Dissertations / Theses on the topic 'Author's figure'

The orans, although a gesture with a long ‘pagan’ past, was easily adopted by Christians for its symbolic meanings of prayer and piety and quickly attained a number of other more nuanced meanings as it was refined and reused. By restricting the scope of this thesis to the orans in the Christian catacombs of Rome, it becomes possible to approach the figure from a multi-directional perspective, not merely concerned with what the gesture meant to the Christian, but with its literary and material pedigrees, its transition to Christian art, and its cultural significance. To this end, chapter one examines ‘pagan’ precursors of the Christian orans through an examination of coins, sculptures, inscriptions, and reliefs, as well as by looking at the two figures whose appearance most influences that of the orans – the goddess Pietas, and the Artemisia-Adorans funerary portrait type. Chapter two addresses the importance of the orans in the Christian literary community, and examines not only the actual usage of prayer with raised hands by the Christian faithful, but also examines the aesthetic and theological reasons for the popularity of the gesture – the parallel between the spread arms of the orans and the posture of the crucified Christ. Finally, chapter three presents a spatial-thematic analysis of the usage of the orans in the Roman Christian catacombs, using a corpus of 158 orantes. This chapter enables the reader to draw conclusions about the veracity of the academic theories presented in the previous chapters, as it compares the usage of the orans against its scholarly interpretation.

L’objectif de cette recherche est d’étudier comment le champ littéraire latino-américain des années 50 est devenu un lieu de création symbolique alternatif. Le projet de modernisation en Amérique latine a abouti au questionnement de la représentation des sujets. Certains discours ont ainsi essayé d’intégrer des minoritaires en leur donnant la parole, comme par exemple les femmes et les paysans. Le champ littéraire a donc ouvert des espaces pour des individualités désireuses de participer à la construction d’un nouveau projet de nation, où des identités hétérogènes seraient acceptées. Dans cette perspective, nous nous intéresserons à l’œuvre de deux écrivains, Gloria Stolk et Juan Rulfo, qui dans les années 50 au Venezuela et au Mexique, ont réussi à construire un nouvel espace de création plurielle et à transformer la figure d’auteur. Notre analyse porte sur deux niveaux : l’un sur le discours de chacun et l’autre sur leur profil. D’une part, ils élaborent leur fiction sur la base de sujets qui les concernent. D’autre part, ils émergent en tant qu’auteurs avec de multiples facettes<br>This research centers its study in how the Latin-American literature in the 50’s became a place of alternative symbolic creation. The modernization project in Latin-America resulted in the questioning of the subject representation. Some speeches intended to combine minorities, like women and peasants. The literary field has thus opened space for individuals willing to participate in the development of new project of nation, where diversity would be accepted. From this perspective, we are interested in the work of the Venezuelan writer Gloria Stolk, and Mexican Juan Rulfo. During the 50’s, they were able to establish a new space that diversify and transform the traditional role of the author. The analysis in this study considers two dimensions: the speeches and the profiles of these two authors. On one side they developed fiction around characters of their interest, on the other side they emerged as authors with multiple roles

This thesis deals with the image of the black madonna, a pre-Christian female deity, in the works of four Italian-Canadian authors: the works include Nina Ricci's novel Lives of the Saints, Frank G. Paci's novel Black Madonna, Vittorio Rossi's play The Last Adam, and Marco Micone's play Addolorata. The black madonna, the central figure of this thesis, is not an exclusively Italian phenomenon. Most people probably associate her with the image of the Southern European, predominantly old, often Italian peasant woman, who is dressed in black clothes from head to toe. The black madonna statues, however, are possibly connected with the veneration of a female divinity, the Great Mother, Great Goddess, primordial goddess, and even earth mother. In his early myth and folklore collection, Sir George Frazer concluded that the "great Mother Goddess (of Western Asia), the personification of all the reproductive energies of nature, was worshipped under different names but with a substantial similarity of myth and ritual" (Frazer 299). (Résumé abrégé par UMI.)

Partant du constat de l'omniprésence de Lucien dans son corpus, notre thèse se propose de dresser un panorama des autoreprésentations auctoriales dans l'ensemble de l'œuvre de Lucien de Samosate, mais dans une perspective résolument théorique. En effet, parce qu'il se constitue comme point focal de sa propre œuvre, Lucien a souvent tendance à faire l'objet d'une lecture biographique de la part de la critique. Cette thèse se donne pour objet de redonner à l'autoreprésentation de l'auteur son sens de geste poétique. En choisissant le terme de figure, auquel on donne ici un sens plus restreint qu'à celui de persona, on s'intéressera uniquement aux moments où l'auteur fait explicitement l'objet de son propre discours.La première partie de notre thèse consiste donc en une importante typologie des mises en scène de soi chez Lucien: on part des apparitions les plus explicites de l'auteur en contexte référentiel, dans le corpus oratoire ou biographique, pour traiter ensuite de la partie fictionnelle du corpus. L'un des objectifs de ce travail est en effet de redonner à Lucien sa place de pionnier dans l'invention de l'autofiction.La seconde partie de notre thèse tire les conclusions poétiques de cette typologie, en dégageant aux autoreprésentations de l'auteur une double fonction : d'abord, elles doivent dire l'individu social et intellectuel, mais dans une démarche qui transcende les genres et la séparation traditionnelle entre référentialité et fiction. Ensuite, les figures de l'auteur ont pour fonction de servir de vecteur à un message métapoétique extrêmement riche, qui va de la théorie de la fiction à celle de la réception<br>The starting point of this PhD thesis was the constatation of Lucian's omnipresence within his own corpus. This phenomenon often led critics to have an excessively biographical approach to this author. The aim of this thesis is thus to give an account of the vast scope of self-representations within Lucian's corpus, in a theoretical perspective, in order to show that the staging of the self can be seen as a poetical gesture. The first part of this work thus consists in a typology of all the auctorial self-representations that can be found within Lucian's œuvre. It ranges from the most explicit forms of authorial presence, in referential works, such as prolaliai and biographies, to the most fictional part of the corpus. The aim of this work is to establish Lucian's position as a pioneer in the invention of autofiction.The second part of this thesis draws the theoretical conclusions of this typology, by showing that authorial self-representations have two main functions : first, they help defining Lucian's social and intellectual identity, beyond generic boudaries ; second, they serve a metaliterary purpose : as vicarious surrogates, Lucian's doubles appear as a powerful means of expressing his aesthetical views

L’écrivain chinois Mo Yan a mis en scène dans son œuvre romanesque des avatars de l’auteur, identifiés à lui par le nom dans deux romans et par le rôle de créateur du récit dans plusieurs récits. Ces représentants ne sauraient être identifiés à l’auteur empirique, mais peuvent être interprétés à l’aune de ce que représente pour nous l’auteur, au sens large, ou dans une visée individuelle, lorsque nous analysons leur caractérisation en fonction d’autres textes, fictifs ou référentiels, construisant la figure biographique, théorique et fantasmatique de l’auteur. Outre qu’elle joue sur l’aporie de sa présence dans la fiction, cette représentation métafictionnelle a des fonctions diverses. Dans Le Pays de l’alcool, elle souligne l’allégorie tout en déjouant la censure ; dans La Dure Loi du karma, elle brosse un portrait comique du romancier, reflétant ses différents rôles pour le lecteur et la société. La suite de l’étude porte sur des narrateurs révélant un statut de créateur du récit, de sorte qu’ils provoquent une distanciation et un doute sur leur situation diégétique, en les associant à une tendance métafictionnelle présente dans l’œuvre de Mo Yan depuis son premier roman long, Le Clan du sorgho rouge, où elle est l’effet d’un narrateur omniscient et présent dans l’univers de la fiction. Ces figures d’autorité thématisent l’imagination à l’œuvre, tout en signalant l’altérité de la figure de l’auteur que le lecteur infère de ses indices supposés. Elles représentent l’auteur en une logique non référentielle, comme produit d’un ensemble mouvant d’hypothèses, issues d’une interprétation des récits comme éléments constitutifs de l’œuvre<br>In his fictional works, Chinese novelist Mo Yan created avatars of the author, who are either identified by their name such as the characters Mo Yan in The Republic of Wine and in Life and Death Are Wearing Me Out or by a creative role they reveal, in other narratives. Both doubles, Mo Yan’s fictional homonyms, cannot be considered as the empirical author, and yet may be interpreted in the light of what the author means to us, whether in a broad or individual sense, when their characteristics are confronted with the biographical, theoretical and fantasmatic figure of Mo Yan which other texts create. Drawing attention to the aporetical presence of the author in a universe he created, metafictional author representations have various functions. In The Republic of Wine, it enlights the allegorical value of the novel and, to the real author, is a means to deter censorship. In Life and Death Are Wearing Me Out, Mo Yan is a parody of a novelist, where the role he plays for the reader and in society appear in a nutshell. Next, the sign of the author is to be extended to other narrators who reveal, more or less explicitly, that they create the narrative, thus inducing readers to suspend belief and reconsider their diegetic posture. Beginning with his first long novel Red Sorghum, metafiction has been an obsessive tendency in Mo Yan’s novels, making imagination a theme of the novel while suggesting the figure of the author a reader infers from the text is but a shifting body of hypotheses, which envision narratives a part of the whole works that make the author

Figuras são empregadas freqüentemente em materiais de avaliação psicológica e de proficiência, e de ensino e intervenção clínica e didático-pedagógica. A validade dos materiais de avaliação e a eficácia dos materiais de ensino dependem freqüentemente da escolha de figuras apropriadas à faixa etária e de escolaridade do avaliando e educando. Dispor de bancos de figuras normatizadas para diversas faixas etárias pode aperfeiçoar a validade e a eficácia dos materiais. A partir de um conjunto original de 2.100 figuras, este estudo gerou sete bancos de figuras com nomeação normatizada para milhares alunos do Ensino Superior (ES), Ensino Fundamental (EF) e Educação Infantil (EI) até a 1a. série do Maternal, numa faixa de 18 meses a 2 anos de idade. Com o objetivo de ilustrar o uso do banco de figuras para gerar testes, o estudo selecionou as 214 figuras mais unívocas das 365 figuras que compõem o banco de alta univocidade para a 2a. série da Educação Infantil, para gerar duas formas alternadas originais de um teste de vocabulário auditivo, cada qual com 107 itens, sendo uma figura alvo e quatro figuras distraidoras para cada item. O estudo aplicou as duas formas do teste a 396 crianças de 2 a 5 anos (10 de 2 anos, 93 de 3 anos, 160 de 4 anos, e 133 de 5 anos), de modo a obter normas de desenvolvimento do vocabulário auditivo. Os objetivos do estudo foram: 1) gerar sete bancos de figuras normatizados, o primeiro para universitários, o segundo para escolares de 1a. a 4a. série do EF e 3a. série da EI, o terceiro para crianças de 3a. série da EI, o quarto para crianças de 2a. série da EI, o quinto para crianças de 1a. série da EI, o sexto para crianças de 2a. série do Maternal, e o sétimo para crianças de 1a. série do Maternal; 2) apresentar os sete bancos sob a forma de 3 dicionários, o primeiro para universitários, o segundo para escolares de 1a. a 4a. série do EF e 3a. série da EI, e o terceiro para crianças de 3a., 2a. e 1a. séries da EI, e para crianças de 2a. e 1a. séries do Maternal; 3) derivar duas formas originais (A e B) do teste de vocabulário auditivo com 107 itens e 5 figuras por item; 4) aplicar as duas formas originais do teste a cerca de 300 crianças de 2 a 5 anos para aferir se eles são capazes de identificar crescimento significativo do vocabulário auditivo nessa faixa etária e se eles são capazes de discriminar entre séries escolares sucessivas e se há correlação positiva significativa entre as duas formas, o que permitiria seu uso alternado em estudos de teste-reteste; 5) normatizar a(s) forma(s) original(is) do teste que for(em) capaz(es) de identificar crescimento significativo do vocabulário auditivo; 6) fazer análise de item para excluir os itens com menor correlação item-média e obter a forma reordenada abreviada; 7) aplicar as formas reordenadas abreviadas dos testes a 177 crianças de 18 meses a 6 anos de idade para verificar são capazes de discriminar entre faixas etárias sucessivas; 8) normatizar a(s) forma(s) reordenada(s) abreviadas. Inicialmente foi gerado um corpus de 2.100 figuras originais. Essas 2.100 figuras foram apresentadas a 1.250 universitários do ES para nomeação por escrito. Dessas 2.100, 1.190 figuras passaram pelo critério de pelo menos 70% de concordância entre os universitários. Dessas 1.190, 244 foram excluídas e as restantes 944 foram selecionadas para serem apresentadas a 1.000 alunos de 1a. a 4a. séries do EF (de 7, 8, 9 e 10 anos de idade) e 3a. série da EI (com 6 anos de idade) para nomeação por escrito. Dessas 944 figuras, 566 figuras passaram pelo critério e foram apresentadas a 600 alunos da 3a. série da EI para nomeação por escrito. Dessas 566 figuras, 429 passaram pelo critério e foram apresentadas a 500 crianças de 2a.série da EI (de 5 anos de idade) para nomeação oral. Dessas 429, 365 figuras passaram pelo critério e foram apresentadas a 500 crianças de 1a.série da EI (de 4 anos de idade) para nomeação oral. Dessas 365, 187 figuras passaram pelo critério e foram apresentadas a 500 crianças de 2a.série do Maternal (de 3 anos de idade) para nomeação oral. Dessas 187, 99 figuras passaram pelo critério e foram apresentadas a 500 crianças de 1a.série do Maternal (de 2 anos de idade). Dessas 99, 90 figuras passaram pelo critério de 70% de nomeação unívoca. O estudo oferece os sete bancos de imagens com nomeação normatizada distribuídos em três livros, o primeiro contendo dados de universitários, o segundo contendo dados de estudantes de 1a. a 4a. série do Ensino Fundamental e 3a. série da Educação Infantil; e o terceiro com dados de estudantes do Maternal 1 até a 3a. série da Educação Infantil. O estudo ilustra o uso eficaz do banco de figuras ao oferecer duas formas originais com 107 itens cada uma do teste de vocabulário auditivo, bem como sua normatização com 396 crianças de 2 a 5 anos de idade. Oferece, ainda as versões reordenadas das duas formas do teste. Oferece, por fim, as versões originais abreviadas com 33 itens cada uma, bem como sua normatização com 177 crianças de 1 a 6 anos de idade; bem como as versões abreviadas reordenadas a partir dessa aplicação.<br>Text not informed by the author.

Cette thèse a pour but principal de renouveler l’étude de la question du rapport entre l’esthétique et l’idéologique dans l’oeuvre de Flannery O’Connor. Contrairement aux études antérieures menées sur cette question, elle sera abordée ici dans le cadre d’une théorie du discours littéraire, c’est-à-dire d’une théorie qui prend en compte les dimensions à la fois performatives et réflexives propres aux textes littéraires. Ce postulat théorique a des conséquences importantes pour l’étude du rapport entre les textes littéraires et les contextes sociaux, politiques, historiques et littéraires de leur mise en circulation et de leur réception. Il implique, notamment, que les ouvrages littéraires inscrivent et négocient dans leur texture même les conditions de leur mise en circulation et de leur réception, et ainsi, que la question de leur contexte doit être abordée en premier par l’étude de cette inscription et de cette négociation textuelles. Pour autant qu’elle tient pleinement compte de la logique médiate de cette inscription et de cette négociation—et notamment des effets médiateurs des figures du lecteur et de l’auteur, ainsi que du genre et du champ littéraire—l’approche pragmatique adoptée dans cette thèse permet non seulement de mener à bien cette étude, mais également de montrer sous un nouveau jour la complexité et la singularité de la signature littéraire de Flannery O’Connor<br>The principal aim of this dissertation is to provide a fresh approach to the vexed question of the relationship between the aesthetic and the ideological in the work of Flannery O’Connor. Unlike existing studies of this question in the critical literature, the approach adopted in this dissertation is based on the premise that it can best be treated in the context of a theory of literary discourse, one, in particular, that takes full consideration of the reflexive and performative dimensions of literary works. This theoretical assumption has considerable consequences for the study of the relationship between literary texts and the social, political, historical and literary contexts of their reception and circulation. In particular, it suggests that literary texts inscribe and negotiate the social and historical conditions of their circulation and reception, and that the question of their context should be approached first and foremost through the study of this textual inscription and negotiation. Insofar as it takes full consideration of the mediatory logic that such textual negotiation entails—in particular the mediating presence and effect of the figures of the reader and the author, the genre of the work, and the literary field—literary pragmatics will be seen to provide an approach which not only enables this study, but also reveals in a new light both the complexity and the singularity of Flannery O’Connor’s literary signature

L’imagerie scintigraphique des cancers thyroïdiens différenciés (CTD) présente la particularité d’utiliser deux radiopharmaceutiques, l’iode 131 (131I) et le 18-Fluorodésoxyglucose (18FDG). La fixation de ces traceurs dépend habituellement du degré de différenciation et de l’agressivité de la tumeur. L’objectif de ce travail était d’étudier l’apport de différents aspects techniques et d’instrumentation, à savoir l’imagerie hybride par TEMP/TDM et TEP/TDM, la point-spread function (PSF), la taille des voxels et la technologie TEP digitale, et d’explorer si d’autres traceurs TEP pouvaient présenter un intérêt. Le but de la première partie était d’étudier les performances de la TEP/TDM au 18FDG à l’étage cervical pour la détection de la maladie ganglionnaire. Une acquisition TEP/TDM dédiée a amélioré la détection de la maladie tumorale par rapport à l’acquisition classique. L’utilisation de la PSF a permis de détecter des tailles de lésions plus petites et la durée optimale de cette acquisition a été évaluée. Des reconstructions avec des tailles de voxels ultra-fines ont été réalisées sur TEP digitale pour étudier l’impact de la PSF et des voxels ultra-fins sur les données quantitatives. La seconde partie a porté sur l’imagerie 131I-TEMP/TDM et 18FDG-TEP/TDM, afin de quantifier le volume de la maladie persistante. Il a ainsi été montré que la masse tumorale était corrélée au risque post-opératoire et avait un impact sur la réponse au traitement. L’objectif de la troisième partie était d’étudier un autre traceur TEP, la 18-Fluorocholine (FCH), ainsi qu’un marqueur de la néovascularisation, l’antigène membranaire spécifique de la prostate (PSMA). Nos données suggèrent qu’un examen TEP à la FCH négatif au sein d’un nodule thyroïdien à cytologie indéterminée permettrait d’éliminer la malignité, et pourrait éviter des chirurgies inutiles. Par ailleurs, le marquage au PSMA évalué par immunohistochimie dans les néo-vaisseaux est associé à des facteurs de mauvais pronostic. D’autres études sont nécessaires pour confirmer l’intérêt éventuel des examens TEP à la FCH et au 68Ga-PSMA en oncologie thyroïdienne<br>Radioiodine (131I) and 18-Fluorodeoxyglucose (18FDG) are two radiopharmaceuticals used for scintigraphic imaging in differentiated thyroid cancers (DTC). Tumour uptake of each tracer depends on tumour differentiation and aggressiveness. Our goal was to further assess various technical aspects in DTC imaging workup, such as SPECT/CT and PET/CT, point-spread function (PSF), voxel size, digital PET, and to explore further other PET tracers. The aim of the first part was to assess the performance of 18FDG PET/CT for the detection of neck lymph node involvement. A dedicated PET/CT acquisition improved tumour detection compared to the whole-body acquisition. PSF reconstruction allowed detection of smaller cancer deposits and the optimal acquisition duration time was assessed. Using digital PET acquisitions, ultra-thin voxels reconstructions were performed. The impact of ultra-thin voxels and PSF on quantitative values was evaluated. The second part focused on 131I-SPECT/CT and 18FDG-PET/CT imaging, in an attempt to assess tumour burden of persistent disease. Tumor burden was correlated with the postoperative risk and affected the response to therapy. In the third part, another PET tracer, i.e. 18-Fluorocholine (FCH), and a marker of neovasculature, i.e. prostate-specific membrane antigen (PSMA), were studied. FCH PET/CT offered high negative predictive value to reliably exclude cancer in PET-negative nodules with indeterminate cytology and might prevent unnecessary surgeries. Also, PSMA expression assessed with immunohistochemistry was associated with poor prognosis factors. Further studies are needed to confirm new insights of FCH PET and 68Ga-PSMA PET in DTC

Лазаренко А. О. Адаптація телевізійного контенту в Інтернет-мережі : кваліфікаційна робота магістра спеціальності 061 "Журналістика" / наук. керівник В. В. Костюк. Запоріжжя : ЗНУ, 2020. 70 с.<br>UA : Кваліфікаційна робота магістра складається зі вступу, трьох розділів, висновків, списку використаних джерел. Робота містить 70 сторінок основного тексту, список використаної літератури з 81 найменування, викладених на 8 сторінках. Мета наукового дослідження полягає у вивченні поняття «портретне інтерв’ю» в сучасному інтернет-просторі та у виявленні особливостей авторського «я» ведучих, що працюють у жанрі портретного інтерв’ю. Реалізація мети передбачає розв’язання таких завдань: 1) вивчити дефініції понять «інтерв’ю», «портретне інтерв’ю», «індивідуальний стиль»; 2) окреслити критерії для моніторингу, щоб досягти зазначеної мети; 3) проаналізувати три YouTube-канали, ведучі на яких працюють у жанрі портретного інтерв’ю; 4) виявити комунікаційні стратегії, що використовують ведучі при бесіді; 5) виділити та описати характерні особливості та відмінності інтерв’юєрів. Об’єктом наукового дослідження є YouTube-канал популярного російського журналіста Юрія Дудя «вДудь», однойменний YouTube-канал відомого українського журналіста Дмитра Гордона та YouTube-канал українського ведучого та шоумена Анатолія Яцечка «Зе Інтерв’юер». Предметом дослідження є особливості поведінки, образу, манери проведення інтерв’ю у трьох таких відомих інтерв’юерів: Юрія Дудя, Дмитра Гордона та Анатолія Яцечка. У ході дослідження застосовувалися такі методи: аналізу й моніторингу, порівняльний метод, історичний метод, типологічний метод. Методологічну і теоретичну основу дослідження складають праці: С. Ангуло, Є. Бойцова, М. Василенка, А. Гарматіна, О. Гояна, С. Добрової, Ю. Єлісовенка, Т. Крайнікової, К. Крупенчекової, М. Недопитанського, О. Сєрова, Н. Симоніної, Л. Шкребтій та інших. Новизна роботи полягає у низці позицій, зокрема: вперше: – теоретично обґрунтовані та систематизовані наукові підходи до жанру інтерв’ю, який належить до публіцистичної групи; – проведений аналіз сучасних популярних YouTube-каналів на предмет ролі ведучого в інтерв’ю; – конкретизовано та виокремлено характерні комунікаційні стратегії, які використовують інтерв’юери у своїх передачах. вдосконалено: – розуміння особливостей жанру «портретне інтерв’ю» та притаманних цьому жанру характеристик. набуло подальшого розвитку: – розкриття змістовного наповнення поняття «інтерв’юер», «ведучий програми на YouTube-каналі»; – застосування результатів дослідження у власній професійній діяльності як журналіста; – репрезентація широких горизонтів досліджень системи проведення інтерв’ю та виведення оптимальних особливостей роботи ведучого, що допоможе в роботі над популярністю каналу. Практичне значення. Одержані результати дослідження можуть застосовуватися під час навчання молодих фахівців і в роботі вже відомих журналістів. Також матеріали дослідження можуть бути використані при подальших наукових розробках, при написанні курсових та дипломних робіт студентами факультету журналістики. Теоретичне значення результатів дослідження полягає в окресленні особливої ролі інтерв’юера під час проведення портретного інтерв’ю.<br>EN : The qualification work of the master consists of an introduction, three sections, conclusions, a list of sources used. The work contains 70 pages of the main text, a list of references from 81 titles, set out on 8 pages. The purpose of the research is to study the concept of "portrait interview" in the modern Internet space and to identify the features of the author's "I" of presenters working in the genre of portrait interview. Realization of the purpose provides the decision of the following tasks: 1) to study the definitions of "interview", "portrait interview", "individual style"; 2) outline criteria for monitoring to achieve this goal; 3) analyze the three YouTube channels, the hosts of which work in the genre of portrait interviews; 4) identify communication strategies used by presenters during the conversation; 5) identify and describe the characteristics and differences of the interviewers. The object of scientific research is the YouTube channel of the popular Russian journalist Yuri Dudy "vDud", the YouTube channel of the same name of the famous Ukrainian journalist Dmytro Gordon and the YouTube channel of the Ukrainian host and showman Anatoliy Yatsechko "Ze Interviewer". The subject of the research is the peculiarities of behavior, image, manner of conducting interviews with three such well-known interviewers: Yuri Dudy, Dmytro Gordon and Anatoliy Yatsechko. The following methods were used in the study: analysis and monitoring, comparative method, historical method, typological method. The methodological and theoretical basis of the study are the works of: S. Angulo, E. Boitsov, M. Vasylenko, A. Garmatin, O. Goyan, S. Dobrova, Y. Elisovenko, T. Kraynikova, K. Krupenchekova, M. Nedopytansky, O. Serov, N. Simonina, L. Shkrebtiy and others. The novelty of the work lies in a number of positions, in particular: for the first time: - theoretically substantiated and systematized scientific approaches to the genre of interview, which belongs to the journalistic group; - analysis of modern popular YouTube channels for the role of the host in the interview; - specific and specific communication strategies used by interviewers in their programs are specified and singled out. improved: - understanding the features of the genre "portrait interview" and the characteristics inherent in this genre. was further developed: - Disclosure of the content of the concept of "interviewer", "host of the program on the YouTube channel"; - application of research results in one's own professional activity as a journalist; - Representation of wide horizons of research of the system of conducting interviews and derivation of optimal features of the presenter's work, which will help in working on the channel's popularity. Practical meaning. The results of the study can be used in the training of young professionals and in the work of well-known journalists. Also, research materials can be used in further research, in writing term papers and dissertations by students of the Faculty of Journalism. The theoretical significance of the research results is to outline the special role of the interviewer during the portrait interview.

Research Doctorate - Doctor of Philosophy (PhD)<br>The thesis builds a theory of the literary hoax and draws examples from French, British and Australian literature. It then examines the function of the author through the lens of the literary hoax with the case study of the Vernon Sullivan Affair (France, 1946-1950). Studying the mechanisms of the hoax allows us first and foremost to redefine the function and place of the author. This work sheds new light on post-war fake crime fiction and the status of the author in such a transitional literary period of French Literature, but it also demonstrates the different layers of meaning hidden behind the overlooked concept that is the literary hoax. Ultimately, a new perspective is unveiled on the study of authorial relations and functions.

碩士<br>臺北市立大學<br>舞蹈學系<br>103<br>Figures of Dancers Seen from Backlighting – Career Transition Records of the Author and Three Dancers Abstract The document aimed to discuss the development of three dancing-expertise teachers had taught and who was going to teach arts and humanities in junior high schools and further taught performing arts converted and prolonged their performing career through instruction after taking the long-term professional dance training. The document adopted qualitative research “narrative inquiry” method to make three dancing-expertise performing arts teachers and researcher self-narrate different level of life and discuss the dance moves that emerged once again. The research data was collected by multiple methods such as pilot study and qualified intensive interviews, narration and discussion and analysis of literatures to perform the data collection and reconstructed the text through induction and analysis to realize the thread of stories. The study presented the progress and changes of thought of three dancers graduated from department of dance and researcher acquired certificate of performing arts and the choice of being dancer or teacher after taking the professional dance training to provide the field of dance education a future reference. Keywords: Performing arts teacher, dancer, narrative inquiry

碩士<br>國立臺南大學<br>國語文學系國語文碩士班<br>96<br>The study text is “Gu Wang Yan”, which is a novel of pornography wrote by Qu-Jing Cao in the Ching Dynasty. Although the background of the author is not clear, but it has proved that the novel is worthy to be studied. The study writer distinguishes the image of figures in “Gu Wang Yan” into four kinds from the dialogue and plot of the content: the type of perfect man, the type of perfect woman, the type of bad wife and weak husband, the type of lustful man and woman. Through analyzing the image of figures, the writer also tries to find out and explain thoughts of the author, and hopes to study more in classical novels. The study has six chapters. Chapter One is an introduction of the novel and the study. In Chapter Two the writer thinks that Cao dreams to be the perfect man making a great contribution and gets happy marriage, and he makes the dream come true and satisfies himself by creating the novel. In Chapter Three the writer thinks that the perfect woman acts as a foil to men, and women is only need for men and a symbol of men’s personal property. In Chapter Four the writer thinks that Cao wants to recover the power of men because he can’t endure powerful women, thus he conceals the fact and hits, punishes women with his writing. In Chapter Five the writer thinks that though Cao describes an ill-favored, lecherous world, all he wants to do is to save people tainted minds and to teach them a lesson from the retribution he wrote in the novel. Chapter Six is a conclusion of the study. Key Words：“Gu Wang Yan” Qu-Jing Cao the image of figures thoughts of an author

This diploma thesis deals with the novella The end of the nylon age written by Josef Škvorecký in 1950. It explores the text from a literary historical, literary theoretical and literary "practical", editorial point of view. After the introduction of author's work in necessary period and factual context the thesis focuses on the iterpretation of the novella, its narrative situation and the resulting structure of the text. The thesis then deals with dialogues and dialogic characteristics of the novella. The closing part pays attention to the textological issues - creating of an annotation system to the book. The novella is being related to other artist's work within each theme throughout the entire thesis.

Text in German, summaries in English and German<br>Diese Arbeit beschäftigt sich mit dem Bericht über König Belsazar in Daniel 5. Wäh-rend eines Trinkgelages erscheint eine Hand, die eine Botschaft an die Wand schreibt. König Belsazar ragiert mit Entsetzen auf die Schrift. Hierbei werden fünf körperliche Reaktionen beschrieben, die als „Akute Belastungsreaktionen“ identifi-ziert werden. Es stellt sich die Frage, weshalb die „Akuten Belastungsreaktionen“ so deutlich vom Erzähler berichtet werden. Anhand der Literaturwissenschaftlichen Bibelauslegung wird dargestellt, dass die fünf „Akuten Belastungsreaktionen“ von Belsazar Teil eines rhetorischen Stilmittel sind, das den König denunziert. Mit Überprüfung des Danielbuches wird dargelegt, dass die Reaktionen von Belsazar in dieser komprimierten Form besonders sind. Sie stehen jedoch im Kontext der vie-len „Akuten Belastungsreaktionen“ des gesamten Buches. Eine umfangreiche Über-prüfung des gesamten alttestamentlichen Kanons zeigt, dass viele Bücher von „Akuten Belastungsreaktionen“ berichten, jedoch nicht in der Anzahl wie beim Da-nielbuch. Zudem kann dargelegt werden, dass die „Akuten Belastungsreaktionen“ kulturell anerkannt waren, jedoch auch polemisch verwendet wurden. Es wurde festgestellt, dass die Verwendung von „Akuten Belastungsreaktionen“ in alttestamentlichen Texten variable Funktionen haben, die auf die Intention des Er-zählers zurückzuführen sind. Hierbei werden die Protagonisten charakterisiert und die Sympathie des Lesers gelenkt.<br>This dissertation explores the narrative concerning King Belshazzar in Daniel 5. Dur-ing a banquet, a hand appears and writes a message on the wall. King Belshazzar’s reaction is one of horror. In the narrative we can find five physical reactions which can be identified as “acute stress reactions”. The question of this dissertation is, why does the author describe these “acute stress reactions” in such an explicit way? Using the methodology of new literary criticism, it is shown that the five “acute stress reactions” of Belshazzar are a part of a rhetorical stylistic device to denunciate the King. A broader look at the Book of Daniel shows that although the compressed nature of Belshazzar’s reaction is quite unique, it exists within a wider context which contains many similar “acute stress reactions”. A comprehensive examination of the whole Old Testament canon shows that many books contain descriptions of “acute stress reac-tions”, but none are comparable to the Book of Daniel. It can also be shown that the “acute stress reactions” as such were culturally acceptable but can be used by the author to create a polemic effect. This dissertation shows that the use of “acute stress reactions” could be employed for various functions according to the intentions of the Old Testament authors. They can be used to characterize a given protagonist and thereby direct the sympathies of the reader.<br>Old Testament and Ancient Near Eastern Studies<br>M. Th. (Old Testament)