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1
Seo, Joanne Mira. "Allusive characterization from Apollonius to Statius." [S.l. : s.n.], 2004. http://catalog.hathitrust.org/api/volumes/oclc/174205418.html.
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Worrell, William J. "Nitrocellulose literature review characterization and application to modern gun propellants." Master's thesis, This resource online, 1990. http://scholar.lib.vt.edu/theses/available/etd-01122010-020032/.
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Bodner, Keith David. "Illuminating personality : the dynamics of characterization in Biblical Hebrew Literature." Thesis, University of Aberdeen, 1996. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU081703.
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The plan of this thesis is to outline the various techniques of characterization, and to illustrate how they operate in the biblical literature. Accordingly, the study is divided into two sections. First, after an introduction tracing the rise of the literary approach and a survey of the study of character by biblical scholars, "Part One" delineates an analytic framework for studying the elements of characterization. The framework, which is subdivided into characterization achieved through narration and intimated through direct discourse, is "heuristic". It serves to specify the main techniques, and is designed to explore literary questions of character in the text. These categories are descriptive, providing definitions and clarity to terms such as 'motif' and 'irony' as they relate to the study of character. Second, "Part Two" is composed of a series of chapters entitled "the dynamics of characterization". This section features close readings of six selected biblical texts, with a specific emphasis on character and the accompanying techniques of characterization. This thesis provides an introduction to the study of character in biblical literature, and a "foundational" description of the elements of characterization which can be seen to dynamically operate in the text. There are, then, three main objectives for the thesis as a whole. First, through the analytic framework, to identify and define the main elements used in biblical characterization. Second, by means of the textual examples, to illustrate how these various elements are deployed in the Hebrew corpus to render human personality. And third, to demonstrate the exegetical value in this kind of enterprise; that a focused study of, and attention to the issues relating to character, can yield interpretative dividends and be useful in the overall interpretation of the biblical literature.
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Kessler, Joyce Catherine. "The subversive genius: Melville's theory of characterization." Case Western Reserve University School of Graduate Studies / OhioLINK, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=case1054922022.
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Wilkins, Katrina M. "Characterization in Ælfric's Esther : a cognitive stylistic examination." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/52051/.
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This thesis examines characterization in Ælfric’s Old English version of the biblical book of Esther, from the perspective of cognitive stylistics. This area of study uses concepts and methods from linguistics in order to better understand both how literature works and how language works. The study investigates explicit characterization cues, discourse presentation, semantic fields, and deixis to illuminate how Ælfric’s careful linguistic choices construct characters that remain true to their biblical exempla, make sense to his Anglo-Saxon audience, and underscore the doctrinal themes of the narrative. Chapter 1 describes the textual history of Esther, from its origins to its reception in the early Middle Ages. This is followed by a discussion of the history of Ælfric’s version of the story and its treatment by scholars in the modern era. Chapter 2 outlines my methodology, based in cognitive stylistics, which draws on concepts from cognitive science and related fields to understand what happens in the reader’s mind during reading. In addition, I occasionally draw on corpus stylistics methods, and this is also described. The results and discussion of this analysis form the bulk of Chapters 3 through 6. Chapter 3 focuses on explicit cues, those things that directly describe a character’s personality traits. Speech, thought, and writing presentation are the focus of Chapter 4, which examines how these modes of discourse are presented and how this presentation contributes to the characterization. In Chapter 5 I examine two semantic fields of particular importance in this text: emotions and food. Finally, Chapter 6 addresses two aspects of deixis: relational deixis and Deictic Shift Theory. Although, in all chapters, the analysis primarily focuses on the five main characters (Ahasuerus, Esther, Vashti, Mordecai, and Haman), other apposite characters are also discussed, including the Jews, the Persians, God, and even Ælfric. This kind of cognitive stylistic analysis of Old English and other historical literature is doubly useful. First, it offers new and valuable insights into this literature. The present study, for example, notes minute linguistic details that offer significant characterization cues and also explains the peculiar sense of many Anglo-Saxonists (and other historians) that they know very well people whom they have never met. Second, such examination demonstrates that the chosen methods are robust enough to cope with literature much older than that normally engaged in modern stylistic studies. This not only verifies the utility of the methods, but also attests to the universal nature of their underlying principles.
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Patnoe, Elizabeth Louise. "Technique as Characterization: The Implications of Narrator Unreliability for Moral Liability." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392654968.
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Barth, Amy K. "Into the Valley: Voices I Heard Along the Way." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc4006/.
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Into the Valley: Voices I Heard Along the Way contains a preface and a collection of five short stories. The preface discusses the use of voice as a technique to develop characters and create authenticity through elements such as sentence structure, diction, dialogue, and regional, cultural, and/or gender-specific affectations to make the words on the page become audible language in the mind of the reader. Each story is written with a unique voice that presents characters who struggle to come to terms with the truth and its various shades of reality.
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Ford, James. "A scientific characterization of trumpet mouthpiece forces in the context of pedagogical brass literature." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5183.
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Thesis (D.M.A.)--University of North Texas, 2007.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 5, 1999, Nov. 2, 2001, Apr. 8, 2002, and Sept. 24, 2007. Includes bibliographical references (p. 58-61).
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Moeketsi, Solomon Monare. "Space and characterization in Sesotho novels." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53060.
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Thesis (PhD)--University of Stellenbosch, 2002.<br>ENGLISH ABSTRACT: This study examines space and characterization in Sesotho novels focussing on three
main categories such as the space of travelling characters; the space of migrating
characters; and the space as an abstraction.
CHAPTER 1 introduces the aims of study as well as the theoretical framework which forms
the basis on which the study is analysed. The notions of space and character are
discussed within the theoretical framework of structuralism, and the focus is placed on
narratology.
CHAPTER 2 studies the travelling characters, focus is on Mofolo's novels, Moeti wa
botjhabe/a and Pitseng which depict two types of space where one space is presented as
traditional, and the other as a westernized space. The traditional and westernized spaces
are symbolized by means of bad and good characters respectively. The good characters
are depicted as angels, and the bad characters as monsters.
CHAPTER 3 examines the space of migrating characters that leave their rural spaces for
the urban spaces. Their characters are shown by means of changes that they experience
at different spaces. In most of the novels examined, characters are motivated by certain
desires to act in a particular way, and the change in them is the result of a crucial situation
in life, hence we say characterization and space in those novels are reconciled in an
appropriate way. CHAPTER 4 deals with the space as an abstraction which shows how the characters'
personalities are affected by the political, psychological and socio-economic factors.
Characterization in these novels is good except in Makappa's novel, Thatohatsi.
In CHAPTER 5 we look as to whether the novels are good or bad in terms of literary
appreciation and conclusion is drawn to the effect that it is not heredity that makes up a
character, but the social environment. This is achieved through the literary aspects such
as the way conflict is handled, types of characters and the portrayal of the space in which
the characters live.<br>AFRIKAANSE OPSOMMING: Die navorsing wat hierdie proefskrif gedoen is het die soeklig op ruimte en karakterisering
in Sesotho novelles laat val. Klem is op drie hoof-kateqorie gele. uimte wat deur
rondreisende karakters ingeneem word, die ruimte wat deur nomadiese of rondtrekkende
karakters beslaan word, en ruimte as n bepaalde begrip.
Hoofstuk 1 stel die leser voor aan die doelwitte van die navorsing, sowel as die teoretiese
raamwerk wat die grondslag waarop die studie berus, vorm. Die begrippe 'ruimte' en
'karakter' word binne die teoretiese raamwerk van die strukturalisme bespreek en die
fokus word in hierdie geval op die vertelkunde geplaas.
Hoofstuk 2 Ie klem op rondreisende karakters en ondersoek Mofolo se novelles Moeti wa
botjhabela en Pits eng waarin twee soorte ruimtes uitgebeeld word; naamlik, tradisionele
ruimte en verwesterse ruimte. Tradisionele en verwesterse ruimtes word onderskeilik deur
slegte en goeie karakters versinnebeeld. Die goeie karakters word as engele uitgebeeld,
terwyl die slegte karakters as monsters voorgestel word.
In Hoofstuk 3 word die ruimte van die nomadiese karakters wat hulle plattelandse ruimte
vir 'n stedelike ruimte verruil, ondersoek. Hierdie karakters word deur middel van
veranderinge wat in verskillende ruimtes plaasvind, voorgestel. In die meeste novelles wat
ondersoek is, het die karakters op n sekere manier opgetree omdat hulle deur bepaalde
begeertes daartoe gedryf is. Die verandering in die lewens van hierdie karakters as
gevolg hiervan, kan dan beskou word as die direkte gevolg van sekere deurslaggewende
gebeurtenisse. Karakteriseering en ruimte word dus in hierdie novelles op n geskikte
wyse met mekaar verbind. Hoofstuk 4 neem die begrip 'ruimte' onder die loep om sodoende aan te dui hoe die
karakters se persoonlikhede deur politieke, sielkundige en sosio-ekonomiese faktore
beinvloed word. Karakterisering in hierdie novelles is geslaagd, behalwe in Makappa se
novelle Thatohatsi.
In Hoofstuk 5, word aandag geskenk aan die beoordeling van die novelles in terme van die
hulle literere waarde en daar word tot die gevolgtrekking gekom dat dit nie oorerflike
eienskappe is wat gestalte aan 'n bepaalde karakter gee nie, maar veel eercer sy
omgewing. Oit word veral duidelik as gelet word op bepaalde literere aspekete soos die
manier waarop konflik uitgebeeld word, asook die beskrywing van die ruimte waarin die
karakters hulle bevind.
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Matthews, Julia. "Characterization and structure in the development of Tudor comedy." Thesis, University of Warwick, 1991. http://wrap.warwick.ac.uk/57031/.
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The role of characterization in dramatic structure is assessed by theoretical criteria. Characters who perform actions necessary for the completion of the narrative sequence are said to be "bound" to the narrative; those without such obligations are "free". Characters who maintain a single, constant meaning during the course of a play are said to be "static"; characters who change or develop into new roles are "dynamic". Horatian decorum demanded that comic characters be static, and the characters of Plautine and Terentian tradition were almost always bound to narrative intrigue. However, evaluations of six Tudor comedies show an increasing use of non-classical characterization within the comic form. In the early comedies lohan lohan and Roister Doister all characters are bound and static, yet the impetus to enlarge the role of characterization is evident. The characters of lohan lohan are expanded from their French source, and Roister Doister includes extraneous episodes in which Udall displays his braggart hero. Free characters abound in Misogonus; as well the play brings dynamic characterization into the scope of comedy with the conversion of its prodigal son. Free characters offer new possibilities of non-narrative plotting. In comedies of the 1580s favourite traditional characters appear as diversions outside the action, and thematic arrangements of characters inform the increasingly complex plots. Lyly stresses the symbolic potential of characters in Endimion, whereas Greene uses dynamic characterization to heighten the illusion of independent figures in Friar Bacon and Friar Bungay. Love's Labour's Lost exposes the limitations of comic artifice by pulling the characters between convention and individualization. By the end of the sixteenth century free and dynamic characters had become common, and characterization had established a sizable claim on the design of English comedy. These developments set the English form apart from its neoclassical counterparts.
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Dokolwane, Kutala Primrose. "Characterization in selected Xhosa novels of the 90's." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52160.
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Thesis (MA)--University of Stellenbosch, 2001.<br>ENGLISH ABSTRACT: This study examines the portrayal of characters in four Xhosa novels of the 1990s. The
objective is to found out whether or not characterization in the Xhosa novels of the 1990s
improves. This is done with the view that past studies of characterization done before
1990 by Jafta (1978; 1996), Satyo (1978), Sirayi (1989) and Dlali (1992) gave the picture
that a high percentage of writers portray characters as archetypes because of thematic
concerns. This often renders characterization poor in the sense that the reader is able to
predict the outcome of events through the actions of the characters.
However, Zulu (1999:3) argues that with the inceptor of democracy in South Africa in
1994, African Languages literature was liberated as well from several constraints, and
reveals some signs of maturing. This study is thus conducted to confirm or refute Zulu's
(1999) claim that there are signs of improvement in the way writers portray characters.
The study concentrates of four selected Xhosa novels published in the 1990s. The novels
are selected on the criteria that they have won literary prizes and are written by prolific
writers.
It is found that in all four novels, Iqlina lomtshato, Kazi Ndenzeni na?, Koda Kube
Nni na? and Ukhozi Olumaphiko the novelists have succeededin creating realistic, live,
dynamic, complex and multidimensional characters. The change and development of
characters are influenced by environmental change as a result of social, political and
economic factors. However, the study also shows that some events in Ukhozi
Olumphiko are implausible.<br>AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die voorstelling van karakters in vier Xhosa novellas in die 1990s.
Die hoofdoelstelling is om te bepaal of daar 'n verbetering in kwaliteit is in die Xhosa
novellas in die negentiger jare. Hierdie ondersoek word gedoen in die lig van
voorafgaande studies soos Jafte (1978, 1996); Satyo (1978); Sirayi (1989) and Dlali
(1992) wat bevind dat 'n groot aantal skrywers, karakters in Xhosa novellas as
stereoptipes voorstelop grond van die "telematiese" oorwegings at hulle het. Dit het
dikwels die gevolg dat karakterisering swak is in die sin dat die leser die uiteinde van
gebeurtenisse kan voorspel deur die handelinge van die karakters.
Zulu (1999:3) argumenteer egter dat met die verkryging van demokrasie in Suid Afrika, is
die letterkunde van die Afrikatale ook bevry, en dit vertoon tekens dat die literêre wasdom
bereik. Hierdie studie word dus onderneem om Zulu (1999) se aanspraak te ondersteun
of te weerlê dat daar tekens van verbetering is in die wyse waarop skrywers karakters
voorstel.
Die studie konsentreer op vier geselekteerde Xhosa novelles wat in die 1990s gepubliseer
is. Die novelles is geselekteer volgens kriteria dat hulle literêre pryse gewen het en deur
erkende skrywers geskryf is.
Daar word bevind in die studie dat die skrywers in al vier die novelles, Iqlina lomtshato,
Kazi Ndenzeni na?, Koda Kube Nni na? en Ukhozi Olumaphiko suksesvol was in die
skep van realistiese, lewendige, ekonomiese komplekse en multi-dimensionele karakters.
Die verandering en ontwikkeling van karakters word beïnvloed deur
omgewingsverandering, sowel as deur sosiale, politieke en ekonomiese faktore. Dit word
egter bevind dat sommige handelinge in die novelle Ukhozi Olumaphiko
ongeloofwaardig is.<br>INTSHWANKATHELO ISIXHOSA: Lo msebenzi uphonononga ukuvezwa kwabalinganiswa kwiinoveli zesiXhosa ezine
ezibhalwe ukususela kumnyaka ka-1990 ukuya ku-1999. Injongo yalo msebenzi
kukuqwalasela ukuba ikho kusini na impucuko kwindlela abazotywa ngayo abalinganiswa
kwezi noveli zesiXhosa zibhalwe ngomnyaka ka-1990 ukubheka phambili. Oku kwenziwa
phantsi koluvo lokuba izifundo zamandulo ezimalunga nokuzotywa kwabalinganiswa
ngokubhalwa nguJafta (1978;1996), uSatyo (1978) uSirayi (1989) noDlali (1992)
zibonakalisa ukuba uninzi Iwababhali luveza abalinganiswa njengemizekelo esisiseko
ukuzama ukubanxulumanisa nomxholo wenoveli leyo. Oku ke kubeka ukuzotywa
kwabalinganiswa kwizinga eliphantsi nanjengoko umfundi aye akwazi lula ukuthelekelela
iziphumo zezehlo ngokujonga iintshukumo ezi zabalinganiswa.
Ukanti ke, uZulu (1999:3) uveza ukuba ukususela mhla kwamiselwa ulawulo lukawonkewonke
okanye inkululeko eMzantsi Afrika ngomnyaka ka-1994, uncwadi IweeLwimi
zaseAfrika Iwaye Iwakhululeka nalo, Iwaze Iwabonakalisa iimpawu zokuvuthwa.
Lo msebenzi ke ujolise ekuqinisekiseni okanye ekuphikiseni ingcamango kaZulu (1999)
yokuba kukho iimpawu ezibonakalisa ukuphuhla kwindlela ababhali abaveza ngayo
abalinganiswa.
Lo msebenzi ke uza kuqwalasela kwiinoveli zesiXhosa ezine ezikhethiweyo nezishicilelwe
kwisithuba sika-1990 ukubheka phambili. Ezi noveli zikhethwe phantsi komgomo wokuba
ziphumelele amabhaso oncwadi yaye zibhalwe ngoomakhwekhwetha bababhali
abavunyiweyo.
Kuye kwafunyaniswa into yokuba kwezi noveli zone, Iqhina lomtshato, Kazi Ndenzeni na?,
Koda Kube Nini na?, kunye noKhozi Olumaphiko ababhali beenoveli baphumelele
ekwakheni abalinganiswa ababonisa izinto ngobunjalo bazo, abaphilayo, abanentshukumo,
abantsonkothileyo nabambaxa. Utshintsho nokuphuhla kwabalinganiswa lubangelwa
kukutshintsha kweendawo abahlala kuzo ngokudalwa ziimeko zokuhlala, ezopolitiko,
nezoqoqosho. Ukanti ke, ezinye zezehlo kuKhozi Olumaphiko aziqondakali
ngokugqibeleleyo.
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Sarvestani, Mehrak Kamali, and Mehrak Kamali Sarvestani. "Fictional Uncertainty in Modern Persian Literature: Polyphony, Becoming, and Ambiguity in Shahriar Mandanipour's Work." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/596122.
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Fictional uncertainty is a complex technique that utilizes literary devices such as changing points of view, multiple themes, and fluid characterization. Fictional uncertainty enables an author to create a layered narrative based upon multiple perspectives and a deep look into the characters' individual personalities and inner lives. Every work of fiction involves some amount of uncertainty, but in modern Iranian literature there was a distinct transition in the late twentieth century from greater realism to greater uncertainty. Indeed, the mode of fictional uncertainty is central to Iranian authors' modernist project, focused as it is on the psychological aspects of the charterers' lives and narrative aesthetics. Fiction prior to the 1979 Islamic Revolution usually focused on sociological matters, but post-revolution modernist fiction has been distinguished by emphasis on the deeper realities of characters' individual lives. Fictional uncertainty is the most significant literary technique that authors have used to portray the complexity of Iranians' post-revolutionary experiences. It has provided a tool for a number of Iranian writers to oppose the dominant social, cultural, historical, and religious certainties of post-revolutionary Iranian society. Shahriar Mandanipour, one of the greatest users of this technique, has extended the boundaries of Persian fiction through his experimental fiction. Although Mandanipour does count some traditional realist fictions among his works, his efforts in applying fictional uncertainty make him unique and exemplary. Under the influence of Russian Formalism, Mandanipour mostly uses his content as a pretext for formalist fictional experiments. Mandanipour's focus on "literariness" is the basis of his interest in the technique of fictional uncertainty and his understanding of the essentiality of "form" in fictional works. Fictional uncertainty is not always guided by one particular ideology or discourse, but rather by the ways in which devices such as changing points of view, multiple themes, fluid characters, and unstable settings function in the text. In the case of post-revolutionary Persian literature, fictional uncertainty has also provided authors a way to investigate and recreate the complex dynamics of revolutionary and post-revolutionary life, which is to some extent ultimately related to ideology and discourse. A close reading of Mandanipour's short stories and novels will show that his application of fictional uncertainty is related to the Bakhtinian concepts of "polyphony, dialogue, unfinalizability" and becoming, which are embodied in the plots, characterizations, and points of view in his works. Using these fictional devices, Mandanipour portrays an atomized Iran full of violence, despair, fear, infidelity, revenge, and loneliness. However, his works go far beyond Iran as a historical nation-state and discuss a number of universal subjects like love, death, loneliness, and revenge by application of the technique of fictional uncertainty.
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Brent, Martha. "Female Characterization in the Novels of Robert Penn Warren: Variations on a Cinderella Theme." TopSCHOLAR®, 1995. http://digitalcommons.wku.edu/theses/932.
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The psychological construction of Robert Penn Warren's characters is an established tenet among Warren critics as is the influence of Sigmund Freud's work upon Warren's fiction. Specifically the oedipal nature of Warren's male characters has been widely discussed especially in regard to plots culminating in patricide. Based upon this criticism of Robert Penn Warren's novels to date, Warren's female characters are revealed to be developed likewise upon an oedipal paradigm. The female paradigm which corresponds to Freud's Oedipus complex in women is the Cinderella tale. These stories, some at least a thousand years old, were critically divided into three main types by Marian Roalfe Cox a century ago. These three archetypes as well as the writings of Sigmund Freud were a part of the intellectual climate from which Warren as artist drew. The eleven females in Warren's ten novels that are developed sufficiently for study—given physical, emotional, and psychological construction—correspond to the three Cinderella archetypes. As such this reading offers a new understanding of Warren's fictional women by revealing them not as aberrations of "normal" women but simply as types of women first revealed to us in our earliest childhood tales.
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Ma, Chun-laam, and 馬鎮嵐. "Characterization of detective figure as a site of negotiation of modernism and postmodernism in the 21st century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47055376.
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Lee, Dong-Ill. "Character from archetype : a study of the characterization of Beowulf with reference to the diction of direct speech in Beowulf." Thesis, University College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321774.
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Sjöstrand, Jessica. "An Investigation of the Characterization in Bridget Jones’s Diary from a Feminist Perspective." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-72861.
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This essay investigates Bridget Jones’s Diary, a novel written by Helen Fielding, from a feminist perspective with an emphasis on gender. The focus lies on Bridget’s characterization and how it can be perceived as problematic from a feminist point of view. On the surface, Bridget seems like a true feminist, but when reading into and analyzing her characterization, one can see that she rejects many of the key ideas within feminism. The study also investigates how one might work with Bridget Jones’s Diary in the secondary EFL classroom.
17
Weaver, Charlene. "Characterization of Autism Spectrum Disorders in Children's Picture Books." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2336.pdf.
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La, Breche Pamela. "A methodology for the analysis of characterization in Old Testament narrative." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.
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Peterson, Katrina M. "Humor, Characterization, Plot: The Role of Secondary Characters in Late Eighteenth- and Nineteenth-Century Marriage Novels." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303262727.
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Engel, Grace Eve Cheaney. "“The Utter Reality of Characterization”; Presentational and Representational Work in Kenneth Branagh’s Much Ado About Nothing." University of Toledo Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1294188870.
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Van, Essen-Fishman Lucy. "Character through interaction : Sophocles and the delineation of the individual." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:c23353ec-cc60-453e-8c58-b13d01840a19.
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In this thesis, I argue that Sophoclean characters take shape through a number of different kinds of interaction. On the most basic level, interaction occurs between characters; interactions between characters, however, provide a framework for interactions between those characters and a variety of more abstract concepts. These interactions, by allowing characters to situate themselves with respect to concepts such as, for example, the social roles which shape the society of the play, provide a more complex picture of the personalities depicted onstage; a fuller view of Antigone’s personality, for example, emerges both from her own interactions with the concept of sisterhood and from the differences between her interactions with that concept and Ismene’s. At the same time, these interactions involve the audience in both the construction and the interpretation of Sophoclean characters; as they watch figures interact with each other onstage, the audience, in turn, interact with their own prior knowledge of the concepts which drive the characters of a play. In my five chapters, I discuss five different areas of interaction. In my first chapter, I look at interactions between characters and myth, arguing that Sophoclean characters emerge out of a tension between novelty and familiarity. In my second chapter, I discuss the interactions between characters and their social roles, looking at the problem of appropriate role performance as it applies to Sophoclean characters. My third chapter deals with characters and their memories; I argue that Sophoclean characters shape and are shaped by their memories of past events depending on shifting present circumstances. In my fourth chapter, I discuss the interactions between characters and the passage of time and suggest that Sophoclean figures are characterized by the ways in which they move through time and respond to its passage. In my final chapter, I look at the use of general statements by Sophoclean characters, arguing that the ability of characters to generalize successfully provides a useful measure of their ability to function in the world of the play.
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Silva, Mariana Souza e. "A caracterização do feminino em "The Silmarillion", de J. R. R. Tolkien /." Assis : [s.n.], 2008. http://hdl.handle.net/11449/94066.
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Orientador: Cleide Antonia Rapucci<br>Banca: Ivan Marcos Ribeiro<br>Banca: Jorge Augusto da Silva Lopes<br>Resumo: Esta dissertação pretende analisar a construção das personagens femininas na obra The Silmarillion, de J. R. R. Tolkien. Esse romance possui um tom fantástico, e é parte de uma mitologia criada por seu autor; as personagens possuem características que vão do humano ao divino, e a maioria delas é formada por homens predominantemente heróicos. O presente trabalho é focado nas personagens femininas da obra, e através da análise de suas descrições físicas e psicológicas, ações, características, enfim, de suas construções, objetiva determinar o modo de representação do autor, chegando-se, assim, a uma reflexão acerca da importância destas personagens na mitologia tolkieniana, à qual The Silmarillion serve como ponto inicial. Faz-se necessário, também, desvendar a influência de fatores políticos, sociais e históricos na criação e desenvolvimento destas personagens. A obra estudada relata os fatos que servem como fundo mítico à criação do mundo no qual se passa, a Terra-média. São contados os acontecimentos que deram origem a tudo, seres e ambientes, sentimentos, o Mal e sua eterna luta contra o Bem pelo poder. Pretendemos realizar este intento com o auxílio de teorias diversas, em especial a linha feminista da crítica literária que se ocupa do papel da mulher como leitora de textos de autoria masculina, como é o caso. Esperamos, também, contribuir com o crescente interesse pela obra do autor inglês, deixado à margem do cânone pela crítica especializada, para que assim se possa reconhecer a importância de sua obra em seu tempo, e também a de suas personagens femininas.<br>Abstract: This dissertation intends to analyse the female characterization in the novel The Silmarillion, written by J. R. R. Tolkien. This novel has a fantastic tone, and it is part of a mythology created by its author; the characters have features that go from human to divine, and most of them are formed by men that act as heroes. The present study focuses on the female characters of the novel, and through the analysis of their physical and psychological descriptions, actions, features, in short, their constructions, it intends to determine the author's way of representation; so, it will be possible to reach a reflection about the importance of these characters in the Tolkienian mythology, to which The Silmarillion figures as the initial point. It is also necessary to unmask the influence of political, social and historical factors on the creation and development of these characters. The novel gives an account on the facts that figure as a mythical background to the world where it is placed, Middle-earth. The events that were the origin to everything, beings and places, feelings, Evil and its eternal fight against Good for power, are told. We intend to achieve this goal with the support of many theories, especially the feminist trend of literary criticism that deals with the role of woman as a reader of texts written by men, as it is the case. We also wish to contribute to the growing interest on the works of the English author, who was left at the edge of the canon by the specialized critics, so that it is possible to recognize the importance of his work at his time, and also the importance of his female characters.<br>Mestre
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Lin, Lidan. "The Rhetoric of Posthumanism in Four Twentieth-Century International Novels." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278990/.
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The dissertation traces the trope of the incomplete character in four twentieth-century cosmopolitan novels that reflect European colonialism in a global context. I argue that, by creating characters sharply aware of the insufficiency of the Self and thus constantly seeking the constitutive participation of the Other, the four authors E. M. Forster, Samuel Beckett, J. M. Coetzee, and Congwen Shen all dramatize the incomplete character as an agent of postcolonial resistance to Western humanism that, tending to enforce the divide between the Self and the Other, provided the epistemological basis for the emergence of European colonialism. For example, Fielding's good-willed aspiration to forge cross-cultural friendship in A Passage to India; Murphy's dogged search for recognition of his Irish identity in Murphy; Susan's unfailing compassion to restore Friday's lost speech in Foe; and Changshun Teng, the Chinese orange-grower's warm-hearted generosity toward his customers in Long River--all these textual occasions dramatize the incomplete character's anxiety over the Other's rejection that will impair the fullness of his or her being, rendering it solitary and empty. I relate this anxiety to the theory of "posthumanism" advanced by such thinkers as Marx, Bakhtin, Sartre, and Lacan; in their texts the humanist view of the individual as an autonomous constitution has undergone a transformation marked by the emphasis on locating selfhood not in the insular and static Self but in the mutable middle space connecting the Self and the Other.
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Kapic, Ajla. "The Notebook and the Romance Genre : An Investigation of The Notebook As A Romance Novel." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-90699.
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Critics and readers often consider Nicholas Sparks’ novel The Notebook to be a romance novel, while Sparks himself considers it a love story. Sparks claims that there are no similarities between the two genres. Therefore, this paper investigates the differences and similarities between the romance genre and the love story genre, while simultaneously exploring The Notebook’s storyline, the characterization, and the marketing surrounding the book in order to understand the novel’s classification. The purpose is to discover if The Notebook can be identified as a romance even if it never was Sparks’ intention. The only aspect that differs between the genres is how the ending is written, other than that there are no remarkable differences. There are also several elements that validates that The Notebook has romantic features. Both of the protagonists have romance characteristics, the cover of the novel is a characteristic romance cover, and the storyline itself is based on a romance structure and it follows all of the essential romance elements. The conclusion of this paper is that The Notebook has romance elements and therefore can be placed in the romance genre even if that never was Sparks’ intention.
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Kim, Rochelle H. "The "Great Background" in Hardy and Lawrence." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/996.
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This thesis investigates D.H. Lawrence’s idea of the “great background” in the context of Thomas Hardy’s Jude the Obscure and how it reappears in a transformed way in Lawrence’s novels Sons and Lovers, The Rainbow, and Women in Love. Through examining the perverse effects of modernism on these novels’ characters, this thesis argues that the “great background” is something that gradually moves inward––from the old, traditional “State” to an internal, inscrutable yet attainable reality.
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Lim, Christina Go. "Synthesis and characterization of poly(oxazoline) rotaxanes and literature review on separation, detection and identification of cyclic oligomers in poly(ethylene terephthalate) and poly(c̋aprolactam) /." This resource online, 1991. http://scholar.lib.vt.edu/theses/available/etd-01202010-020257/.
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Davidsson, Sara. "A Narratological Study on Characterization, Change and Coming-of-Age in Maggie Stiefvater’s The Dream Thieves." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101082.
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This essay explores the character development of Ronan Lynch in Maggie Stiefvater's The Dream Thieves (2013) with the intention of showing the process of self-acceptance through the narratological concepts character and characterization as well as Young Adult literature research focused on coming-of-age in terms of self-discovery and sexual identity. It was found that Ronan does reach self-acceptance. In terms of characterization, this can be seen through his relationships with other characters and his role in the narrative. When it comes to coming-of-age, his self-acceptance is seen through his self-discovery in regards to sexuality, and especially through his identity construction in relation to his supernatural ability.
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Caetano, Paulo Roberto Barreto. "Para além da construção dos personagens = o conceito de monstruosidade em Lavoura Arcaica, de Raduan Nassar." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270296.
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Orientador: Mario Luiz Frungillo<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-17T22:14:51Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: O romance Lavoura Arcaica, de Raduan Nassar, é um rico objeto para se pensar o caráter referencial dos personagens. A figura paterna, encarnando uma tradição que valoriza o trabalho, o comedimento como valores essenciais à vida, encontra forte resistência nos filhos Ana e André. Assim sendo, o embate que se delineia reflete um clássico confronto entre tradição e liberdade. Tal disputa é fruto (e estopim) para atos tidos como monstruosos: o incesto e o filicídio. Indo além do procedimento da caracterização dos personagens como recurso de análise do romance, esta dissertação se ocupa em discutir a prática de ações capazes de "monstrificar" os personagens. Destarte, a investigação menciona peculiaridades que fazem com que um ser seja visto como ente horrífico. A pesquisa se ocupa também com a noção de concatenação de situações-limite como elemento construtor das idiossincrasias. Com isso, o modo como as pessoas dessa família se tratam, como tratam o tempo e algumas leis fornece subsídios para que eles sejam vistos como "ameaças morais". O lugar do incesto e do filicídio fulgura, portanto, como elemento fundamental na análise desses personagens<br>Abstract: The novel Lavoura Arcaica, by Raduan Nassar, is a rich object to think the referential character of the personages. The father, embodying a tradition that says how worthy is work, the restraint as values essential to life, finds strong resistance in Ana and André. Thus, the conflict that emerges reflects a classic clash between tradition and freedom. Such dispute is a result (and wick) for acts taken as monstrosity: incest and filicide. Going beyond the procedure of characterization of the personages as an analysis resource of the novel, this paper is concerned about discussing the practice of actions capable of "monsterizing" personages. Therefore, this research mentions the peculiarities that make someone to be seen as being horrifying. This research also deals with the notion of extreme concatenation of the on-the-edge situations such as a building element of the idiosyncrasies. With that, the way the personages treat the time, each other in this family and some laws provides subsidy so they can be seen as "moral threats". The incest and filicide altogether, thus, appear as a key element in the analysis of the personages<br>Mestrado<br>Literatura Brasileira<br>Mestre em Teoria e História Literária
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Lim, Christina Go. "Synthesis and characterization of poly(oxazoline) rotaxanes and literature review on separation, detection and identification of cyclic oligomers in poly(ethylene terephthalate) and poly(ε-caprolactam)". Master's thesis, Virginia Tech, 1991. http://hdl.handle.net/10919/40712.
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Several methods have been developed to determine the cyclic oligomer content in PET. Isolation procedures can be classified as those involving extraction, such as with solvents like chloroform, dioxane, and xylene, and those involving dissolution followed by precipitation in solvents like dimethylformamide and 1-methylnaphthalene. The amount of cyclic oligomer obtained is largely dependent upon the method used, as well as the type, drawing, and thermal history of the PET used.Various methods for separation of cyclic oligomers have also been developed using GPC and thin-layer chromatography.<br>Master of Science
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Silva, Mariana Souza e. [UNESP]. "A caracterização do feminino em The Silmarillion, de J. R. R. Tolkien." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/94066.
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silva_ms_me_assis.pdf: 455791 bytes, checksum: 29ecb1862ccd885e60810e2ee49f3c0f (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Esta dissertação pretende analisar a construção das personagens femininas na obra The Silmarillion, de J. R. R. Tolkien. Esse romance possui um tom fantástico, e é parte de uma mitologia criada por seu autor; as personagens possuem características que vão do humano ao divino, e a maioria delas é formada por homens predominantemente heróicos. O presente trabalho é focado nas personagens femininas da obra, e através da análise de suas descrições físicas e psicológicas, ações, características, enfim, de suas construções, objetiva determinar o modo de representação do autor, chegando-se, assim, a uma reflexão acerca da importância destas personagens na mitologia tolkieniana, à qual The Silmarillion serve como ponto inicial. Faz-se necessário, também, desvendar a influência de fatores políticos, sociais e históricos na criação e desenvolvimento destas personagens. A obra estudada relata os fatos que servem como fundo mítico à criação do mundo no qual se passa, a Terra-média. São contados os acontecimentos que deram origem a tudo, seres e ambientes, sentimentos, o Mal e sua eterna luta contra o Bem pelo poder. Pretendemos realizar este intento com o auxílio de teorias diversas, em especial a linha feminista da crítica literária que se ocupa do papel da mulher como leitora de textos de autoria masculina, como é o caso. Esperamos, também, contribuir com o crescente interesse pela obra do autor inglês, deixado à margem do cânone pela crítica especializada, para que assim se possa reconhecer a importância de sua obra em seu tempo, e também a de suas personagens femininas.<br>This dissertation intends to analyse the female characterization in the novel The Silmarillion, written by J. R. R. Tolkien. This novel has a fantastic tone, and it is part of a mythology created by its author; the characters have features that go from human to divine, and most of them are formed by men that act as heroes. The present study focuses on the female characters of the novel, and through the analysis of their physical and psychological descriptions, actions, features, in short, their constructions, it intends to determine the author’s way of representation; so, it will be possible to reach a reflection about the importance of these characters in the Tolkienian mythology, to which The Silmarillion figures as the initial point. It is also necessary to unmask the influence of political, social and historical factors on the creation and development of these characters. The novel gives an account on the facts that figure as a mythical background to the world where it is placed, Middle-earth. The events that were the origin to everything, beings and places, feelings, Evil and its eternal fight against Good for power, are told. We intend to achieve this goal with the support of many theories, especially the feminist trend of literary criticism that deals with the role of woman as a reader of texts written by men, as it is the case. We also wish to contribute to the growing interest on the works of the English author, who was left at the edge of the canon by the specialized critics, so that it is possible to recognize the importance of his work at his time, and also the importance of his female characters.
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Malmström, Martin. "Tillbaka till texten : derivativt skrivande i en svensk gymnasieklass." Licentiate thesis, Malmö högskola, Institutionen för kultur, språk och medier (KSM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-7622.
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This licentiate thesis investigates fiction writing and reading in up- per secondary school in Sweden. Inspired by fanfiction I created a teaching project of derivative writing in which the students in a se- cond-year social science class wrote short stories derived from 20th century novels. They also gave peer response, both orally and in writing. Finally they wrote a reflective text about the project. The main purpose of the study is to describe and analyse the teaching project. The primary material is the students’ short sto- ries. Drawing from theories of intertextuality, most notably Genette’s transtextuality theory and fanfiction theories, I analyse how the students make use of the source text. Theories of narratology have been used to analyse techniques of storytelling, mainly characterization and focalization. In the analysis of the stu- dents’ written comments on each other’s texts I draw from re- sponse theories. The results show that the students tend to stay close to the source texts. The most common subgenre is refocalization, that is to change the perspective to one of the secondary characters’ view. Refocalization seems to be an efficient way of deepening the under- standing of the main character of the source text; in many of the students’ stories the protagonist functions as the focalized object. Which novel the students read plays an important part in how fo- calization is expressed, however. Short stories based on novels with complex focalization tend to be focalized in a variety of ways whereas stories based on novels with fixed focalization mostly fol- low the pattern of the source text. Reading the short stories and, not least, the reflective texts it becomes evident that the characters  are extremely important in this kind of literature, more so than semiotic theories of characters have acknowledged; the characters are more than merely functions. In the chapter about peer response I argue that many students write analyses of the text they are about to respond to rather than give advice about how to proceed. It is difficult to see if the response is of any help to the writer. Thus, I question whether peer response has any other effect than strength- ening the social bonds between the group members. The study shows that creative writing could very well be an in- tegral part of the education in Swedish in upper secondary school. Derivative writing may function as an alternative to traditional lit- erary analyses. Refocalizing is a way of seeing the story from a dif- ferent viewpoint, which could enhance the students’ sense of empa- thy. Questions of focalization might also lead to discussions of power. Furthermore, creative writing may make the students more attentive as writers. In the new syllabus Gy 11, however, the op- portunities for working with creative writing are, unfortunately, limited.
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Flint, Angela. "The influence of contemporary events and circumstances on Virgil's characterization of Aeneas." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019/1540.
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Ekholm, Marika. "Från barnbok till värdegrund -En motivstudie om huruvida en populär skönlitterär barnbok, Handbok för superhjältar- del 6:Utan hopp, kan bidra med grund för värdegrundsarbete i årskurs F-3." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-92504.
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The purpose of this study is to analyze a children’s book to examine if it is a useful tool for teachers to use while working with the set values that the Swedish curriculum deems central to education. In order to create such a tool, a survey was made to ascertain what books are currently popular among Swedish children in the age range of 6-9, and the using indirect characterization and the literary concepts of theme and motif as a method, the goal has been to determine whether this book is suitable for working with questions that are related to the aforementioned values.The result showed that the chosen book, Guide for superheroes- part 6: Without hope, (2021) by Elias and Agnes Våhlund contained all of the five values that the Swedish curriculum deems central to education. The results, then, indicate that this book is a suitable tool to use while working with values in the classroom. However, this survey only analyzes the book as a tool and not how to use it in the education. The effectiveness of any tool is also dependent on how the teacher are using it, which I do not include in this study.
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McClinton, Jennifer A. (Jennifer Anne). "The Fool-Saint and the Fat Lady: an Exploration of Freaks and Saints in Robertson Davies's The Deptford Trilogy." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277600/.
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Hallén, Rizzo Jan. ""And Never the Twain Shall Meet"? : Separate Worlds and Characterization in David Lodge's Nice Work." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-8586.
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This essay uses some tenets of structuralism as well as the concept of “discourse” to analyze David Lodge’s novel Nice Work (1988). The opposite discourses of Academia and Industry, as expounded through the life and character of the main protagonists, are analyzed as they are exposed throughout the novel through the involuntary mingling of the main characters. The governing idea is that three separate discourses can be gleaned as a basic structure in the novel, forming a triad that suggests the idea of a possible synthesis, which is shown to be what propels the plot of the novel onward. As in Hegelian dialectics the clash between a thesis and its antithesis makes the reader expect the third term, a synthesis, which is offered in the mediating discourse of the narrator. Further, this essay focuses on three levels of exchange within the novel and its protagonists: the intellectual, emotional and practical ones. The synthesis of discourses is shown to come to a halt in the end, and the opposites seem to stand unperturbed, even though an exchange of values, ideas and actions has occurred.
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Bastick, Jérôme. "Étude comparative de la construction littéraire du personnage dans le roman grec de l'Antiquité et le roman byzantin du XIIe siècle." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN026.
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La première naissance du roman de langue grecque a coïncidé avec l’avènement de l’Empire romain, dans un contexte de bouleversement des structures sociales où l’individu tendait à remplacer les valeurs collectives jusqu’alors incarnées par les grands héros épiques ou tragiques : les nombreux personnages de ce nouveau genre littéraire, soumis aux aléas de la Fortune et aux traits de l’Amour dans un monde qui les dépasse, en constituent un marqueur fort. Le récit s’organise désormais autour d’un couple de héros qui s’aiment, d’opposants qui veulent les séparer et d’adjuvants qui essaient de conjurer ceux-ci, sans compter tous les personnages secondaires. Presque disparu à partir du IVe siècle, le roman grec continue d’être lu mais sa production ne refait vraiment surface qu’au XIIe siècle, dans le contexte bien différent de la cour byzantine des Comnènes. Il s’agit alors d’œuvres écrites en langue savante par et pour une élite restreinte et lettrée. Si les topoi de l’ancien roman sont souvent repris (amour, épreuves, séparation, retrouvailles, polythéisme, etc.), des changements sont néanmoins notables sur la forme (versification) comme sur le fond (caractérisation). Les personnages, qui restent un élément constitutif du genre comme support de l’action, reflet d’un ethos, noyau de l’intrigue et vecteur de l’intérêt du lecteur dont ils sont une co-création, y sont moins nombreux mais plus approfondis, agissent moins mais parlent plus. Aussi, dans une perspective de littérature comparée, le propos de notre thèse vise à déterminer, en partant de la notion de mimésis, les procédés d’écriture onomastiques, ecphrastiques et rhétoriques mis en œuvre pour caractériser ces personnages, en tentant de dégager en quoi et pourquoi les personnages des romans byzantins correspondent ou diffèrent de leurs modèles antiques. Nous proposons enfin dans un second volume, avec les annexes et la bibliographie, une traduction des romans byzantins qui n’ont pas été récemment publiés en français<br>The earliest birth of the novel in Greek language coincided with the advent of the Roman Empire, in a context of major changes in the social structures where the individual tended to replace collective values until then embodied in the great epic or tragic heroes. The numerous characters of this new literary genre, subjected to Fortune’s vicissitudes and to Eros’s arrows in a world that overwhelms them, represent a strong marker. From then on, the narrative has been organized around a couple of heroes in love, of opponents wanting to separate them and helpers trying to undermine the will of the latter, not to mention all the minor characters. The production of Greek novels sank in the 4th century, though they were still read, to only re-emerge really in the 12th century, in a very different context: the Byzantine court of the Komnenoi, under the form of literary works written in scholarly language by and for a restricted learned elite. Even if the topoi of the ancient novel are often reused (love and lost love reunions, hardships, polytheism, etc.), changes were nevertheless notable on the form (versification) as well as on the substance (characterization). The characters, who remain a constituent element of the genre as agents of the action, reflection of an ethos, core of the plot and vectors of the interest of the reader, by whom they are co-created, are fewer but deeper, they act less but speak more. Thus, from a perspective of compared literature and in the light of the notion of mimesis, our thesis aims at determining the onomastic, ekphrastic and rhetorical writing processes implemented in the crafting of these characters by trying to highlight how and why the characters of the Byzantine novels match or differ from their antique models. In a second volume, for the Byzantine novels with no recent translation into French published yet, we finally propose a personal translation, together with appendices and bibliography
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Rusanen, Sirius. "Character voice in subtitles: a case study of the Japanese subtitles of The Witcher." Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37461.
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In storytelling, one of the most important functions of dialogue is to create characterisation. Character voice is each character's unique style of speaking, which can impart explicit or implicit information about characters, such as their personality, age, or gender. Japanese language texts are known to use gendered language and role language (yakuwarigo) as a way of creating characterisation and character voice.This case study examines the English dialogue and the Japanese subtitles of four characters (Tissaia, Yennefer, Geralt, and Jaskier) from the series The Witcher. The aim was to categorize the strategies used to recreate the original character voice, to mark the differences in the character voices, and to examine their possible impact on the overall characterisations. The study concludes that the main strategy in creating character voice was gendered language and role language. Overall, the English and Japanese character voices were roughly equivalent with each other, and the used gendered language was supported by the characters’ personalities or appearance. The character Jaskier had the most differences between his English and Japanese dialogue, most likely due to the difficulties in recreating his brand of humorous tone in subtitle form.
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McDonald, Matthew William McDonald. "The Good, the Bad, and the Grouch: A Comparison of Characterization in Menander and the Ancient Philosophers." Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1461335881.
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Nicholson, Michelle A. "“To be men, not destroyers”: Developing Dabrowskian Personalities in Ezra Pound’s The Cantos and Neil Gaiman’s American Gods." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2628.
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Kazimierz Dabrowski’s psychological theory of positive disintegration is a lesser known theory of personality development that offers an alternative critical perspective of literature. It provides a framework for the characterization of postmodern protagonists who move beyond heroic indoctrination to construct their own self-organized, autonomous identities. Ezra Pound’s The Cantos captures the speaker-poet’s extensive process of inner conflict, providing a unique opportunity to track the progress of the hero’s transformation into a personality, or a man. American Gods is a more fully realized portrayal of a character who undergoes the complete paradigmatic collapse of positive disintegration and deliberate self-derived self-revision in a more distilled linear fashion. Importantly, using a Dabrowskian lens to re-examine contemporary literature that has evolved to portray how the experience of psychopathology leads to metaphorical death—which may have any combination of negative or positive outcomes—has not only socio-cultural significance but important personal implications as well.
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Borgelind, Andreas. "Värdegrund från intressegrund : En motivstudie i hur en populär barnbok kan skapa grund för värdegrundsarbete i årskurs 4-6." Thesis, Södertörns högskola, Lärarutbildningen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32777.
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In a time when many pupils feel a lack of security in school, the demands on teachers steadily increase as society puts pressure on them and the school system as a whole. The idea for this essay was born out of a need to create tools for teachers to use while working with the set values that the Swedish curriculum deems central to education. In order to create such a tool, a survey was made to ascertain what books are currently popular among Swedish children in the age range of 9-12, and then, using indirect characterization and the literary concepts of theme and motif as method, the goal has been to determine whether this book is suitable for working with questions that are related to the aforementioned values. To that end, the following questions were asked: • Which books are popular in the age range of 9-12 at the time of this essay’s writing? • Which motifs can be found in the book based on values as a theme? • How are the values that the school system should mediate portrayed in these motifs? The results showed that the chosen book, PAX: Nidstången (by Åsa Larsson & Ingela Korsell), contained all of the five values that the Swedish curriculum deems central to education. The results, then, indicate that this book is a suitable tool to include while working with values in the classroom. However, the effectiveness of this tool is also dependent on the teacher him/herself, since a tool’s value is only ever as high as the competence of the one who uses it.
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Gao, Xiongya. "Images of Chinese women in Pearl S. Buck's novels : a study of characterization in East wind, west wind, Pavilion of woman, Peony, The good earth, and The mother." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/862280.
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This study is an analysis of images of Chinese women in five of Pearl S. Buck's novels: East Wind: West Wind, The Good Earth, The Mother, Pavilion of Women, and Peony. Buck's female characters, with their different degrees of individuality and typicality, form a realistic picture of Chinese women.In terms of thematic content, the study shows that all Buck's female characters use their limited power within the constraints of their society to achieve what they deserve, often employing different, covert ways, some manipulation, and even a little deception.The significance of this is that it reveals, in an artistic way, the social conditions under which Chinese women at Buck's times lived. Chinese women had been very much oppressed. In order to survive, they had to act in ways acceptable by their society. However, they had, just as their male counterparts, the desire to love, to be happy, to maintain dignity, and to be free. What is more important, they were intelligent, courageous, and capable of fighting to achieve their goals for themselves.Buck portrays her female characters both as typical of Chinese women in general and as strong individual figures, each facing different conflicts, in a variety of social, familial situations, with unique characteristics. In order for the Western readers to understand the cultural content in which the individuals function, Buck gives her Chinese characters enough typicality as a solid foundation for the Westerners to interpret their behaviors.It is not difficult for the reader to see how the Confucian doctrines and the social conditions concerning Chinese women are truthfully reflected in the novels herein analyzed. Therefore, different degrees of individualization of these characters result from differing themes of the novels in which they appear.<br>Department of English
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Vos, Judith Elizabeth. "Identiteitsontwikkeling in geselekteerde jeugverhale van Barrie Hough / Judith Elizabeth Vos." Thesis, North-West University, 2006. http://hdl.handle.net/10394/1407.
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Holmberg, Amanda. "Ferdinand... they should have called you Caliban : En intertextuell karaktärsanalys av huvudpersonerna i John Fowles roman The Collector och William Shakespeares pjäs The Tempest." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-72619.
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This essay analyses the two main characters in John Fowles’s novel The Collector and the three characters Miranda, Ferdinand and Caliban in William Shakespeare’s play The Tempest, as well as the intertextual connection between them. The essay is based off the idea of intertextuality, which refers to a connection between texts. To study this connection, a comparative method is used. The character analysis is grounded upon Shlomith Rimmon- Kenan’s model for characterization. The essay concludes that the main characteristics of the characters in The Tempest are mirrored in the corresponding characters in The Collector. Miranda is kindhearted, empathic, brave, naïve, romanticizing, innocent and superior. Ferdinand and Caliban are both present in Clegg’s character, in which the former side is naïve, romanticizing, civilized, in control of his sexual urge and honorable; while the latter side is inhuman, a villain, violent, uncivilized, not in control of his sexual urge, incapable of change and does not show any remorse. The comparison of the two works also sheds light on the slave-motif that is present in The Collector, both in the inner struggle between Clegg’s two alter egon, as well as in his relationship with Miranda.<br>Denna uppsats analyserar de två huvudkaraktärerna i John Fowles roman The Collector och de tre karaktärerna Miranda, Ferdinand och Caliban i William Shakespeares pjäs The Tempest samt den intertextuella kopplingen dem emellan. Uppsatsen utgår från begreppet intertextualitet som indikerar ett samband mellan texter. För att undersöka detta samband används en komparativ metod. I botten för karaktärsanalysen ligger Shlomith Rimmon- Kenans modell för karakterisering. Uppsatsen visar att huvuddragen hos karaktärerna i The Tempest speglas i karaktärernas motparter i The Collector. Miranda är godhjärtad, empatisk, modig, naiv, romantiserande, oskuldsfull och överlägsen. Ferdinand och Caliban kommer båda till uttryck i Cleggs karaktär, där den förra sidan är naiv, romantiserande, civiliserad, i kontroll över sin sexuella drift och hederlig; medan den senare sidan är omänsklig, en skurk, våldsam, ociviliserad, inte kan kontrollera sin sexuella drift, oförmögen att förändras och inte visar någon ånger. Jämförelsen mellan verken bidrar även till att belysa det slavmotiv som förekommer i The Collector och tar uttryck dels i den inre kamp som pågår mellan Cleggs två alteregon samt i hans relation med Miranda.
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Davis, Hayley Gillian. "An integrationalist approach to word-identification and word-characterization in a literate society." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332848.
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Adams, Brenda Byrne. "Patterns of healing and wholeness in characterizations of women by selected black women writers." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/720157.
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Some Black women writers--Zora Neale Hurston, Toni Cade Bambara, Paule Marshall, Gloria Naylor, and Alice Walker--of American fiction have written characterizations of winning women. Their characterizations include women who are capable of taking risks, making choices, and taking responsiblity for their choices. These winning women are capable of accepting their own successes and failures by the conclusions of the novels. They are characterized as dealing with devastating and traumatic personal histories in a growth-enhancing manner. Characterizations of winning women by these authors are consistently revealed through five developmental stages: conditioning, awareness, interiorizing, reintegrating, and winning. These stages contain patterns that are consistent from author to author.While conditioning and awareness of the negative influcences of conditioning are predictable, this study introduces the concept of interiorizing and reintegrating as positive steps toward becoming a winning woman. Frequent descriptions of numbness and disorientation mark the most obvious stages of interiorizing. It is not until the Twentieth Century that we see women writers using this interiorizing process as a necessary step toward growth. Surviving interiorizing, as these winning women do, leads to the essential stage of reintegrating.Interiorizing is a complete separation from social interaction; reintegrating is a gradual reattachment to social process. First, elaborate descriptions of bathing rituals affirm the importance of a woman's body to herself. Second, reintegrating involves food rituals which signal social reconnection. Celebration banquets and family recipes offer an important reminder to the winning woman that the future is built on the past. Taking the best of what has been learned from the past into the future provides strength and stability.The characterization of a winning woman stops with potential rather than completion. A winning woman must still take risks, make choices, and bear the consequences of her choices. The winning woman does not accept a diminished life of harmful conformity. She is characterized as discovering how to use choice and power. Novels included in this study are: Zora Neale Hurston's Their Eyes Are Watching God; Toni Cade Bambara's The Salt Eaters; Paule Marshall's Brownstone, Brown Girl; The Chosen Place, the Timeless People; and Praisesong for the Widow; Gloria Naylor's The Women of Brewster Place, Linden Hills; and Alice Walker's Meridian, and The Color Purple.<br>Department of English
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Barker, Jill. "Characterizations of otherness in the sixteenth century moral plays and their morality antecedents." Thesis, University of Warwick, 1992. http://wrap.warwick.ac.uk/55812/.
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Beginning with an analysis of the nature of the Morality play and its near relative, the moral play, this thesis finds both forms to be founded on an adversarial view of the world (Chapter One). The nature of the adversary is variable, and that variation is, in turn, revealing about the plays' philosophical position. The theories of Jacques Lacan suggest a reading of Mundus & Infan s, The Castle of Perseveraunce, and Youth as descriptions of selfhood via language- acquisition (Chapter Two). Psychoanalytic theory also suggests that otherness may involve both the rule-making Other of authority and a transgressive 'other', broadly analogous to repressed desire. The moral plays discuss the latter version of otherness through their construction of an increasingly elaborated 'vice figure'. A reading of Mankind demonstrates the interpretative power of this approach (Chapter Three). In the 1560's and 70's, vice behaviour becomes more complex, and so more ambiguous. Deconstructive theories suggest that this change can usefully be read as equivalent to the tendency of linguistic terms towards meaninglessness. The Tyde Tarrieth No Man is an example. Otherness comes to be located in certain 'abjected' social groups. In addition, vice play radically alters the original structure of the moral play, tending to replace narrative with showmanship. Enough is as Good as a Feast and Like Will to Like demonstrate this point. All For Money, however, uses dramatic structures symbolically, restoring meaning to vice play (Chapter Four). Feminist theory leads me to consider the place of woman as other in the moral plays. In The Play of the Wether, the endightement of mother messe and Lingua the 'female vice' figure is developed (Chapter Five). The social implications of that figure are considered through analyses of The Rare Triumphs of Love and Fortune and Lingua (Chapter Six). Finally, the figure of the 'good woman' is found to undergo increasing criticism, as the plays come to encode virtue as undesirable, and perhaps impossible (Chapter Seven). A Conclusion summarizes the main arguments of the thesis.
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Kratzer, Andreas [Verfasser], and Andreas [Gutachter] Hirsch. "Synthesis and Characterization of novel covalent Oligofullerenes and Fullerene-Hexabenzocoronene-Hybrids / Andreas Kratzer. Gutachter: Andreas Hirsch." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2016. http://d-nb.info/1103801961/34.
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Costin, Rebekah K. "Rejecting the myth : characterizations of emerging adulthood in three contemporary novels /." Electronic version (PDF), 2005. http://dl.uncw.edu/etd/2005/costinr/rebekahcostin.pdf.
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Quesnel, Marine. "A Study of Schelling’s Symbol in the Characterization of Virginia Woolf’s The Waves : The Productive Unity of Subjectivity in Symbolical Language." Thesis, Högskolan Dalarna, Engelska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-34426.
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Mendes, Emilia Raquel. "Os narradores hibridos de Memorias da Emilia de Monteiro Lobato." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270110.
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Previous issue date: 2008<br>Resumo: O livro Memórias da Emília de Monteiro Lobato, publicado pela primeira vez em 1936, e rico em questões filosóficas, destacou-se entre os demais livros do Sítio do Picapau Amarelo. Pesquisando em trabalhos (livros, teses, artigos) de especialistas em Literatura e em Monteiro Lobato, comparando diferentes edições da obra e a considerando como integrante de uma coleção, foi possível realizar este trabalho. Buscamos evidenciar os seguintes aspectos: a preocupação do autor com o livro (considerando-o como um objeto a ser consumido); as semelhanças e diferenças com o gênero memorialístico; o diálogo com outras manifestações artísticas, especificamente com o cinema; e a multiplicidade de vozes e de pontos de vista.<br>Abstract: The book Memórias da Emilia, by Monteiro Lobato, first published in 1936, and richin philosophical questions, was a highlight among the other books from the series "O Sítio do Picapau Amarelo". Searching on works (books, theses, articles) from literature and Monteiro Lobato experts, comparing different editions of this book and considering it as part of a collection, it was possible to carry out this work. The following aspects were highlighted: the concern of the author with the book (considering it as an object for consumption), the similarities and differences in the memoirs genre;the dialogue with other artistic events, specifically with the cinema, and the multiplicity of voices and points of view.<br>Mestrado<br>Teoria e Critica Literaria<br>Mestre em Teoria e História Literária