de esta obra de Nélida Piñon ser ainda pouco estudada pela crítica brasileira, ela é importante também para os estudos da ginocrítica devido ao discurso crítico especializado sobre os textos produzidos por mulheres. Esta dissertação pretende valorizar o ser mulher que protagoniza não somente a história, mas a ascensão do seu próprio destino no mundo. Em conclusão, a escritora é nome de relevo para o universo literário brasileiro, sendo uma profunda conhecedora da história das mulheres e, portanto, atenta e comprometida com o atual cenário sócio-político cultural brasileiro
Abstract: The genesis of this work is to demarcate the area of the writer Nélida Piñon in the female authorship literature reflecting about the access roads that were opened when the author retook one of the most well-known and mythical character of the Universal Literature - Scherezade - in the novel Voices of the Desert (2004). So, this study allowed to realize a more accurate reflection about this character's construction from the perspective of feminist criticism (SHOWALTER, 1994) bringing out the feminine condition in a hegemonic system, coercity and patriarchal that legitimizes the power situations, submission, oppression and violence against women. Therefore, this work is an invitation to know Nélida Piñon's contribution in contemporary evolution and women's emancipation awareness who dared to transgress the boundaries of time and space to promote their visibility, independence, freedom and recognition as a subject of the history. These aspects allow to gaze on the three phases: feminine, feminist and female of the Women's literature established by Elaine Showalter. Although this novel has been little researched by Brazilian criticism yet, it is also important to the gynocritical studies because the gynocriticism speech is a critical and specialized speech about texts written by women. So, this dissertation intends to enhance (value) the female who stars not only the history but makes possible the rise of her own destiny in the world. To conclude, the writer is outstanding name for the Brazilian Literary Universe and she demonstrates a deep knowledge about women's history and, therefore, attentive and compromised with the current social political and cultural Brazilian scenery
Mestre
Freitas, Jane Pinheiro de. „Visões do (des)encanto: um estudo sobre o feminino transgressor em Clarice Lispector e Maria Judite de Carvalho“. Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-09092011-144037/.
The PhD research entitled Visões do (des)encanto: um estudo sobre o feminino transgressor em Clarice Lispector e Maria Judite de Carvalho aims to study the females characters of these writers in the works Laços de família (1960) and Flores ao telefone (1968), taking as its starting point the relationship between the creation of characters and women social roles in this epoch. The literary project of two authors talks about the female social changes and transformations, from which appears the need to give voice to women through their fictional figures. The opposition between fate/freedom is discussed in the everyday middle-class female characters used to live in the shadow of men, who do not create a place for themselves in the world. The authors focus on the society, showing the difficulties and failures of their characters that so often need to break with the social conduct to be free. This process of breaking the characters in the univese of the two authors is studied bsed on the theoretical study on various aspects of the feminine in The Second Sex, Simone de Beauvoir.
Liu, Yan P. „An Investigation of Chinese Learners' Acquisition and Understanding of Bushou and Their Attitude on Formal In-Class Bushou Instruction“. 2014. https://scholarworks.umass.edu/masters_theses_2/98.
Harris, Eugenia Kay. „"Speak softly and carry a big stick" female appropriation of the phallus in Sara Paretsky's V.I. Warshawski series /“. Diss., 2006. http://etd.library.vanderbilt.edu/ETD-db/available/etd-03212006-234958/.
Collet, Amélie. „La Voix dans l’œuvre d’André du Bouchet“. Thesis, 2013. http://www.theses.fr/2013PA040134.
The Voice in the works of André du Bouchet, is at the foundation and the result of the text corpus, the origin and horizon of the poem. It is dependent on the exiguous space lying simultaneously beyond meaning and lack of meaning. Transcending the writing/oral expression dichotomy characterizing Western traditional metaphysics, the poet identifies it as swaying somehow from the expressed to the imprinted, from a “meaning to say” to a “keeping under silence”. The Voice is the “sign” of noise or silence. It is void of all pre-established and irreducible meaning at the very moment it comes to be perceived in the language order, yet it inhabits it. The meaning of words only constitutes itself in the delivery phase that brings them into speech and encompasses physicality and spatiality as a whole. Resounding in a space looking outward, the Voice is the expression of a peculiar “space-time-place-world” when it is listened to. It is only this listening that makes it possible to hear the emergence of existing elements in words. As a true potential and permissive opening to a permanent “meaning to say”, the Voice loses its status of epiphenomenon (a simple sound expression of primitive thought) to gain that of event. It is this speech that says nothing that we are forced to acknowledge without reaching a conclusion
Hsu, Jen-Yin, und 許人尹. „THE CHARACTERS’ VOICES IN JOHN FOWLES’S A MAGGOT: A BAKHTINIAN STUDY“. Thesis, 2005. http://ndltd.ncl.edu.tw/handle/72236078576791451836.
國立高雄師範大學
英語學系
93
This thesis attempts to investigate different characters’ voices and how each speaker’s discourse are influenced and controlled by religion, social class, family, gender and education in John Fowles’s A Maggot via M. M. Bakhtin’s heteroglossia. Moreover, the thesis presents that how Fowles arranges an interrogator to practice legal interrogations ingeniously to make all speakers’ voices are listened totally and via the interrogations and their discourses to show the multi-problems and pressure that they have to confront in the 18th-century British society. At the end of the thesis, it expresses that multi-voices result in an open-ending. This thesis consists of five chapters. The introduction explains the fundamental motifs of the thesis and its relation with Bakhtin’s theory—heteroglossia. Chapter Two deals with in the 18th-century British conventional society, how religion has impact on people’s daily lives, as well as how religious influence permeates people’s discourses. Chapter Three concentrates on the situation that people were deeply controlled by social-class system in the 18th-century British society. Under the oppression of high social class’ authority, Fowles gives his lower-working-class characters chances to speak for themselves and show their thoughts. Chapter Four investigates the topic of gender—Fowles presents that different genders have influence on the speakers’ speaking styles and contents. Male or female presents his/ her own speaking features via different genders. Although men occupy the authoritative position, it does not mean women are always under men’s control and the heroine of the novel is the best example. Both male and female can show his and her speaking styles. Female is no longer silent. Chapter Five will be the conclusion. After the speakers’ heteroglossia, what they left to the listeners are the speakers’ multi-discourses and multi-conclusions. However, there is no one can offer a definite truth for the enigma in the novel to the listeners. There is no single truth to the enigma of the novel even via the analyses of religion, social class and gender. In the end, heteroglossia brings us listeners an endless state—a mysterious state.
Mazsīlis, Aija. „Teaching values through literary character in Latvia : knitting women's voices; a mitten of gender“. 2005. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=232558&T=F.
Krüger, Marie. „Female characters in contemporary Kenyan women's writing independent figures or subdued voices? /“. 1995. http://catalog.hathitrust.org/api/volumes/oclc/32388180.html.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 118-130).
Cheng, Chia-chi, und 鄭嘉琪. „The Relation between Characters and Dubbing Voice in Cartoon: Examples from the Cartoon Televised in Taiwan“. Thesis, 2003. http://ndltd.ncl.edu.tw/handle/42092554907082057922.
國立臺灣大學
語言學研究所
91
Abstract Though the relation between one’s voice and his/her character may not absolutely relate, there exists a favored or stereotyped voice-character pattern in every culture. In this thesis, we discuss the favored voice-character combinations in Taiwan’s culture. The analyzing data here come from three Mandarin dubbed cartoons televised in Taiwan. Due to cartoon’s highly stereotyped design, it could help to find the Taiwanese favored voice-character patterns and the relation between the voice and the character. The voices are discussed in six acoustic features, and they are pitch value, pitch variation in sentences, amplitude value, amplitude variation in sentences, speech rate, and voice quality. There are eleven pairs of character adjectives discussed in this thesis, and they are self-doubting/confident, introvert/extrovert, bad/good, timid/bold, cautious/rash, lazy/energetic, solemn/humorous, submissive/dominant, calm/unsteady, indifferent/passionate, and ugly/pretty. According to the results, we find that a confident, extrovert, dominant, energetic, and bold character is related to the voice features of stronger amplitude, larger pitch variation, faster speech rate, and no breathy voice; character features of being passionate, better, and prettier are related to the voices of higher pitch value, larger pitch variation, faster speech rate, clearer, laxer voice qualities; and a rash, humorous, and unsteady character is related to the voice aspects of clearness, tenseness and amplitude. Besides, a pleasant voice is related to a higher pitch value, a clear and lax voice. The dubbing voice suitable for a main character is higher in pitch value, stronger in amplitude, faster in speech rate, and clear in voice quality. Keywords: voice, character, cartoon dubbing, pitch, amplitude, speech rate, voice quality
Arbogast, Jennifer L. „Keeping the concept clear : a perspective on performing selected mezzo-soprano songs from the musicals of Stephen Sondheim“. 2012. http://liblink.bsu.edu/uhtbin/catkey/1675391.
The contributions of Stephen Sondheim -- Mezzo-sopranos of the American musical -- Amy in Company (1970) -- Beth in Merrily we roll along (1981) -- The bakers wife in Into the woods (1987) -- Lynette "Squeaky" Fromme in Assassins (1990).
School of Music