Dissertations / Theses on the topic 'Animal metamorphosis'

My dissertation reevaluates medieval concepts of body and identity by analyzing literary depictions of metamorphosis in romance. Focusing on examples such as the hag-turned-damsel in the Wife of Bath's Tale, the lump-turned-boy in The King of Tars and the demon-saint of Sir Gowther, I take as my starting point the fact that while those texts pivot on instances of physical transformation, they refrain from representing such change. This pattern of undescribed physical metamorphosis has broad implications for recent work on evolving notions of change and identity beginning in the high Middle Ages. While Caroline Walker Bynum has read the medieval outpouring of tales about werewolves and hybrids as imaginative responses to social upheavals, I consider why such medieval writings ironically focused on shape-shifters but avoided metamorphosis itself. I argue that we can understand why Chaucer and other writers resisted imagining bodies in the process of transforming by examining the history of ideas regarding metamorphosis in the medieval west. While the foremost classical writer on transformation, Ovid, reveled in depictions of metamorphosis, by the late Middle Ages a new religious discourse on change enjoyed prominence, the doctrine of transubstantiation. In its effort to separate substance and accidents, Eucharistic theory strove to detach identity from physical change and exhibited a certain level of repugnance over images of physical transformation. I argue that medieval secular writings address that anxiety over bread-turned-God in moments such as the close of the Wife of Bath's Tale. In a scene that recalls the place of veiling in Eucharistic ritual, the hag uses the bed curtain first to cloak then reveal her newly young and beautiful physique. Ultimately, the corpus of medieval literature on change--a body of work that engages both Ovidian and Eucharistic writings--suggests that identity intertwines with physical metamorphosis in a productive, if problematically unstable, manner.

An avian embryo is ectothermic, with body temperature determined by environmental temperature. Upon hatching, the neonate begins a conversion so that endothermic capacity becomes feasible and body temperature becomes independent of environment. Whole animal metabolic rate and ventilation response, cardiovascular development, and maturation of muscle mitochondrial flux were the focus of this dissertation because of the direct role in shivering thermogenesis. Precocial ducks and altricial Double-crested Cormorants exhibit increasing hematocrit and disproportionate increases in fractional heart mass resulting in greater oxygen delivery capacity and increased capacity of muscles to utilize oxygen compared with ectothermic American Alligator and Common Snapping turtles. By selecting for faster growth and higher meat yield in the domestic chicken, differences in whole-animal, tissue, cellular, and regulatory responses are evident between broiler and layer type birds. In the altricial red-winged blackbird, despite appearance of a whole animal endothermic response sometime after 7 dph, capacity of skeletal muscles involved in shivering thermogenesis peaks prior to that time. Thus, full development of endothermy is delayed in this species, allowing the altricial nestling to allocate energy towards growth rather than metabolic maintenance. Hypothyroidism in neonate red-winged blackbirds results in delayed maturation of the cardiovascular system and mitochondrial oxidative capacity of skeletal muscle. Such deficiencies were quickly recovered once the animals returned to a normothyroid state, apparently at the cost of increasing body mass. Insights into onset of thermoregulation provide a more thorough understanding of metabolic and physical transitions a hatchling bird must undergo to reach the adult endothermic phenotype. Endothermic capacity will continue to be at the forefront of physiological research because of the significance of changes between the energetic relations of an animal that must occur with its environment.

Ma démarche de recherche comme de création s’articule autour de l’animalité dans ses relations avec l’art d’une part et autour des notions-clés que sont l’anthropomorphisme animal, le zoomorphisme, la métamorphose, la figure animale et l’hybridation, constantes thématiques, iconiques et plastiques de mes travaux d’autre part. Comment et pourquoi l’artiste convoque-t-il l’animal de manière récurrente et diversifiée ? Comment ont pu se jouer entre l’homme et l’animal, mais aussi aujourd’hui de manière frappante, des complémentarités physiques et matérielles, des affinités mentales, des tensions exacerbées ? Si l’animal est le témoin excentré du fonctionnement de nos sociétés, tel un miroir déformant et critique, que révèle sa figure aux prises avec l’art de nos comportements de bête sociale et de la relation que nous entretenons avec lui ? Le recours à des concepts émanant de différentes disciplines, en particulier des sciences humaines, a irrigué et éclairé les analyses d’œuvres : les nôtres, celles de l’art d’hier et d’aujourd’hui. Il s’en est dégagé leur densité sémantique quant à la teneur du lien qui nourrit le binôme homme-animal, que les situations mises en scène soient fictives ou réelles. Le parallèle entre pratiques d’expression plastique (imitation, caricature, assemblage, mise en scène) et figures de style (métonymie, métaphore, comparaison, allégorie) au sein des processus cités plus haut vise à mettre en valeur le caractère discursif des œuvres choisies. La convocation de l’animal bénéficie ainsi, au sein de notre thèse, d’une triple définition. L’image de l’animal, reflet et mémoire de notre humanité, accompagne l’homme, tel le paradigme – modèle vivant ou image modèle –, d’une certaine identité de l’homme – ses fragilités, ses révoltes, ses excès, ses obsessions, etc. La figure de l’animal est aussi à entendre comme une médiation, réussissant là où l’attaque et le dialogue directs ne sont plus possibles, parvenant à concilier les contraires. Ainsi investie, l’image ambigüe ou ambivalente de l’animal donne lieu à la multiplicité, à une extraordinaire fertilité iconographique et artistique. Ses figures, au défi de la forme monolithique, sont rarement isolées ; elles se croisent, se mélangent et s’interpénètrent
My research as well as my creative process on the one hand, revolves around the animal figure in its relationship to art, and on the other hand, around the key-notions of animal anthropomorphism, zoomorphism, metamorphosis, the animal figure and hybridization; constant, iconic and plastic themes of my work. How and why does the artist call forth animals in such a recurrent and diversified manner? How have physical and materiel complementarities, mental analogies as well as exacerbated tensions come into play today, in such a striking fashion between mankind and the animal world? If animals are the off-centered witness of how our societies function, as a distorting and critical mirror, what does its figure reveal when grappling with the art of our beast-like behaviors and of the relationship that we maintain with it? Resorting to concepts emanating from different academic disciplines, in particular, the human sciences, has provided and shed light to the analyses of the works: our own, those of the past and of today. The result being, an utterance density as regards the content of the link which feeds the man-animal pair, whether the situations staged are fictitious or real. The parallel drawn between the methods of plastic expression (imitation, caricature, assemblage, staging) and stylistic devices (metonymy, metaphor, comparison, allegory) within the process listed above is aimed at highlighting the discursive nature of the selected works. Eliciting the animal world within our thesis, thus benefits from a three-fold definition. The animal’s image, which is the reflection and recollection of our humanity, accompanies mankind, as the paradigm – living model or ideal image –, of a certain identity of mankind – its weaknesses, its rebellions, its excesses, its obsessions, etc. In addition, the animal’s figure is also to be understood as a mediator, prevailing over direct criticism and dialogue, and managing to reconcile opposites. Thus invested, the animal’s ambiguous or ambivalent image gives rise to multiplicity, to an extraordinary, artistic and iconographic fertility. Its figures, which challenge the monolithic form, are rarely isolated; they cross over, are mingled, and permeate

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Este trabalho tem por objetivo propor, a partir dos romances de Lygia Fagundes Telles, uma teoria da identidade que recupere a animalidade e inclua o conceito de metamorfose. A dissertação está dividida em três capítulos. Cada capítulo apresenta, a título de introdução e convite à reflexão tanto sobre os conceitos e análises ali apresentados como em relação ao próprio processo de leitura, um conto de autoria própria. No primeiro, trazemos o conceito de identidade, metamorfose e animalidade, antecedidos, cada um, por uma ilustração literária a partir de uma citação, como uma epígrafe, de textos da autora estudada. O segundo capítulo tem por escopo trazer ao leitor um panorama da fauna encontrada no romance lygiano e a categorização dessa fauna em animais internos, animais como outros e animais simbólicos. Por fim, o terceiro capítulo trata da teoria da identidade a que nos referimos no objetivo da pesquisa. A partir da análise realizada, foi possível verificar que os romances lygianos trazem na tessitura de suas narrativas uma proposta de teoria da identidade que inclui os conceitos de metamorfose e animalidade.
This work aims to propose, from the novels of Lygia Fagundes Telles, a theory of identity that recovers animality and includes the concept of metamorphosis. The dissertation is divided into three chapters. Each chapter, presents as an introduction and as an invitation to reflect both on the concepts and analysis presented there and on the reading process itself, a self-authorship short story. In the first, we bring the concept of identity, metamorphosis and animality, each one preceded by a literary illustration based on a citation, as an epigraph, of the author’s texts studied. The second chapter aims to bring to the reader an overview of the fauna found in the author’s novels and the categorization of this fauna in internal animals, animals as others and symbolic animals. Finally, the third chapter deals with the theory of identity to which we refer in the goals of the research. From the analysis made, it was possible to verify that the Telles’ novels bring in the texture of their narratives a proposal of identity theory that includes the concepts of metamorphosis and animality.

L’œuvre de l’écrivain Moacyr Scliar témoigne de la transposition de son héritage culturel juif à sa création littéraire, créant un « entre-lieu » propice à la formation de représentations hybrides issues de sa double inscription identitaire : juive et brésilienne. Le présent travail se propose d’étudier les mécanismes de son univers hybride, comprenant autant la forme (hybridité générique) que le fond (hybridité culturelle) de dix-sept récits de fiction publiés entre 1968 et 2008. La première partie de cette étude s’attache à analyser la formation d’un espace judaïco-brésilien en mouvement constant et aussi la spécificité de ses représentations métamorphiques animales. La seconde partie, réservée au genre hybride des métafictions historiographiques, est consacrée à l’analyse des stratégies de traduction culturelle concernant le rapport entre personnages juifs et personnages historiques mythiques. Dans le troisième volet, nous proposons une réflexion sur l’évolution des pratiques intertextuelles bibliques, allant de l’ « impli-citation » à la parodie postmoderne
The work of author Moacyr Scliar is a living testimony to the transposition of his Jewish cultural legacy to his literary creation, which gave life to a “place in between” favourable to the inception of hybrid representations coming from his twofold identity, Jewish and Brazilian. The present work intends to study the mechanisms of his hybrid world including both the form – generic hybridism – and the content – cultural hybridism – of seventeen fictional narratives published between 1968 and 2008. The first part of this study will analyse the formation of a Judeo-Brazilian space which is in constant motion but also the specificity of its animal metamorphic representations. The second chapter is devoted to the hybrid type of historiographic metafictions and to the scrutiny of the strategies dealing with cultural translation in the case of mythical Jewish and historical characters and their relations. The third part proposes to reflect on the evolution of biblical intertextual practices, ranging from implicitation to postmodern parody

Thesis (Ph. D.)--Joint Program in Oceanography/Applied Ocean Science and Engineering (Massachusetts Institute of Technology, Dept. of Biology; and the Woods Hole Oceanographic Institution), 2008.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references.
The benthic habitat is the terminal destination for marine animals in terms of their reproductive lifecycle. Recruitment dynamics relating to seasonal changes in the benthic habitat may be the best source of information for predicting recruit abundance and for marine resources management. The transition from the pelagic to the benthic phases is the last stage in the connectivity between benthic populations. The transition to the benthos may be a process that dominates recruitment dynamics to the exclusion of other characteristics of larvae such as their quality and their density. Recruitment of benthic marine animals is influenced by two seasonally varying factors of the benthic habitat. First, the availability of suitable habitat for recruitment can in large part determine the survival probability for settlers, a trend that is most pronounced for low or no survival when the settlement substrate is saturated by conspecifics from a recruitment cohort. Preemption is caused by the presence of current occupants from a recruit cohort, and it influences the settlement rate or the survival probability of conspecifics. Descriptive statistics (Chapter 2) and a field experiment (Chapter 4) highlight the role of preemption on barnacle recruitment. The second factor results from seasonal changes in environmental conditions that settlers experience in the benthic habitat, which could affect the physiology and survival probability of barnacle settlers. Highly unpredictable features of recruitment dynamics also play a role, such as wind that enhances wave action in the rocky intertidal that has been linked to the rate of settlement. Day to day variability in wind may cause patterns of settlement to be highly unpredictable. Predator induced mortality is spatially aggregated, and the random pattern of mortality in space is highly unpredictable. In contrast to these high frequency sources of recruitment variability, seasonal factors that vary at lower frequencies and that often change monotonically lend great predictive ability for recruitment dynamics. It appears that barnacles have evolved to compete for suitable habitat and have mechanisms to cope with seasonally varying environmental conditions in the benthic habitat, which may be the basis for why these features dominate the barnacle recruitment dynamic.
by Jonathan N. Blythe.
Ph.D.

Ce travail vise à scruter quatre lectures de Kafka dans la philosophie allemande. Pourquoi ces philosophes ont-ils rencontré et interprété Kafka ? La première hypothèse est d’ordre biographique : leurs découvertes de Kafka sont marquées par le sentiment d’une proximité personnelle à l’égard ce qu’il donne à lire. Kafka est l’écrivain d’un certain moment, où le rapport à la langue ne va pas de soi, où l’expérience de l’exil prédomine, et où les mutations historiques rendent les contours de la subjectivité flous. La seconde hypothèse est philosophique : leurs lectures se fondent sur la nécessité de philosopher autrement, afin d’intégrer ces mutations. On ne peut plus penser selon les catégories du sens, de l’identité, de la conscience - mais il faut accepter que le sujet découvre en lui un étranger. Le défi que Kafka dresse devant ces philosophes serait donc de pouvoir « penser la métamorphose ». Celle du sujet, mais aussi celle que subit la philosophie au contact de la littérature. Et enfin, celle que Kafka invente dans l’ensemble de son œuvre, dont nous montrons qu’elle est irriguée par le « devenir-animal »
We are focusing on studying four readings of Kafka in german philosophy. Why have these philosophers met and interpreted Kafka ? Our first hypothesis is a biographical one : their reading of Kafka’s books are influenced by the feeling of a proximity between his life and their experiences. Kafka represents a crisis : in his work, the language is not innate anymore, experiencing exile is prevailing, the historical mutations affect the concept of subjectivity. The second hypothesis concerns the philosophy itself : because of these mutations, the traditional metaphysical categories of sense or consiousness are obsolete ideas. The subject is becoming a stranger. Kafka is challenging philosophers to « think out the metamorphosis », the subject’s metamorphosis, the philosophy’s metamorphosis, and finally, the one Kafka invented, which is everpresent in his works, the notion of a « becoming-animal »

Dès les premières dynasties, le pictogramme fut dans l’écriture le prolongement des représentations figuratives naturalistes, logogrammes dans les palettes funéraires décorées protodynastiques. Ce constat nous porte à les mettre en correspondance avec l’art pariétal du néolithique nubien, le prédynastique égyptien, et celui des aires culturelles périphériques. La reconsidération des pétroglyphes en tant que symboles et idéogrammes, c’est-à-dire des mythogrammes autant que des logogrammes-phonogrammes polysémiques permet de dégager un système structurel de représentations symboliques universel dans la vallée du Nil. Essentiellement funéraire, il est organisé autour d’une nouvelle lecture en relation aux mythes fondateurs de l’Œil d’Horus/solaire, s’exprime dans des rites primitifs de revivification, de renaissance, néolithiques et prédynastiques, explicités ensuite durant les premières dynasties sur des tablettes, des sceaux-cylindres votifs, et l’onction du mort avec les sept huiles canoniques et, enfin, dans les Textes des Pyramides. Contrairement à l’idée commune d’opposition des notions de Nature-Culture, il est question de les conjuguer, de réconcilier la dualité non binaire et de voir, par exemple, les fonctions héliotrope et/ou héliophore des animaux du bestiaire soudanien, avec Sokar le faucon funéraire, les garants bienveillants des métamorphoses et de renaissance du soleil/des défunts, par ailleurs, félidés, canidés, antilopes…, investis du numineux des divinités tutélaires. À la lueur d’une nouvelle lecture du mythe “osirien” primitif de métamorphose, nous reconsidérons les conceptions sur le sacrifice animal sur des bases d’anthropologie religieuse. Loin d’une maîtrise et soumission de la nature, et d’un diffusionnisme, l’interculturalité de la pensée mythique archaïque première dans la vallée nubiano-égyptienne et des régions périphériques multiethniques implique, vis-à-vis du monde naturel et des forces spirituelles numineuses, la transculturalité des conceptions solaires et le partage pluriculturel, transhistorique des croyances résurrectionnelles polycycliques. Ainsi, les pétroglyphes d’animaux, les scènes de chasse animale, les représentations de barques, de sandales, etc., sont de nature funéraire votive, apotropaïque
Since the beginning of the first dynasties, the pictogram in writing was the extension of naturalistic figurative representations, logograms in the decorated funerary protodynastic palettes. This statement carry us to link them with the parietal art of Neolithic Nubia, the egyptian Predynastic, and peripheral cultural areas. We have reconsidered the petroglyphs as polysemic symbols and ideograms, i.e. mythograms as well polysemic logograms-phonograms, allowing us to draw up a structural system of symbolic representations, universal in the Nile valley. Basically funerary, the system is organised around a new reading in connection with the founding of the ‘Eye of Horus’/solar myths, and express itself in primitive Neolithic and Predynastic rites of revivification, rebirth, more explicit afterwards during the first dynasties on labels, votive cylinder-seals, and anointing the deads with the seven holy canonical oils, finally in the Pyramid Texts. Contrary to the common idea which opposite the Nature-Culture notions, there is some question to combine them, to reconcile the non-binary duality and to see, for example, the heliotrope functions and/or heliophore animals of the sub-Saharan bestiary, with Sokar the funerary hawk, the benevolent guarantors for the rebirth and metamorphosis of the sun/deads; otherwise felids, canids, antelopes…, invested by the numinous of the protecting divinities. In consequence of a new reading of the primitive ‘osirian’ myth of metamorphosis, we have reconsidered the conceptions about animal sacrifice on the basis of religious anthropology. Far from bringing under control and submission of nature, and diffusionnism, the intercultural (cross-cultural) of the first archaic mythic thought in the multi-ethnic nubian-egyptian valley and associated neighbouring areas involves, towards the natural world and the numinous spiritual strengths, the cross-cultural of solar conceptions and multicultural, trans-historic sharing of the polycyclic resurrectional believes. Thus, the animal petroglyphs, cynegetic scenes, boats and sandals representations, etc., are of funerary votive, apotropaic nature

La couleur est un trait biologique essentiel et très variable qui permet à un organisme d'être adapté à son environnement biotique et abiotique. De multiples gènes influent sur la couleur ; leur évolution a été étudiée ici chez les Vertébrés en lien avec les duplications de génome survenues dans cette lignée . Alors que l'essentiel des gènes sont perdus lors de la rediploïdisation suivant une duplication totale de génome, ces travaux montrent que les gènes de la pigmentation appartiennent à des fa milles de gènes qui sont en moyenne plus retenues que le reste du génome . Ceci est particulièrement vrai pour les poissons Téléostéens, cette expansion du répertoire de gènes de pigmentation pouvant être en lien avec la grande diversité de cellules pigmenta ires et de patrons de pigmentation observés chez ces animaux . Par ailleurs, l'étude de la pigmentation d'un organisme modèle émergent, le poisson -clown Amphiprion oellaris, a été réalisée dans le cadre de cette thèse . La nature cellulaire de la bande blanche de ce poisson a été déterminée et a permis l'identification - d'un nouveau gène présent presque exclusivement chez les poissons Actinoptérygiens , probablement acquis par transfert horizontal, et impliqué dans le développement d'un type de cellules pigmentaires, les iridophores . Enfin, l'acquisition de la pigmentation au cours du développement du poisson -clown A. ocellaris, un poisson corallien au cycle de développement marqué par une métamorphose, a été étudiée en rapport avec la signalisation thyroïdienne, qui joue un rôle majeur au cours du développement des Vertébrés
Color is a key biological trait that allows individuals to adapt to their biotic and abiotic environment, and many genes have been shown to play an essential role in color acquisition in vertebrates. In this work, the consequences on this specifie set of genes of the whole-genome duplications that occurred during vertebrate evolution were investigated. Whereas most genes a re lost after a w hole- genome duplication event, this work shows that pigmentation genes and other genes within their families have been more retained compared to the average observed genome retention. This was particularly the case for the teleost-specific whole-genome duplications . Hence, this high retention rate could be related to the high pigmentation diversity observed in the teleost fish lineage, both in terms of patterns and of pigment cell types . In addition, during this PhD thesis, pigmentation in an emerging model organism, the clownfish Amphiprion ocellaris, was investigated. The white color in clownfish was shawn to be due to specifie pigment cells, iridophores, and new iridophore genetic markers were detected . One such marker is almost exclusively restricted to ray-finned fish and could have been acquired through a horizontal gene transfer event that occurred at the onset of the evolution of this lineage. Last, in this work, the genetic basis of pigmentation acquisition was scrutinized during the development of clownfish A. ocellar is, and especially during metamorphosis - a major life history transition in coral reef fish . In particular, the deployment during development of thyroid hormone signaling which is a key pathway in metamorphosis regulation in vertebrates was examined

碩士
國立中央大學
客家研究碩士在職專班
100
Folklores are endowed with unique and rich stories reflecting the spirit of a race via collective creation with oral diction. Folklores are also the best way to pass down the ethnic cultures. In the contemporary society of massive information flows and advanced civilization, the intellectual products of our ancestors are oftentimes attacked and buried in the current of time. Thus, the stories of social taboos, experiences and ideas that our forefathers passed down by speaking to their children after dinner no longer exist in the memories of the new generation. The living environment of Hakka and aboriginal people are very similar. Therefore, the folklores of these two ethnic groups were easily shared, borrowed or influenced with each other. This Study targets the stories of animal metamorphosis in the folk stories between Hakka and aboriginal groups in Taiwan, and analyzes the differences and similarities in cultural and ethnic features of these two groups by means of comparing the story texts and literatures. Meanwhile, the Study hopes to compare the internal differences of these two groups based on regions and races. By collecting and summarizing the regions, races, types/rationales of metamorphosis in the stories, the author hopes to explain the cultural connotation of Hakka and aboriginal culture from the relationship between husband and wife, the relationship between parents and their children, the relationship between religion and social customs, and the images of women. The Study presents different scenarios in a family, such as the bondage between husband and wife, the broken relationships, and loss of families, hoping to investigate the differences and similarities in a matrimony bond of the two ethnic groups. The Study found out that the relationship between husband and wife in Hakka people is rather imbalanced, and the role of wife is almost invisible. To the contrary, the wives in aboriginal families have strong characters and tend to be more straightforward in expressing themselves. In addition the Study compares the cultural features of parenthood by presenting the texts of conflicts between parents and children, conflicts between family members, punishments from parents to their children and the cause-effect relationship. The Study also found out that the parent-child relationships in Hakka families are very extreme: Either the parents love and spoil their children, or they oppose against each other. The way of raising children among aboriginal people is also very distinguished. One type of family entrusts human beings to take care of the offspring of animals, whereas the other type of family tends to be oblivious to their survival. The Study also presents the folk beliefs and social norms of these two groups with texts of folklores about people’s dreams of contributing to home towns, belief in destiny and “Fong-shui”, taboos, and life education. The Hakka people are greatly influenced by Buddhism and Confucius thinking so most of the focuses in their stories are about teaching people to behave well and contribute to the society. On the other hand, the nature of aboriginals is pure and austere, and they worship everything in the Mother Nature as well as the spirit of their ancestors. They also believe that everything and everyone in this world is equal; nothing/no one is more superior to the other. Lastly, the Study analyzes the images of women by presenting the texts of stories about good and bad women, and the promotion of feminism. The Study found out that the women of both Hakka and aboriginal families are required to learn how to undertake family chores since they were little, including sewing and agricultural/farming skills. They have to be trained to be equipped with the capabilities of taking care of affairs inside and outside their home life as a token of supporting their families. The author noticed that the preservation of words leaves traces of research for the future generations. However, it also leads to a monotonous view. That is to say, the authors or writers of the folklores only selected the most attractive parts of a story and edited the content by ignoring the less attractive parts for some unknown reason. They may also keep the original plots of the story without changing anything. But the stories will still become more and more diverse and different. The choice of language and rhetoric has altered the original spirit of the stories. I sincerely hope that the future studies will be able to make up for this shortcoming.

The relationship between the works of Marie de France and ancient and medieval literary influences has been well documented in the critical literature. Few critics, however, have addressed the importance of nature, and specifically animal imagery, in the Lais. The twelfth century witnessed, in all realms of human intelligence and endeavor, an unprecedented effort to systematize knowledge and rationalize human experience. Animal imagery, a traditional form of representation, was prevalent in diverse treatments in the Bible, in the works of the ancients, in Ovid, and in the matiere de Bretagne that was so much in vogue during the time of Marie de France The present investigation proposes a critical analysis of the role of animal imagery in six lays. Depiction of animals varies throughout the lays, but one constant unites the images: they are all presented in a state of metamorphosis, either physical or profoundly symbolic transformation. Metamorphosis is intimately associated with metaphor, which is intrinsic to thought and generative of language and literature, therefore the metamorphic animal characters can be interpreted metaphorically on generic, textual and socio-cultural levels Because genre is by nature both representational and transformational, the textual metamorphic animal images are validated by Marie's choice of the lay, a flexible and evolving narrative form, as a basis for her artistic recreation of the oral Bretannic tales. Choices made by the author from the available literary, social, political and cultural paradigms of her era produce new metaphorical readings along the syntagmatic axis of metamorphic animal imagery. This transformative process becomes a literary metaphor for the medieval compositional theory of translatio studii plus inventio The dependence of metaphor upon the receiver makes the Lais especially open to re-creation, indeed co-creation, through the glosses of succeeding generations of readers who interpret the metaphors of metamorphic animal imagery in light of their own paradigmatic experience. The animal images reveal metamorphosis to be the governing metaphor of the lays
acase@tulane.edu

This thesis is divided into two sections theoretical and practical. The theoretical section briefly touches on various aspects of myths, including from social, literary and artistic points of view. The reflection of society through myths, stories of transformation, primitive art and its resonance in contemporary art lay the foundation for the practical section of the thesis, which is devoted to the realization of a wire-based three dimensional object that interacts with a particular environment.

碩士
崑山科技大學
視覺傳達設計研究所
105
The twelve animals of the Chinese Zodiac have always been an integral part of Chinese culture. In the beginning, the ancients mapped out their own astrological system through their observations of the skies and their imagination, and assigned representative animals to the constellations according to their features, thus creating a set of beliefs in the spirituality of animals. The tradition continued all the way until modern times, where auspicious meanings were given to the symbolic animals to satisfy the inherent human need to find positive meanings in everything. With a long history paving the way, this ancient tradition continues to bring the people of our time a huge scope for imagination, with new, modernized meanings often related to the twelve symbolic animals. The reference materials used for this art creation study include the origin of the twelve animals and their designs in traditional folk art, as well as the characteristics of said designs and the essence of the cultural code elements found in documents. The author of this study explores the usage of Chinese characters and traits of traditional Chinese art layout by studying gold and silver paper money from temples and "illustrated almanac art", and also discusses the relations between the twelve animals and the colors of the five elements, categorizing each animal according to its corresponding color. Besides textual analysis of relevant documents, the author also collected modern visual designs related to the twelve animals in order to show how artists pass down the legacy and breathe new life into the subject. This is followed by an examination of the materials regarding "deconstruction forms" and art styles with deconstruction elements as well as the traits they possess, before exploring how the "deconstruction forms" are applied to modern poster designs. This art creation study redefines the graphic symbols of the twelve animals of the Chinese zodiac, finding the main elements from cultural codes in texts and combining them with modern visual design (deconstruction form) methods to achieve a metamorphosis and endow the animals with brand-new images. The aim of this study is to provide a referential set of design methods as well as a new perspective In viewing the Chinese zodiac culture.