Dissertations / Theses on the topic 'Bradbury'

Le fonctionnement de la reception critique de ray bradbury, (auteur de science-fiction americain), en france, demonte les mecanismes de la prise de possession du bloc auteur-oeuvre par les deux instances de la critique litteraire. Critique "moderne" et critique journalistique inherentes aux circuits long et mediatique, poursuivent des objectifs differents, et s'emparent du bloc auteur-oeuvre, valorisant ce qui semble le plus a meme de repondre aux attentes et aux aspirations de leurs publics et de les satisfaire. Ces deux circuits cheminent de concert tout au long des trente annees que couvre le corpus d'articles et de textes critiques reunis afin de cerner les images de bradbury ecrivain, bradbury auteur de science-fiction, bradbury modele, pivot d'un mouvement litteraire, enfin bradbury personnage et auteur au statut singulier et ambivalent. En effet, ray bradbury possede la particularite rare d'avoir ete soumis a ces deux instances de la critique, et aux multiples formes que chacune d'entre elle s'est plu a revetir. "idole", "vedette", sorte de "gourou" du circuit mediatique, il a connu la gloire et l'abandon. Parallelement, il est peu a peu devenu un ecrivain authentifie, pleinement legitime par le circuit long. Celui-la meme qui a valorise son oeuvre et lui a definitivement donne ses lettres de noblesse. Ainsi, le fait que l'oeuvre de ray bradbury ait subi diverses formes de manipulations critiques tend a mettre en relief la position singuliere de l'auteur dans le monde litteraire en general, et dans celui de la sciencefiction en particulier. En outre, modele, immortalise et valorise par la critique, bradbury lui a simultanement permis de trouver ses marques et d'etablir un systeme d'approche qui lui soit propre, dans un univers au sein duquel, primitivement, elle se perdait.

This thesis examines the fiction and screenwriting of Ray Bradbury (1920-2012), the American author best known for novels and short stories in the genres of science fiction and fantasy. Bradbury’s screenwriting has previously received little critical attention, but is examined here in an archival study of four of his extended film-making projects, two of which came to fruition in completed films, and two of which remain unproduced. Moby Dick (John Huston, 1956) is a strong work of structural adaptation from Herman Melville’s novel, and the experience of adapting it is shown to have had a significant impact on Bradbury’s own work in prose fiction and radio drama. The development of Something Wicked This Way Comes (Jack Clayton, 1983), a film based on Bradbury’s own novel, is traced through multiple pathways of adaptation, revealing Bradbury as an effective story analyst and self-adapter. The conflict of authority between screenwriter and film director is shown to be a manifestation of Ian W. Macdonald’s concept of ‘the screen idea’ as the controlling force in film production. Bradbury’s un-filmed screenplays for The Martian Chronicles (1961, 1963-5, 1978, 1997) are found to have developed a grand narrative displaying Bradbury’s philosophy of humankind’s place in the cosmos. His novel Fahrenheit 451 (1953) is shown to be a fundamentally cinematic fiction, and the film adaptation by François Truffaut (1966) is revealed to have stimulated Bradbury’s own re-vision of the work for stage and screen. The serial re-composition of prose works as cross-media re-visions is proven to be central to Bradbury’s working method. Self-adaptation is considered as a challenge to established theories of adaptation, such as Linda Hutcheon’s A Theory of Adaptation (2006).

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2016.
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Esta tese pretende, a partir da novela The Fireman (1951), de Ray Bradbury, refletir sobre possibilidades de resistência em uma sociedade polarizada entre homens-livros e bombeiros, leitores e telespectadores, literatura e mídia. A primeira alternativa é alicerçada pelo gesto da guardiã do acervo escrito a qual opta em morrer, em sua decrépita morada, com os seus livros embebidos em querosene e consumidos pelas labaredas do encarnado fogo. A renúncia dessa mulher aos axiomas autoritários, sua incorporação do ?preferiria não? produzem ruínas. A segunda alternativa é vislumbrada a partir de resíduos: brasas, fumaças, cinzas, poeiras, fuligens, sombras, imagens dispersas e incertas. Essas sobrevivências indefinidas, voláteis, indistintas entre a visibilidade e a invisibilidade escapam ao controle, possibilitam contágios. Na contramão da disseminação, o vidro é concebido como indício de controle, vigilância. Nesta perspectiva daquilo que, normalmente, é despercebido ou pouco valorizado, interessa, ademais, o ato de fumar cigarros e a prática de caminhar pelas ruas sem objetivo. Produzir pequenas fumaças por meio da queima do tabaco industrializado, assim como chamuscar o tempo em deambulações, em uma sociedade onde ?time is money?, similarmente, são vistos como mecanismos de combate. Ambos são improdutivos, não produzem algo utilitário. Mildred é considerada como sintoma da colonização do corpo humano e da subjetividade, via regulamentações biopolíticas. Mais do que fazer viver ou morrer, interessa criar sobreviventes como investimento de capital. Assim, a esposa do pragmático Montag caracterizaria algo como sobrevida, remanente. O encontro do pirotécnico e burocrata Montag com os homens-livros, ou seja, o desfecho da narrativa de Bradbury, será ponto de partida para a seguinte indagação: como pensar para além do humanismo que contempla e vislumbra o desembrutecimento, a absolvição da alienação, a liberdade, a repressão da animalidade do homem através do acesso aos livros e a sua leitura - a cultura escrita.

Abstract : This thesis aims, through the novella The Fireman (1951), by Ray Bradbury, to reflect on possibilities of resistance in a society polarized between book-men and firemen, readers and viewers, literature and media. The first alternative is based on the gesture of the guardian of the written collection, which chooses to die in her decrepit abode with her books soaked in kerosene and consumed by the flames of the scarlet fire. This woman's renunciation of authoritarian axioms, her incorporation of the ?would rather not? produce ruins. The second alternative is glimpsed from residues: embers, smoke, ashes, dust, soot, shadows, scattered and uncertain images. These indefinite volatile survivals, indistinct between visibility and invisibility, are beyond control, allowing contagions. Contrary to dissemination, glass is conceived as evidence of control, vigilance. In this perspective of what is usually unnoticed or undervalued, there is also an interest in smoking cigarettes and in roaming through the streets without purpose. Producing small fumes by burning industrialized tobacco, as well as scorching time in wandering, in a society in which ?time is money?, are similarly viewed as combat mechanisms. Both are unproductive, they do not produce something utilitarian. Mildred is considered one of the symptoms of the colonization of the human body and of the subjectivity, via biopolitical regulations. More than living or dying, what is interesting is to create survivors as a capital investment. Thus, the wife of the pragmatic Montag would be characterized as survival, remnant. The meeting of the pyrotechnic and bureaucrat Montag with the bookmen, i.e., the outcome of Bradbury's novella, will be the starting point for the following question: how to think beyond the humanism that contemplates and envisages the unbrutishness, the absolution of alienation, the freedom, the repression of the animality of man through the access to books and reading - the written culture.

Thesis (M.A.)--Indiana University, 2009.
Title from screen (viewed on September 30, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Jonathan R. Eller, William F. Touponce, Stephen L. Fox. Includes vita. Includes bibliographical references (leaves 68-70).

Esta dissertação busca analisar como o romance Fahrenheit 451 de Ray Bradbury lida com seu contexto histórico e qual é a resolução simbólica sugerida para o problema por ele apontado. Para tanto, traçaremos paralelos entre o cenário político-social da sociedade fictícia do romance e os Estados Unidos entre 1945 até 1953, data de sua publicação oficial.
The purpose of this research is to analyze how the novel Fahrenheit 451, by Ray Bradbury, deals with its historical context and which is the symbolic resolution suggested for the issues noted. Therefore, parallels will be drawn between the political-social scene described in its fictional society and that of the United States from 1945 until 1953, the novels official publication date.

In Bradbury’s dystopian novel Fahrenheit 451, knowledge is illegal, and popular culture is promoted as a way to control society. Guy Montag, the central character of the book, undergoes through a journey of liberation from the oppressive system to the further achievement of the forbidden knowledge. The female characters in the book are key to his awakening and evolvement. Unfortunately during the course of the story these women perish. Using the theories of Simone De Beauvoir and Janice Radway, this essay explores the concept of “otherness” and the consumption of popular culture in a patriarchal and oppressive society. This paper also argues that the construction of the masculinity of the protagonist would not be possible without the women, and their death is a violent reaffirmation of a patriarchal order.

Known in the United States for his critical studies of twentieth-century fiction, Malcolm Bradbury is himself a creator of fiction, the author of four novels. All four are satires. All confront well-meaning but feckless English liberal humanists with the doctrinaire. All reveal that meaning well and doing justly are not the same, and that private values--a belief in the dignity of the individual and in his right to work out his own destiny--are insufficient, even, sometimes, harmful. Yet Bradbury consistently reveals the doctrinaire as far more harmful, concerned not at all about individual men. The doctrinaire is ruthless and inhumane, whether presented as a formulaic version of liberal humanism itself, in Eating People is Wrong (1959); as the politicized liberalism of post-McCarthy America, in Stepping Westward (1965); as the radicalism of the early nineteen seventies, in The History Man (1975); or as the Marxism of a Soviet satellite, in Rates of Exchange (1983). His novels all depict something that Bradbury himself named in a commentary upon his first: "an ironic world, a world without real deliverances." Several critics maintain that Bradbury's novels are profoundly, deceitfully, conservative beneath a surface liberalism. However, as this first long study of the novels attempts to demonstrate, their conservatism is not so much political as cultural. The great Western systems, capitalism and communism, no longer offer much that is conducive to man's well-being; only liberal humanism, in its respect for the individual, holds forth some faint hope for humanity. So implies Malcolm Bradbury, whose stance in the novels is largely apolitical and who exposes the folly of his liberal humanists and the wickedness of their more doctrinaire antagonists with equally devastating wit.
Department of English

The purpose of this study was to measure the degree to which leaders who received training through the Montana 4-H Volunteer Leader College (VLC) had an affect on the life skills development of members in their 4-H clubs. Data was collected using a written survey. Leaders and members from 4-H clubs in Montana comprised the sample. Descriptive statistics, two-tailed t-tests, and chisquare were generated for analysis. After analysis, the following conclusions, recommendations and implications were made: Conclusions: (1) 4-H members surveyed were demographically similar. Leaders in the treatment group had been involved more years as 4-H leaders. Leaders from the treatment group reported receiving higher levels of training from 4-H extension. (2) Members's perceptions of their life skills or leaders's perceptions of their ability to provide members with life skills were not influenced by training through the VLC. (3) A greater occurrence of officer training and a difference in officer selection was reported by members of the treatment group. (4) Community involvement, as summarized by leaders, seemed to be more varied and occurred more often in the treatment group. Higher levels in this area were also perceived by members in the treatment group. Recommendations: (1) Further study was recommended to determine if mandatory training of volunteer leaders for life skills development provided different impacts than volunteer training, Additionally, further research was needed to determine the effect officer election and training strategies employed by leaders had on level of community involvement of clubs. (3) Assessment of the VLC was recommended, with consideration given to the National 4-H Strategic Plan. (4) A quasi-experimental design using larger treatment and control groups from throughout Montana should be conducted. (5) Changes to the survey instrument should be included in further research. Implications: (1) Overall, the perceived life skills possessed by Montana State 4-H members were high, regardless of leader training. (2) Alternative explanations were available concerning specific leader practices of officer training and selection and community involvement.

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This research aims to analyze the literary dystopians 1984, written by George Orwell and Fahrenheit 451 written by Ray Bradbury observing how these authors presented their reflections about their societies and how the human being was inserted in this context. In this perspective, the goal of this work is to demonstrate how the manipulation of memory and language reflects the contrasts between English and American dystopia in the works mentioned above and how the authors presented their critics to their societies. The discussions have presented theoretical support on the studies of Jacques Le Goff (1990), Maurice Halbwachs (2006) and Paul Ricouer (2008), which have highlighted aspects of memory and language that are common to both works, but were approached differently by their authors. This is justified by the fact that they belonged to different societies and the historical ideological context of post world wars in England and the United States was a determining factor to the emersion of dystopian literature and technological society even if differently in each country. This study also presents an overview on the science fiction, emphasizing the most representative moments of this literary strand in which the novels that make up the corpus of this work are inserted.
Esta pesquisa destina-se a uma análise das obras literárias distópicas 1984 de George Orwell e Fahrenheit 451 de Ray Bradbury, observando como os autores apresentaram suas reflexões sobre os caminhos das sociedades e como enxergavam o homem inserido neste contexto. Nesta perspectiva, o objetivo deste trabalho é demonstrar como a manipulação da memória e da linguagem reflete os contrastes entre a distopia inglesa e norte-americana nas obras supracitadas e como os autores formularam suas críticas às sociedades das quais participavam. As discussões apresentadas possuem como suporte teórico os estudos de Jacques Le Goff (1990), Maurice Halbwachs (2006) e Paul Ricouer (2008), os quais permitiram evidenciar aspectos de memória e linguagem que são comuns às duas obras, mas que foram abordados diferentemente por seus autores. Isto se justifica pelo fato de que eles pertenciam a sociedades distintas e o contexto histórico-ideológico pós-guerras mundiais na Inglaterra e Estados Unidos foi fator determinante para a emersão da literatura distópica e da sociedade tecnológica, ainda que de maneira diferente em cada país. Este estudo apresenta ainda um panorama acerca da ficção científica, destacando momentos representativos desta vertente literária na qual se inserem os romances que compõem o corpus deste trabalho.

The purpose of the following essay is to examine various works of fiction featuring time travel and their underlying common theme. The main focus of the essay is the novella The Time Machine by H. G. Wells and the short story ”A Sound of Thunder” by Ray Bradbury, but a number of other texts from various different periods in time are also taken into account, mainly to provide a background for the analysis of the chosen texts. The essay is written based on the assumption that there are two distinct subcategories of time travel fiction. There is a significant difference in time travel literature written before and after The Time Machine: mainly because this work was written in a period when the concept of 'time' was changing in the public mind, due to the scientific and cultural advances in the fields of physics, philosophy and psychology. The conclusion of the study is that all examples of time travel fiction (or at least those brought up in this essay) share a common theme, namely the relation to the alien and the uncanny. Furthermore, the analysed texts seem to be firmly rooted in their respective era. Older time travel fiction in particular demonstrates that time travel is used as an alienating effect on the traveller, who is transported (willingly or not) into an unfamiliar time and is hopelessly lost in an inescapable situation. The alienation theme lives on in more modern examples of the narrative as well, but since the introduction of the The Time Machine, the time travelling protagonists have a way of fighting back against the alienation, by trying to take control of their unfamiliar situation.
Syftet med följande uppsats är att undersöka olika litterära verk innehållande tidsresor, samt det underliggande gemensamma motivet. Uppsatsens huvudfokus är kortromanen The Time Machine av H. G. Wells och novellen ”A Sound of Thunder” av Ray Bradbury, men ett antal andra texter från olika tidsperioder tas också i beaktande, främst för att tillhandahålla en bakgrund för analysen av de utvalda texterna. Uppsatsen är baserad på antagandet att det i tidsreselitteraturen finns två distinkta underkategorier. Det finns en väsentlig skillnad i  de verk som publicerades före respektive efter The Time Machine, vilket främst beror på att denna text skrevs i en tid då föreställningen om vad 'tid' är var på väg att förändras i det publika medvetandet, med anledning av de vetenskapliga och kulturella landvinningarna inom fysik, filosofi och psykologi. Studiens slutsats visar att all tidsreselitteratur (eller åtminstone de exempel som tas upp i uppsatsen) har ett gemensamt tema, nämligen relationen till det främmande och det kusliga. Vidare tycks de analyserade texterna vara tydligt förankrade i sina respektive tidsperioder. Äldre tidsreselitteratur i synnerhet använder sig av en alienerande effekt på resenären, som förflyttas (frivilligt eller ej) till en främmande tid och blir hopplöst förlorad i en ofrånkomlig situation. Alienationstemat lever vidare även i mer moderna tidsreseexempel, men sedan The Time Machine publicerades har de tidsresande protagonisterna möjligheten att slå tillbaka mot alienationen genom att försöka (och ibland till och med lyckas) att ta kontroll över den obekanta situationen.

Este trabalho analisa o Fahrenheit 451 de Ray Bradbury e o de François Truffaut, em sua proposição de utilizar a oralidade (discurso oral) como forma de manutenção do literário e resistência à imposição e à censura ideológica. Efetua também uma análise comparatista das Utopias Negativas do século XX (obras Distópicas). Ao longo deste projeto, é feita uma análise do surgimento da escrita (alfabético-fonética), e sua estreita relação com o discurso oral. Tenta-se reproduzir a trajetória traçada pelo discurso oral, passando pelo desenvolvimento da tecnologia escrita, assim como a produção cultural tanto no meio oral quanto no escrito, junto com suas conseqüências e influências sobre pensamento humano. Da oralidade dos poemas homéricos à oralidade advinda com o desenvolvimento de aparelhos eletrônicos como o telefone, que, em plena modernidade, voltam a valorizar o discurso oral. Neste projeto a oralidade é vista como algo cíclico.
This thesis analyses Ray Bradbury’s and François Truffaut’s Fahrenheit 451, in their proposal of using the oral discourse as a way of maintenance of the literacy as well as resistance to ideological imposition and censorship. It also brings a comparative analysis of the Negative Utopias of the twentieth century (Distopic Literature), along with the rise of writing (alphabetic-phonetic writing), and its close relation to oral discourse. It tries to reproduce the path trailed by oral discourse, passing through the development of writing technology, as well as the cultural production both in the oral and in the writing media, along with its consequences and influences to human thought. From Homer’s oral poems to the oral discourse emerged with the development of electronic devices such as the telephone, which enhance oral discourse in modern times. In this project oral discourse is seen as something cyclical.

Cette étude de science politique s’inscrit dans le prolongement d’une thèse effectuée en littérature comparée, intitulée « Entre littérature et philosophie : l’Homme est-il un animal politique ? Physique de la misanthropie » (dirigée par M. F. Monneyron, soutenue en nov. 2013, publiée chez L’Harmattan). Dans cette analyse, il s’agissait de tenter une ébauche de conceptualisation philosophique de la haine de l’humanité en partant du théâtre de la misanthropie pour voir ensuite si les quelques résultats obtenus pouvaient s’appliquer à la littérature concentrationnaire et aux dystopies, deux autres genres littéraires qui forment le terreau naturel de doctrines et de pratiques misanthropes.Quelles sont les déterminations culturelles (mythologiques, religieuses, artistiques, médiatiques) de la misanthropie et de la misologie ? Comment apprécier leurs impacts dans le champ politique des paroles et des actes ? La misanthropie n’est-elle pas un composé de misogynie et de misandrie ? Peut-elle être érotique et créer des réseaux ? Comment se concrétise-t-elle dans les domaines du travail, de l’économie, de la technique, de la guerre, dans les problématiques afférentes aux minorités ? Et la démocratie peut-elle générer de la misanthropie ?
This sociological study draws on a comparative literature thesis entitled « Entre littérature et philosophie : l’Homme est-il un animal politique ? Physique de la misanthropie » (Between literature and philosophy: is Man a political animal? Physics of misanthropy) (defended in Nov. 2013, published by L’Harmattan). In this analysis, the aim was to try to sketch a philosophical draft of the hatred of humanity based on misanthropic theatre before trying to apply the results thus obtained to concentration camp literature and to dystopias, two other genres which form the breeding-ground of misanthropic doctrines and practices. This first thought process allowed giving form to some powerfully material aspects of misanthropy: its geography, its therianthropic productions, its infantile manifestations, its exanthropic phenomenology and its dietetics.In the present political science thesis, our aim is to identify the cultural determinations of misanthropy and misology (be it mythological, religious, artistic or in the media) before reflecting on the impact they might have on the political field of speech or of deeds. Isn’t misanthropy a compound of misogyny and misandry? Can misanthropy be erotic? How does it appear in the realms of work, economy, technique, war or in the issues relating to minorities? Eventually we will ask ourselves to which extent democracy creates misanthropy

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This thesis analyzes the manner whereby the representations of the media in five dystopian texts in the in-between and post-World Wars times are directed. The narratives selected as paradigmatic from the western dystopian literature within this period of time, are: We (1924), by Eugene Zamiatin; Brave new world (1932), by Aldous Huxley; 1984 (1949), by George Orwell; Player Piano (1952), by Kurt Vonnegut Jr. ; and Fahrenheit 451 (1953), by Ray Bradbury. The text of that time is taken as fundamental for the emersion of dystopian literature, of the technological society and mass communication while posing as relevant social phenomena. The representations of the means of communication presented by the authors make resonate, in general, the critical thinking that existed back then about these means and considers them as basic technologies for keeping a grasp on power. Man, under this perspective, can be modified and administrated through, exactly, these means. This grasp induces the individual to abdicate any distorting attitude toward what is defined as the stability pattern of these societies.
Esta tese analisa a forma como são encaminhadas ficcionalmente as representações dos meios de comunicação em cinco textos distópicos no período do entre e do pós-Guerras Mundiais. As narrativas selecionadas como paradigmáticas da literatura distópica neste espaço de tempo são: Nós (1924), de Eugene Zamiatin; Admirável mundo novo (1932), de Aldous Huxley; 1984 (1949), de George Orwell; Revolução no futuro (1952), de Kurt Vonnegut Jr. ; e Fahrenheit 451 (1953), de Ray Bradbury. Toma-se o contexto daquela época como fundamental para a emersão da literatura distópica, da sociedade tecnológica e da comunicação de massa enquanto fenômenos sociais relevantes. As representações dos meios de comunicação apresentadas pelos autores fazem ressoar, de maneira geral, o pensamento crítico que havia, então, acerca desses meios e situa-os como tecnologias fundamentais para a manutenção do poder. O homem, sob essa perspectiva, pode ser modificado e administrado através, justamente, desses meios. Essa manutenção se resume a fazer o indivíduo abdicar de qualquer atitude dissonante daquilo que se define como o modo padrão de estabilidade dessas sociedades.

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This work contributes to the definition and understanding of the science fiction that both lacks clarification and definition for many admirers or not, both scholars and readers, for confusing a science fiction with other styles, those arising from fantasy, horror, realism, realism Fantastic, among many others. We draw a time line with three works of science fiction to more effectively demonstrate a regency of his art about facts that permeate a reality and imaginary, a science and a literature. Such works as What are The War of the Worlds by H. G. Wells, 1984 by George Orwell and The Martian Chronicles by Ray Bradbury. In addition to the portrayal here as functions that differ from the elements inherited from other literary genres and their transmutations, a question of an element for man throughout his evolutionary process, a war. We use war as the most defining of scientific and technological progress, banks are broadly defined in these three works. And finally, about these requirements, what is more inherent in science fiction is its feedback between the real and imaginative, imaginative and real.
Este trabalho vem colaborar para uma compreensão a mais da ficção científica por leitores a fim de que não confundam a ficção científica com outros estilos, já que essa ficção advém da fantasia, horror, realismo, realismo fantástico, entre diversos outros sedimentos. Traçamos uma linha temporal com três obras de ficção científica para demonstrar, com mais eficiência a regência de sua arte sobre fatos que permeiam a realidade e o imaginário, a ciência e a literatura. São objetos de estudo as A Guerra dos Mundos de H. G. Wells, 1984 de George Orwell e As Crônicas Marcianas de Ray Bradbury. Além de retratar aqui as funções que se diferenciam dos elementos herdados de outros gêneros literários e suas transmutações, cunhamos a questão de um elemento chave para o homem em seu processo evolutivo, a guerra. Usamos a guerra como maior definidor do progresso científico e tecnológico, os quais são amplamente descritos nestas três obras. E por fim, sobre esses requisitos, o que mais é inerente à ficção científica é sua retroalimentação entre o real e imaginativo, imaginativo e real.

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Esta tese analisa a forma como s?o encaminhadas ficcionalmente as representa??es dos meios de comunica??o em cinco textos dist?picos no per?odo do entre e do p?s-Guerras Mundiais. As narrativas selecionadas como paradigm?ticas da literatura dist?pica neste espa?o de tempo s?o: N?s (1924), de Eugene Zamiatin; Admir?vel mundo novo (1932), de Aldous Huxley; 1984 (1949), de George Orwell; Revolu??o no futuro (1952), de Kurt Vonnegut Jr.; e Fahrenheit 451 (1953), de Ray Bradbury. Toma-se o contexto daquela ?poca como fundamental para a emers?o da literatura dist?pica, da sociedade tecnol?gica e da comunica??o de massa enquanto fen?menos sociais relevantes. As representa??es dos meios de comunica??o apresentadas pelos autores fazem ressoar, de maneira geral, o pensamento cr?tico que havia, ent?o, acerca desses meios e situa-os como tecnologias fundamentais para a manuten??o do poder. O homem, sob essa perspectiva, pode ser modificado e administrado atrav?s, justamente, desses meios. Essa manuten??o se resume a fazer o indiv?duo abdicar de qualquer atitude dissonante daquilo que se define como o modo padr?o de estabilidade dessas sociedades

La contre-utopie appuyee sur la science-fiction, denonce le caractere illusionniste de l'utopie classique. Les ecrivains a travers leurs oeuvres nous autres, le meilleur des mondes, 1984, fahrenheit 451, l'orange mecanique, soleil vert, le voyageur de l'inconnu et omega, refletent dans l'avenir l'humanite et ses problemes qui se manifestent de la revolution russe de 1917 jusqu'en 1966. Les auteurs a travers leurs heros qui s'opposent a ce systeme, refletent notre epoque dans l'avenir en presentant des etats tres puissants totalitaires, qui disposent d'une technologie avancee qui elimine la personnalite de l'individu et qu'ils isolent dans le temps et l'espace. Ces oeuvres abordent la realite a travers une prophetie pessimiste qu'ils font pour l'avenir, une satire de nos societes contemporaines qui ecrasent la personnalite de l'homme dans un esprit communautaire et collectiviste. A travers leurs themes qu'ils developpent, dans leurs romans et les dialogues qu'ils presentent, ils dressent un message a l'homme contemporain, qui contient la necessite que ce dernier sauvegarde sa personnalite, ses valeurs, sa memoire, ses sentiments et sa liberte
Anti-utopia rested in science-fiction denounce the illusionist character of the classic utopia. These authors throught their romans we, new brave world, 1984, fahrenheit 451, the clockwork orange, make room make room ! dr futurity and the status civilization, reflect in the future the humanity and its problems, from 1917 to 1966. These authors throught their heroes who they are against their social system reflect our century into the future, presenting differents big string and totalitarian states, having a technology who eliminate the personnality of the human being and isolate him in the time and in the space. These romans arrive in reality throught a pessimiste prophecy which concern the future. Their authors satirize the materialism of modern societies, which crush the human personnality and introduce it into a collectif universe. Throught the themes of anti-utopic romans, and their dialogues, the authors send a message to the contemporary man, which contains the necessity that he safeguard his personnality, his values, his memory, his fellings and his freedom

This thesis studies Ray Bradbury’s novel Fahrenheit 451 using Critical Discourse Analysis as the primary tool. It argues that the narrative develops through the supporting characters’ actions, and the different societal discourses of hegemony, otherness and class struggle they represent. Basing the analysis on Althusserian and Gramscian ideas and discussing citizen’s transformation from subjects to individuals, this study concludes that although a subject may be power-less and wary, it is by learning to act through being given information through discourse that personal development occurs.

The present dissertation stems from the attempt to deal with the literary representations of the university imaginary by focusing on mimesis. My purpose is to analyze the ways in which the university and its images have been addressed and represented in literature. Literary representations of academia find their expression through the configuration of a number of literary forms which I here propose to classify as ‘university fiction’. In the first part of my dissertation I investigate the forms taken by University Fiction in the British context from the 19th century until the second half of the 20th, a period when the genre achieved specific and stable connotations that have been respectively classified as “varsity novel” and “campus novel”. The second part deals with what happens when the university imaginary and its representation go beyond the boundaries of university fiction as a genre. The case study that I propose is constituted by the works of A.S. Byatt. This case study allows me to analyze a different way in which the university imaginary has been configured, a way that is, of course, related to literary genres, but which also goes beyond the typical boundaries of genres as literary constructs. This re-figuration has been explained by resorting to a concept that originally came from theatre and adaptation studies, but which proves to be productive when applied to narrative texts: the concept of ‘dramatization’.

The subject of this dissertation is the introduction and reception of science fiction literature in Sweden 1950–1968. Apart from considerations on science fiction as a genre and market category, and a brief survey of science fiction published in Sweden before the year 1950, the dissertation scrutinizes the Swedish publishers’ attempts at introducing both domestic and translated science fiction, the reception of the genre in Swedish literary criticism, the magazines Häpna! (1954–1966) and Galaxy (1958–1960), and the foundation of a Swedish science fiction fan culture. Science fiction was established as a category on the Swedish book market in the early 1950s, with several attempts to launch single works or whole series of mainly translated fiction. Between 1952 and 1968, roughly 30 publishing firms published over 160 books marketed as science fiction, with an apex in the late 1950s. Few publishers were successful, however, and most of the series were discontinued within just a few years of their inception. Meanwhile, in Swedish literary criticism, science fiction was increasingly perceived as a deficient form of commercial entertainment. A few of the exceptions were Harry Martinson (1904–1978), with his space epic Aniara (1956), and the translated author Ray Bradbury (b. 1920), who came to be considered as surpassing the boundaries of the genre. With the magazine Häpna!, a Swedish science fiction fan culture was contrived, with fans forming clubs, arranging conventions, disseminating fanzines, and, eventually, starting their own publishing firms and magazines. In the Swedish literary system, science fiction became a semi-separate literary circuit of production, distribution and consumption, and, concurrently, a growing autonomous subfield of cultural production, with its own forms of specific symbolic capital, doxa, and instances of consecration.

L'objectif général de notre projet est d'étudier les capacités d'adolescents de 14 à 17 ans à interpréter une nouvelle littéraire difficile. Des rencontres avec 39 élèves nous ont permis de collecter nos données par l'intermédiaire de la méthode de la pensée à voix haute et de l'entretien semi-dirigé. Nous avons effectué une analyse de ces données grâce à la méthode de l'analyse de contenu. Plus précisément, nous avons d'abord regroupé les élèves dans des profils d'interprètes selon leurs interprétations du texte Dragon (Bradbury, 1986). Nous avons ensuite étudié le lien entre l'interprétation proposée par chacun d'eux et leur recours à des éléments du texte ou à des connaissances personnelles pertinentes pour interpréter. Enfin, nous avons dégagé le lien entre le degré global de compréhension et la plausibilité des interprétations avancées pour chaque profil créé. Globalement, nos résultats convergent vers les observations suivantes : 1) les élèves qui ont proposé les interprétations les plus plausibles sont ceux qui se sont le plus appuyés sur des éléments du texte et sur des connaissances personnelles pertinentes; 2) les élèves dont la compréhension des enjeux centraux de l'histoire était adéquate ont, de façon générale, formulé des interprétations pertinentes pour expliquer le non-dit; 3) les élèves qui n'ont pas cerné le genre du texte lu ont eu plus de difficulté à le comprendre et à l'interpréter. Ces résultats montrent l'importance d'enseigner aux élèves des stratégies métacognitives polyvalentes à utiliser pour la compréhension et l'interprétation de textes de tous genres, notamment le retour au texte et l'utilisation de connaissances personnelles. De plus, nos résultats suggèrent un travail en classe de français sur des textes peu communs afin d'élargir l'expérience de lecture des élèves et les préparer à surmonter les défis générés par les singularités des textes.

This thesis examines the life and work of John Randal Bradburne (1921-1979), poet, mystic, musician, cenobite, sometime soldier, pilgrim and wanderer. His religious experiences, particularly, gave rise to a vast corpus of verse, virtually all of it as yet unpublished. This study provides a brief overview of his life, and a critical and textual introduction to a sample selection of poems entitled Bradburne 's Assays. The biography has been compiled from published and unpublished sources, as well as from personal interviews and correspondence with Bradburne's friends, relatives and associates in South Africa, Zimbabwe and the United Kingdom. Chief among these are two unpublished biographies by Judith, Countess of List owe I. Bradburne's extant corpus consists of over five thousand titled pieces of verse, ranging from brieflyrics to verses hundreds of pages long. The forty-seven poems comprising Bradburne 's Assays, published here for the first time, were selected and arranged by Bradburne himself in a single sequence. A unique collection in his corpus, they are unified by their common sonnet form and their contemplative approach to secular and religious experiences. An accurate reading text of this set of poems, transcribed from Bradburne's typescripts, currently held at Holyhead in Wales, is provided. These typescripts have been electronically scanned and are presented in the Appendix. Editorial intrusion, which has been kept to a minimum, is recorded in the critical apparatus beneath the text of the poems. Since all the poems in this ed ition are presented here for the first time, each is accompanied by detailed commentary on their form and content. Where necessary, interpretations of obscure passages have been suggested. A general index to the Introduction and Commentary is supplied, along with indexes of first lines and titles of the poems. It is hoped that this thesis will stimulate further study of the life and work of a unique and intriguing figure.

Thesis (Ph. D.)--Florida State University, 2003.
Advisor: Dr. R. Bruce Bickley, Jr., Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Mar. 3, 2004). Includes bibliographical references.

Doutoramento em Estudos Artísticos, Artes/Fílmicos e da Imagem, Departamento de História, Estudos Europeus, Arqueologia e Artes, Faculdade de Letras da Universidade de Coimbra
“Adaptando Bradbury: um Cinema de Maravilha e Aviso” é uma análise do trabalho do autor norte americano Ray Bradbury em media de performance, com foco específico em três adaptações para cinema. Cada uma delas representa diferentes gêneros e graus variados de envolvimento do autor no processo adaptativo. Um grande número de contos e romances de Bradbury foi originalmente concebido para performance, e ele realmente referiu-se a si mesmo como um “escritor híbrido,” convidando-nos a pensar nos seus textos como já a caminho da sua adaptação para teatro/cinema, ou como contendo elementos de outros media. (Touponce, ed. Review 9). Ao longo da tese, procuro concluir que Bradbury era inerentemente um escritor cinematográfico e “performativo” que tendia a mover seu trabalho nessa direção por causa do entendimento intuitivo de que o seu trabalho alcançaria a sua expressão mais completa em performance. Além disso, que ele tinha um sentido único das potencialidades do cinema, o que fez dele um singularmente astuto, se não o melhor adaptador do seu próprio trabalho. Em preparação para a análise dos filmes, os três primeiros capítulos conterão informações básicas de experiências e influências que moldaram o estilo e o trabalho característicos do autor e uma revisão critica da literatura sobre o autor. O envolvimento geral de Bradbury com a indústria cinematográfica começou no início de sua carreira e foi extenso. Por isso, alguma atenção será dada á adaptação de trabalho anterior do autor para outras formas de expressão artística, como a banda desenhada, rádio e cinema de animação, para além dos filmes em análise. Como membro da associação de guionistas, fundador da Screenwriter's Film Society e professor frequentemente convidado da escola de cinema da UCLA, ele desenvolveu e adotou suas próprias ideias sobre o cinema em geral e a prática adaptativa, que serão resumidas. Além disso, os elementos característicos da escrita de Bradbury que auguram a sua adaptação para o cinema serão destacados. Serão analisadas as características únicas e compartilhadas do escrito e do filme e suas respetivas possibilidades de narração, seguido de um levantamento da teoria adaptativa, incluindo perspetivas de cineastas e outros escritores na ilustração das práticas adaptativas comuns. Finalmente, uma abordagem “pluralista,” tal como é delineada por Linda Hutcheon, adotando uma abordagem sociológica à medida que o contexto de criação e receção de um texto é levado em conta, vendo adaptações como obras autônomas que são suas “próprias coisas palimpsestes.” Isto é, textos que são apropriados por indivíduos particulares sujeitos a várias condições, artísticas, comerciais e culturais. Embora não divagando da teoria do cinema, descrevo o esquema de “aberto” e “fechado” de Leo Braudy para descrever uma “atitude” que um filme toma em relação aos objetos animados e inanimados que ele contém e ao seu “potencial invisível.” O tratamento visual do material apoia técnicas narrativas na criação de significado e a abordagem aberta / fechada destaca a dialética do confinamento em busca de liberdade ou liberdade submetendo-se a graus de confinamento que é particularmente apropriado para o trabalho de Bradbury. Seguindo essas diretrizes teóricas para uma análise mais completa do filme como um trabalho adaptado, a análise de cada capítulo começa com o exame do (s) texto (s) fonte do filme, antes de uma visão geral da história da produção, realizador, elenco e equipa técnico, e após a análise do filme. A análise de fundo para o Fahrenheit 451 é extensa, pois havia textos “precursores” que contribuíram para o romance. Informações consideráveis sobre o diretor François Truffaut são incluídas para iluminar a sua motivação para o projeto, tão diferente de seus outros, e sua estética pessoal que marca o filme. O roteiro de Bradbury (1994) para um remake não produzido é visitado no final do capítulo. O capítulo sobre The Wonderful Ice Cream Suit contrasta e compara o teleponto anterior de Bradbury, peça teatral e musical, e analisa o trabalho teatral e a estética do autor antes de analisar o filme do roteiro de Bradbury. O capítulo sobre Something Wicked This Way Comes explora o tratamento de tela original do autor que antecede o romance publicado e temas espirituais comuns no trabalho de Bradbury. Um capítulo conclusivo consolida as afirmações da tese com a análise de suporte de várias outras adaptações do autor, a saber, Moby Dick, de John Huston, e episódios do Ray Bradbury Theatre, produzidos para a Televisão.
“Adapting Bradbury: a Cinema of Wonder and Warning” is an examination of author Ray Bradbury’s work in performance media, with specific focus on three cinema adaptations. Each of these represents different genre and varying degrees of the author’s involvement in the adaptive process. A large number of Bradbury’s short stories and novels were originally conceived for performance, and he actually referred to himself as a “hybrid writer,” inviting us to think of his texts as already on the way to another medium or as containing elements of other media” (Touponce, ed. Review 9). Throughout the thesis I seek to establish that Bradbury was inherently a cinematic and “performative” writer that tended to move his work in this direction because of an intuitive understanding that it would reach its fullest expression in performance. Also, that he had a unique sense of the potentialities of cinema, which in turn I will argue made him a singularly astute, if not the best adaptor of his own work. In preparation for analysis of the films, the first three chapters will contain background information of experiences and influences that shaped the author’s distinctive style and work. A critical overview is presented and summary of scholarship to date. Bradbury’s general engagement with the film industry began early in his career and was extensive, so some attention will be given to the author’s earlier cross-media work apart from the films under analysis. As a member of the screenwriters’ guild, founder of the Screenwriter’s Film Society and a frequent guest lecturer at the UCLA film school, he developed and espoused his own ideas about the cinema in general and adaptive practice, which will be summarized. Furthermore, characteristic elements from Bradbury’s writing that hold promise for cinema adaptation will be highlighted. Of necessity, an examination of the shared and unique characteristics of print and film and their respective possibilities of narration will be followed by a survey of adaptive theory, included insights from filmmakers and other writers in illustration of common adaptive practices. Finally, a “pluralist” approach is adopted as outlined by Linda Hutcheon embracing a sociological turn as the context of creation and reception of a text are taken into account, viewing adaptations as autonomous works that are their “own palimpsestic things.” That is, texts that are appropriated by particular individuals subject to various conditions, artistic, commercial and cultural. While not digressing into film theory I outline Leo Braudy’s schema of “opened” and “closed” to describe an “attitude” a film takes toward both the animate and inanimate objects it contains and their “invisible potential.” The visual treatments of material also support narrative techniques in creation of meaning and the open/closed approach highlights the dialectic of confinement seeking freedom or freedom submitting to degrees of confinement which is particularly appropriate for Bradbury’s work. Following these theoretical guidelines and for fuller analysis of the film as an adapted work, each chapter analysis begins with examination of the film’s source text(s), before an overview of production history, director, cast and crew before analysis of the film itself. Background analysis for Fahrenheit 451 is extensive since there were “precursor” texts contributing to the novel. Considerable information on director François Truffaut is included to illuminate his motivation for the project, so unlike his others, and his personal aesthetics which mark the film. Bradbury’s screenplay (1994) for an unproduced remake is visited at the end of the chapter. The chapter on The Wonderful Ice Cream Suit contrasts and compares Bradbury’s prior teleplay, stage play and musical, and surveys the author’s theatrical work and aesthetic before analyzing the film from Bradbury’s screenplay. The chapter on Something Wicked This Way Comes explores the author’s original screen treatment that predates the published novel, and common spiritual themes in Bradbury’s work. A concluding chapter consolidates thesis assertions with supporting analysis of several of the author’s other adaptations, namely John Huston’s Moby Dick and episodes of The Ray Bradbury Theater, produced for Television.

"December, 2002"
Includes bibliographical references.
2 v. : ill., plates ; 30 cm.
The aims of this thesis are the taxonomic description of new species, examination of the stygobiont amphipod fauna of Australia, the review of phylogenetic relationships among the Australian Crangonyctoidea, and generation of a key to all Australian freshwater amphipod species. A significant contribution has been made to knowledge of the freshwater amphipoda of Australia. Nine new genera are established and forty three new species described within the Crangonyctoidea and Melitidae. Previously, eighteen genera and forty species of those families had been described. Many of the new taxa are stygobionts and understanding of the diversity and abundance of these amphipods has contributed significantly to arguments in favour of groundwater conservation. Nevertheless, while the number of described species has more than doubled, it is clear many taxa among collections are unresolved.
Thesis (Ph.D.)--University of Adelaide, Dept. of Environmental Biology, 2003

Indiana University-Purdue University Indianapolis (IUPUI)
This document offers scholarly researchers, students and general readers a reliable, genealogically-based descriptive bibliography of all U.S. and British publications of Ray Bradbury's Fahrenheit 451 (1953). The driving force behind this thesis is the desire to preserve, catalog, describe and archive a work of literature that has stood the test of time and continues to be an influential milestone of American culture well into the twenty-first century.

Indiana University-Purdue University Indianapolis (IUPUI)
The Center for Ray Bradbury Studies (cited also as the “Bradbury Center” or the “Center”) is a single author archive, museum, and outreach center housed in the Institute for American Thought, located in the School of Liberal Arts at IUPUI. This dissertation employs a case study methodology to explore the complex issue of single author archive management and sustainability as it applies to the Bradbury Center by extending the research process beyond working with primary sources and published materials. The applied research project unfolded in two phases. The first involved an intensive four-day on-site consultation in which five professional archivists and preservation experts from across the Midwest visited the Bradbury Center and examined its collections and policies. Following their visit, the consultants prepared recommendations concerning artifacts, manuscripts, correspondence, physical layout, access, operational procedures, processing priorities, and environmental/climate control for artifacts. The on-site consultation team also informed objectives, goals, and strategies for addressing the preservation needs of the Center’s vast and varied collections, aiding in systematically moving forward with curatorial initiatives, and planning for general organizational development. The second research phase involved site visits to five peer institutions to tour facilities, interview directors and archivists about best practices, and established a plan for adapting these practices to the Bradbury Center. Findings from both research phases inform the Bradbury Center’s immediate and long-term plans for center staff, fundraising, spatial expansion and renovation, and the Center’s strategy for identifying key constituencies as it endeavors to serve a broad spectrum of public and academic audiences through various outreach and programming initiatives. Upon completion of the case study field research, a formal report was prepared. That report serves as the cornerstone for this applied dissertation. Additional chapters cast a vision for the Bradbury Center and address potential opportunities to serve the Indianapolis region by tapping into tourism markets, conventions, and local cultural festivals and celebrations while also developing into an international research hub as the sole entity that preserves the material legacy of Ray Bradbury. The introductory chapter situates the Bradbury Center within the legacy of the central figure of the Center—Ray Bradbury.

Coral bleaching is the disassociation (either expulsion or degradation) of zooxanthellae and the coral host, and it is a general stress response of corals. Anomalous sea surface temperatures have caused widespread incidence of bleaching referred to as mass bleaching; however, chronic, longer-term stress from global climate change is also potentially increasing coral vulnerability to subsequent stress. Sustained and ongoing increases in sea surface temperatures are expected to result in greater incidence of mass bleaching of scleractinian corals, assuming that corals are incapable of acclimating or adapting at required rates. Acclimation is a short-term relief from stress, such as producing heat shock proteins; whereas, adaptation works on populations, hence would use natural selection to produce corals that are more tolerant to stress. A significant limitation in assessing the fate of corals subject to changing environmental conditions is a precise quantitative metric for measuring incidence and severity of coral bleaching. In the field, bleaching is often reported based on the conspicuous "paling" of individual coral colonies, species, or assemblages, but there is not currently a clear and unambiguous definition that can be used to say exactly when individual corals (or populations) are bleached. The purpose of this thesis was to compare among alternative methods used to quantify the incidence and severity of coral bleaching, both at the level of individual colonies and local populations or species, to establish a rigorous quantitative definition for coral bleaching. Bleaching, therefore, can be defined as a loss of greater than half of the zooxanthellae population density, concurrent with rapid changes in physiological quenching efforts, and often displayed as a colour change of 2-3 shades. This metric was then used to explore taxonomic, spatial (geographical), and temporal variation in bleaching susceptibility among scleractinian corals. Chapter 2 of the thesis focused on measures of zooxanthellae density, specifically testing for intraspecific variation in zooxanthellae densities of the common reef coral, Acropora millepora, in the Palm Islands, inshore Great Barrier Reef. Various methods are available to quantify zooxanthellae densities; however, a direct comparison of these techniques has yet to be done. Here, we compare destimates of zooxanthellae densities obtained using conventional airbrushing coupled with post-tissue-blasting surface area determination, versus a technique whereby zooxanthellae densities are quantified from a known area (0.25 cm²) of tissue after corals have been fixed and decalcified. Estimates of zooxanthellae densities obtained using the two different methods were significantly correlated (R＝0.40, n＝81, p<0.01), such that both techniques revealed similar patterns of variation among locations. The main benefit of the decalcification technique was reduced handling time, because the technique eliminates the time-consuming process of tissue blasting and retrospective estimates of surface area. We estimate that decalcification halves the handling time per sample, and produces a more accurate estimate of zooxanthellae density. Chapter 3 analysed published estimates of zooxanthellae densities for a wide range of different corals and locations, testing whether there are consistent thresholds that distinguish bleached versus unbleached corals. Moreover, zooxanthellae densities are naturally regulated (e.g. due to season, light availability), so an important point to this chapter was to determine if bleaching could be distinguished from these natural variations in zooxanthellae densities. Normal zooxanthellae densities ranged from 0.1x10⁶ cells/cm² up to 18.0 x 10⁶ cells/cm²; whereas, zooxanthellae densities reported for bleached corals were between 0.001 and 6.5 x10⁶ cells/cm². Marked variation in published estimates of zooxanthellae densities was largely attributable to differences in the methods among studies (e.g. size of tissue sample, method of tissue removal and surface area determination), though there were significant and consistent differences among coral species, with growth form and with depth. It is not possible therefore, to establish a single threshold density of zooxanthellae that distinguished bleached and unbleached corals. However, after accounting for taxa (genera) it does appear that relative changes in zooxanthellae densities are a good indication of the fate of individual corals. In the absence of distinct bleaching events, natural variation in zooxanthellae densities (e.g., among seasons) was typically <50% of the mean. During bleaching events however, zooxanthellae loss within individual corals often ranged from 55-100%. Moreover, corals that experienced >78% zooxanthellae loss almost invariably died, whereas those corals that lost 55-77% of zooxanthellae were bleached, but generally recovered. Sub-lethal bleaching caused by pollutants did not adhere to the bleaching definition, as conspicuous loss of zooxanthellae density was often observed at levels of what is considered “natural variation”. For other stresses however, (and particularly, thermal stress) it may be possible to define when corals have bleached, and predict their fate based on proportional declines in zooxanthellae densities. To specifically test for inter- and intra-specific variation in bleaching susceptibility, Chapter 4 exposed twenty whole colonies of Acropora nasuta and Pocillopora damicornis to controlled warming in experimental facilities (with carefully controlled light and temperature environments) at Orpheus Island. Corals, after acclimated to laboratory conditions, were subjected to a simulated warm water anomaly, with a slow rate of increase of 0.5°C every third day until they reached 31.6°C, which is equivalent to the 1998 temperature anomaly that lead to extensive mass bleaching of scleractinian corals in the central Great Barrier Reef, Australia. Daily observations of coral health were made with coral colour charts and Pulse- Amplitude Modulated Fluorometry measurements; corals were considered to have bleached when marked changes in the quenching analyses occurred simultaneously with a change in 2- 3 shades of colour. Post hoc measurements of zooxanthellae densities were used to confirm when bleaching occurred. There was marked variation in the time to bleaching both within and among coral species. For A. nasuta, the mean time to bleach was 8 days, but ranged 12 days, while, for P. damicornis, mean time to bleach was 12 days and ranged 15 days. Moreover, both corals showed phenotypic variation in the timing of bleaching responses, therefore there may be underlying genetic variation upon which the corals could adapt. Chapter 5 explored temporal changes in bleaching susceptibility among key genera of reef-building corals in Moorea, French Polynesia, comparing bleaching incidence of four genera (Acropora, Montipora, Pocillopora and Porites) during mass-bleaching events in 1991, 1994, 2002 and 2007. Acropora and Montipora consistently bleached in far greater proportions (up to 98%) than Pocillopora and Porites. However, there was an apparent and sustained decline in the proportion of colonies that bleached during successive bleaching events, especially for Acropora and Montipora. Coral genera that are highly susceptible to coral bleaching, and especially Acropora and Montipora, exhibited temporal declines in their susceptibility to thermal anomalies at Moorea, French Polynesia. One possible explanation for these findings is that gradual removal of highly susceptible genotypes (through selective mortality of individuals, populations, and/ or species) is producing a coral assemblage that is more resistant to sustained and ongoing ocean warming. Chapter 6 tests whether taxonomic variation in bleaching susceptibility and mortality is spatially consistent among geographic regions, comparing extensive data sets from the Indian, Pacific and Atlantic oceans. Data was compiled from 105 distinct studies, spanning the Pacific, Indian and Atlantic Oceans, and from 1982 to 2013. Differences in bleaching susceptibility and mortality were apparent among different coral genera, but the hierarchy of bleaching susceptibility differed on geographic scales, among ocean basins. These large-scale differences may be attributable to inherent differences in biology (e.g., geographic variation in associations between corals and their symbionts), but may also reflect taxonomic differences in the capacity of corals to acclimate or adapt when facing extreme environmental changes. Among decades, it is apparent that bleaching susceptibility and mortality have generally declined over time, possibly reflecting increased bleaching resistance at the level of populations or communities due to selective removal of highly susceptible phenotypes. This thesis shows that there is phenotypic variation at many scales within and among corals. For instance, phenotypic variation was found in mean zooxanthellae densities, both within and among species. Then, phenotypic variation was observed as marked variation in the timing of the bleaching response within and between two commonly susceptible coral species. Next, phenotypic variation was observed for a bleaching event, where the proportion of susceptible corals decreased over the course of time. Most notably, however, there is marked variation in bleaching susceptibility among different coral taxa, which is likely to lead to directional shifts in the structure of coral assemblages with increasing incidence of mass-bleaching. Establishing exactly how these assemblages will change is, however, critically dependent on understanding species-specific susceptibility to bleaching and recovery capacity of these corals in the aftermath of periodic bleaching events. Future research needs to focus much more on the longer-term fate of coral colonies, populations and species subject to ongoing bleaching.

To isolate and study various components of a nuclear reaction, elaborate equipment must be developed to aid in this process. This thesis presents the design and implementation of an ultra-high slew rate Bradbury-Nielsen gate driver circuit with high-voltage input isolation. This design will be used in a multi-pass time-of-flight isomer spectrometer and separator application integrated into an overall instrument called the Oak Ridge Isomer Spectrometer and Separator (ORISS). The output drive signals of this circuit are transmitted through a vacuum feed-through system to supply the necessary signals to the Bradbury-Nielsen gate contained within the vacuum. A differential driving signal with a 100-V magnitude and switching times on the order of nanoseconds is presented in this design. The “on time” of this signal is comparable to the amount of time required for it to transition states, creating complex design constraints. The implementation of this design is based on a 4-layer printed circuit board and the use of commercial off-the-shelf (COTS) components.

Indiana University, Purdue University- Indianapolis
Current models of public intellectualism rely upon arbitrary and oftentimes elitist criteria. The work of Corey Robin, when combined with that of Antonio Gramsci, provides a reproducable, and scalable, series of tests for consideration of indivduals as public intellectuals. This work takes author Ray Bradbury as an example of public intellectuals who are often missed using current schemas . Bradbury serves as a test case of public intellectualism in the early Cold War period in the United States based upon this new formulation. It examines Bradbury’s work in light of the historical situation in which Bradbury operated, his work’s comparitive arguments in relation to contemporary intellectuals, and reviews some of the influence Bradbury exerted on future generations.

Academic fiction in its current form—as novels set on university campuses and focused on the lives of faculty—has existed since the mid-twentieth century. The genre explores the purposes and the cultures of universities and the lives of their faculty. Because universities have traditionally been insular communities that interact little with the outside world, the novels contain few non-academic characters. However, one non-academic group does appear consistently throughout the genre—the academic wives. These characters host parties, care for their husbands and children, and remain largely separate from the university structure. Although they appear in nearly all academic fiction, they have escaped notice by critics because they are secondary characters who exist largely in the background. However, a comparison of academic wives and their roles in C. P. Snow's The Masters (published 1951; set 1937), Kingsley Amis's Lucky Jim (published 1954; set in the early 1950s), and Malcolm Bradbury's The History Man (published 1975; set 1972) shows that these characters contribute significantly to the development of universities' cultures. Their roles both influence and respond to changes within the university structure. The academics' anxiety over the wives' potential influence on university affairs in these novels, and these women’s responses to this anxiety, enable the genre to explore the division between academics and non-academics within the university culture.

Рощукіна Т. Ю. Особливості перекладу наукової фантастики на матеріалі творчості Рея Бредбері : кваліфікаційна робота магістра спеціальності 035 «Філологія» / наук. керівник С. П. Запольських. Запоріжжя : ЗНУ, 2020. 68 с.
EN : The presented paper is dedicated to the features of English science fiction and its translation into Ukrainian. The object of the research can be defined as the study of linguistic features of science fiction and ways and means of their reproduction in translation. The case study is Ray Bradbury’s novel “Fahrenheit 451” and story “A Sound of Thunder” and their translation into Ukrainian. The main aim of the paper is to describe the linguistic characteristics of science fiction and the ways and means of their reproduction in the translation. It suggests the accomplishment of such objectives as: - considering science fiction as a genre of literature; - describing the linguistic features and specifics of the translation of science fiction; - analyzing the linguistic features and specifics of the translation of the science fiction works by Ray Bradbury. Features of science fiction and their translation are presented in the thesis. Our research shows that the vocabulary of science fiction can be characterized by numerous neologisms, occasionalisms, terms, quasi-terms, quasi-realities. To adequately translate the genre of science fiction, the translator must be thoroughly knowledgeable, well versed in scientific fields, know the biography and worldview of the author, the author's idiosyncrasy, as well as be able to apply creativity in the process of translation. The scientific novelty of the presented research lies in the investigation of the ways to translate linguistic features and identifying possible problems in translating science fiction in Ray Bradbury’s “Fahrenheit 451” and “A Sound of Thunder”.
UA : Дипломна робота – 68 стор., 56 джерела. Об’єкт дослідження: особливості перекладу наукової фантастики в англійській та українській мовах. Мета роботи: виявити лінгвістичні особливості наукової фантастики та способи та їхнього відтворення у перекладі у науково-фантастичних творах американського письменника Рея Бредбері. Теоретико-методологічні засади:дослідженню окремих лінгвістичних та лексичних особливостей наукової фантастики та труднощі їх в перекладі присвятили увагу в своїх наукових роботах дослідники Войтенко К. І., Глінка Н. В., Катиш Т. В., Черніцина Ю. Є. Отримані результати: художні твори жанру наукової фантастики містять два ключових елементи: науковість та фантастичність. Ми виділили особливості наукової фантастики, на які потрібно звернути увагу перекладачеві, а саме використання неологізмів, оказіоналізмів, термінів, квазітермінів, квазіреалій. Для перекладу термінів та квазітермінів, перекладач має застосувати еквівалент, якщо такий існує або чітко відобразити значення. Для передачі оказіоналізмів, неологізмів та квазіреалій в мові-перекладу потрібно застосовувати творчий підхід. Для адекватного перекладу жанру наукової фантастики, перекладач повинен всебічно обізнаний, добре розбиратися в наукових галузях, знати біографію і світогляд автора, ідіостиль автора, а також вміти застосувати власну творчість та креативність в перекладі.

Working paper summarizing research into cataloging theory, history of science, mathematics, and information science.
The report summarizes a research program that has been investigating how catalogers, other Cultural Heritage information workers, World Wide Web/Semantic Web technologists, and the general public understand, explain, and manage resource description tasks by creating, counting, measuring, classifying, and otherwise arranging descriptions of Cultural Heritage resources within the Bibliographic Universe and beyond it.

Pseudomonas aeruginosa is an organism commonly found in the environment, and one of the most common causes of infectious disease in humans. Infections caused by P. aeruginosa may present in many forms, reflective of the great versatility of this organism. P. aeruginosa infection occurs more commonly in patients with some form of immunocompromisation, and this is particularly significant in the nosocomial setting and as a cause of chronic infection in the cystic fibrosis (CF) lung. Tasmania is an island state in the southernmost portion of Australia. It has a relatively small, isolated population with a greater balance of the population living in rural and regional areas than any other state in Australia. The state has a single tertiary care referral hospital in the capital city, Hobart and amongst the highest number of CF births per capita of anywhere in the world. Until 2003, CF patients in Tasmania did not attend any centralised clinics, and had little social or other contact with each other. These factors provided a unique opportunity to study the epidemiology of P. aeruginosa infections in a whole population sample. In addition, a large number (n=184) of P. aeruginosa isolates from diverse clinical and environmental sources, including isolates from adult CF patients, were obtained from both within the major tertiary referral hospital in Tasmania and the wider community. Antimicrobial resistance testing was performed on all isolates by four separate methods and the results of these compared. A sub group of CF and hospital environment strains appeared to present with an increased propensity towards antimicrobial resistance and frank multi-drug resistance. Molecular epidemiological analysis of the CF strains revealed a single genotype of P. aeruginosa to be infecting over a quarter of the adult CF patients in the state. Isolates of the genotype concerned showed a greater propensity towards multi-drug resistance than any other cohort of P. aeruginosa strains included in the study, and were shown to cause poorer clinical outcomes in infected patients. The strain was determined to be a new CF clonal complex, described as Australian Epidemic Strain 3 (AES3). The source of this strain appears to a CF summer camp which occurred more than ten years prior to this study. A further common genotype (infecting 11% of adult Tasmanian CF patients) was identified. This strain was described as the “Tasmanian CF cluster strain”. Further molecular epidemiological analysis of P. aeruginosa strains from infected patients within the major tertiary referral hospital and the wider community, as well as environmental isolates from these and other sites showed that the AES3 and Tasmanian CF cluster strains are not common in non-CF patients, and do not have an obvious environmental source either in the hospital or the wider community. A survey of the virulence factor genes associated with all isolates in this study was performed. This represented one of the most comprehensive studies of virulence genes over a wide range of P. aeruginosa isolates ever performed. The study found no specific difference in the prevalence of these genes between AES3 strains and other CF strains. CF strains were less likely to carry the low prevalence, horizontally transferred, exoU virulence gene. Conversely, isolates recovered from environmental sampling in the hospital intensive care and neurosurgical wards showed an increased propensity towards both antimicrobial resistance and exoU+ genotype. A selected group of CF, non-CF clinical and environmental isolates were subjected to an assay of global cellular virulence in a novel modification of the Dictyostelium discoideum eukaryotic virulence assay employing two D. discoideum mutants. The majority of clinical CF isolates supported the growth of D. discoideum. D. discoideum was unable to grow on any other isolates of P. aeruginosa, except one environmental isolate which supported the growth of only one of the two D. discoideum mutants tested. No difference in the capacity of clonal complex strains and unique CF strains to support D. discoideum growth and development was identified. Variations in the capacity of D. discoideum to develop beyond the amoeboid stage were noted within the CF isolates. No significant differences were noted between assays performed in the presence or absence of azithromycin, ceftazidime or tobramycin. This was the first study of which we are aware to demonstrate the capacity of wild-type CF P. aeruginosa strains to support the growth of D. discoideum, and has provided significant findings with regard to “whole cell” virulence of this organism, and its down-regulation in the CF lung. Differences in the degree of development of D. discoideum on CF isolates may also lead to new insights into the mechanisms of virulence in such strains in the human disease setting. The work presented in this thesis has found new information regarding the epidemiology of P. aeruginosa infections. It has also provided new information regarding the distribution of the exoU gene in hospital environmental isolates, and the association of this genotype with hospital intensive therapy wards. Finally, in describing a novel modification of the D. discoideum virulence model, and applying this model to multiple clinical and environmental isolates of P. aeruginosa, this work has added to the body of scientific knowledge regarding the expression of virulence by P. aeruginosa isolates from different clinical and environmental sources.

碩士
國立成功大學
外國語文學系碩博士班
101
This thesis explores the way the majority of citizens depend on their individual efforts rather than government authority to attain their virtual utopia, and the reasons the dissident group regards their utopia as a real dystopia which fails to ensure actual happiness in Ray Bradbury’s Fahrenheit 451. The majority of citizens coordinate with the school to produce conformists through intellectually undemanding schooling, so they willingly immerse in hedonistic entertainment against the intellectual struggles in book reading. They require the uniformity of book contents and entertainment media to maintain fragile comfort since they always regard individual differences or knowledge acquisition to disrupt their equality. The audiovisual media produce pseudo-intimacy, pseudo-individualism, and negative mediation to separate from actual intimacy, individual creations, and positive immediacy derived from humans’ interactions with the real world. The citizens develop self-censorship to regard all literature as hurtful to their happiness, so they request the firemen to execute government censorship to burn all the books. Their dull repetition in media entertainment even makes the citizens machine existences with intellectual stagnation; hence their mechanic mode of passive consumption in this new era stands against the dissidents’ handicraft model of active production in the past. The majority of people have their egocentric fantasy of their virtual utopia based on their technological superiority; they even keep deliberate obliviousness to the atomic war declared by the neighboring countries. However, the nuclear cataclysm actually reveals a real dystopia by destroying their narcissism toward the virtual utopia. The nuclear destruction brings about apocalypse for the dominant group but resurrection optimism for the minority group. Eventually, the continual reflections required by the minority group disclose such perfection as permanent stagnation.