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1
Hackett, Ann. "Play Dead." ScholarWorks@UNO, 2017. https://scholarworks.uno.edu/td/2407.
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Eckerd, John. "Collect Your Dead." Digital Commons @ Butler University, 2017. https://digitalcommons.butler.edu/grtheses/488.
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Since the bizarre disappearance of his wife, mountaineer Abbot Boone's life has spiraled into a pit of alcoholism and alienation. But then a wealthy and desperate widow hires Boone for an impossible task: to recover her husband's dead body from the peaks of Mount Everest. With nothing to lose and debts mounting, Boone enlists a team of exiles and misfits to attempt the climb. But if Boone is to conquer the mountain, he will first have to survive the pressure cooker of Everest Base Camp, brutal subzero temperatures, and ultimately confront the mystery of his own grief
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Weaver, Brett. "Calling Up the Dead." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2439/.
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Calling Up the Dead is a collection of seven short stories which all take place over the final hours of December 31, 1999 and the first few hours of January 1, 2000. The themes of time, history, and the reactions toward the new millennium (positive, negative, indifferent) of a variety of cultures are addressed. Each of the six major continents has a story, along with its cultural perspective, delivered by narrators both young and old, three female, three male and one balcony.
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DiFrancesco, Alessandro. "The Living and the Dead." Cleveland State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=csu1591353224820624.
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Ash, Romy Alice. "Dead drunk /." Connect to thesis, 2008. http://repository.unimelb.edu.au/10187/4008.
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Donnelly, Keith. "Three Days Dead: A Donald Youngblood Mystery." Digital Commons @ East Tennessee State University, 2009. http://amzn.com/0895873729.
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"When Tennessee private investigator Donald Youngblood solved the Fairchild case in Three Deuces Down, he vowed never again to go hunting for a missing person. With live-in-love and Mountain Center cop, Mary Sanders, and his faithful black Standard Poodle, Don's life has settled back into its old routine. All of that is about to change. An attractive, precocious teenage girl shows up in his office one morning needing help finding her missing mother.
Now, Don must track down a mother gone wrong while trying to find her abandoned daughter a proper home before child welfare gets the scent. To complicate matters, an old flame is being harassed by a former boyfriend, who is not what he appears to be, and she is begging Don to do something about it.
Tracking down the missing mother with the help of his best friend and partner and Don's ever-dangerous new friend, the trail of clues leads to a Las Vegas confrontation where Don comes face to face with henchmen of a Vegas bad boy, and nearly pays the ultimate price."--AMAZONhttps://dc.etsu.edu/alumni_books/1002/thumbnail.jpg
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Busby, Robert. "The Dead Fish at Twenty Mile and Other Stories from Bodock, Mississippi." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/1870.
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THE DEAD FISH AT TWENTY MILE AND OTHER STORIES FROM BODOCK, MISSISSIPPI is set in a mythical town of nine-hundred-and-forty-eight Bodockians on the northwest corner of fictitious Claygardner County. Much like the canon of Faulkner's Yoknapatawpha works, the stories in this collection contribute to the myth of Bodock-from the fictional town's origins sometime in the 1830s, to the turn of the twenty-first century-while exploring such themes as mortality, regret, folklore, the New South at the end of the twentieth-century, and the relationship between man and nature. With the exception of the title story, the occasion for these stories is the ice storm which devastated much of the Mid-South in 1994. To accomplish this myth creation, the stories often employ folklore, magical realism, pathos and comedy, and storytelling, as influenced by Lewis Nordan's Welcome to the Arrow-Catcher Fair and Flannery O'Connor's A Good Man is Hard to Find.
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Green, Anna. "Dead man and an accompanying exegesis, Labyrinthine modes in Dead man and The Castle by Franz Kafka /." Connect to thesis, 2006. http://portal.ecu.edu.au/adt-public/adt-ECU2007.0042.html.
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Sutton, Mark Richard. "'All Livia's daughtersons' : death and the dead in the prose fiction of James Joyce." Thesis, Royal Holloway, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265874.
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Eubanks, David B. "Purely coincidental resemblance to persons living or dead worry and fiction in contemporary American life writing /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3192.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.Thesis research directed by: Dept. of English. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Kane, Anthony. "Forlorn Days." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1816.
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The characters of Forlorn Days have been beaten down, be it personally or professionally. These stories are meant to present these characters as they struggle in their own indecisions and adversities. Some are more successful than others, while some come to the realization that it is nearly impossible to escape their flaws. The worlds they occupy are filled with a sense of disillusionment, whether it be soul crushing jobs, fractured relationships, or a lack of communicating with those around them. The characters that populate these stories are looking for a connection of any kind to break out of the fates that await them. In this yearning to break out of their disillusionment, they find that it’s more difficult than they thought. Life continues to go around regardless of the decisions they have made.
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Kontou, Tatiana. "Ventriloquising the dead : representations of Victorian spiritualism and psychical research in selected nineteenth and late twentieth century fiction." Thesis, University of Sussex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430956.
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Goggin, Joyce. "The big deal, card games in 20th-century fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/NQ35594.pdf.
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Pettersson, Erika. "Röda sörjor med gapande munnar : En undersökning om hur den döda kvinnan beskrivs i tre svenska deckare från 2000-talet." Thesis, Södertörns högskola, Litteraturvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-38230.
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This essay aims to examinate how the dead woman is described in three swedish crime fiction- novels. The novels included in my study is Stieg Larsson ́s Män som hatar kvinnor, Mons Kallentoft ́s Den femte årstiden and Lars Kepler ́s Stalker. The purpose of this study is to examine these questions: how is the dead woman described, how does the woman relate to prevailing norms in a sex-normative context, who is the dead woman based on socio-cultural identity and how can the killer ́s identity be understood in relation to the victim? Inspired by Judith Butler ́s performativity theory I assume a gender constructivist perspective, that gender is a social construction. I am also inspired of Maria Nikolajeva ́s gender role schedule, which shows what characteristics women are most often attributed in literature. I also add my own properties to the schedule. Thus, the result shows that the dead woman fulfills all conventional female standards. The dead woman is, based on the material, either an unwanted woman or an desired woman. The unwanted woman is subjected to sexual violence, something that the desired woman avoids. When the women are dead, they still meet conventional standards even though their bodies are completely destroyed by their perpetrators. The identity of the murderers can be understood from socio-cultural status and their motives.Denna uppsats undersöker hur den döda kvinnan beskrivs i tre svenska deckare: Stieg Larssons Män som hatar kvinnor, Mons Kallentofts Den femte årstiden och Lars Keplers Stalker. Syftet med uppsatsen är att besvara dessa frågor: hur beskrivs den kvinna som ska dödas och som sedan dör, hur relaterar kvinnorna som ska dödas och sedan dör till rådande kvinnliga normer i en könsnormativ kontext, vem är den döda kvinnan och hur kan mördarens identitet förstås i relation till offret? För att besvara dessa frågor utgår jag från att kön är en social konstruktion och Judith Butlers performativitetsteori. Dessutom används Maria Nikolajevas könsrollsschema för hur kvinnor oftast skildras i litteratur. Resultatet visar att den döda kvinnan går att dela upp i två kategorier; den önskade kvinnan och den oönskade kvinnan. Båda kategorier av kvinnor relaterar till rådande kvinnliga normer. Den oönskade kvinnan har ingen plats i samhället, lever ensam och utsätts för sexuellt våld innan hon mördas. Den önskade kvinnan fyller en funktion i samhället, saknas av någon när hon dör och utsätts inte för sexuellt våld innan hon mördas. Den döda kvinnan uppfyller alla kvinnliga normer utifrån Nikolajevas schema, oavsett vilken kategori hon tillhör. Mördarnas identiteter går att förstå utifrån socioekonomisk status samt val av offer.
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Kuit, Henali. "Dear space dad and other stories." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017774.
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My stories are set around the themes of family, animals and outer space -- which leads to other themes like religion, loneliness, romance, eating animals, growing up and longing for the past. Most of the stories have non-linear structures. Some use gradual shiftings of narrator voice; in others the narrative is flat, lacking plot. I favour repetition over plot-based climaxes to create coherency and narrative flow. I also favour free indirect discourse over dialogue or description as a means to characterize.
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Joyce, Laura Ellen. "Luminol theory and the excavation of narrative, &, The dead girl scrolls : unearthed apocalyptic fictions." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/58510/.
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This thesis is concerned with developing a new approach to reading and thinking about culture (especially US culture), which I am proposing to call Luminol Theory. Luminol Theory is a textual reading strategy that draws on both psychoanalysis and depth reading. It reveals what has been occulted and it illuminates the contemporary United States as a crime scene. I argue for the singular importance of Luminol Theory as it provides a dystopian account of contemporary culture in the US. A culture that is haunted, that is characterised by injustice and brutality, and that reads bodies as disposable. I introduce luminol as an agent of forensic enquiry that excavates and illuminates narratives, particularly crime narratives, which have been erased. This interdisciplinary intersection of theory, forensic science, and literary criticism offers a specific, contemporary textual reading strategy. I situate Luminol Theory within its origins in feminism (with particular reference to Tiqqun's theory of the ‘Young-Girl'), psychoanalysis (with particular reference to Kristevan abject-analysis, queer theory, and the field of death studies), and depth reading strategies (working through Paul Ricoeur's ‘hermeneutics of suspicion' and Michel Foucault's ‘genealogy' and ‘archaeology'). Though it draws on each of these fields, Luminol Theory is a new contribution to contemporary literary criticism. The three critical chapters investigate the contemporary Unites States as a crime scene, moving through the exploratory steps that a forensic investigation might take. The first chapter opens with a reading of the crime scene itself by embedding Colorado crime fictions within the violent history of the state. The second chapter discovers artefacts at the scene, reading textual objects for hidden meanings and reading contemporary experimental fiction from the United States as apocalyptic material, through the lens of the Book of Revelation. Just as Revelation literally reveals the cultural anxieties of first millennium Christians and their fears of impending apocalypse so too Skin Horse by Olivia Cronk and Entrance to a Pageant where we all begin to Intricate by Johannes Göransson are apocalyptic texts for the third millennium. The final critical chapter approaches the body of the dead girl at the heart of the crime scene in order to discover the aesthetic coherence between death and femininity and the violence wrought interchangeably by sexual violence and capital. The fourth section of the thesis demonstrates Luminol Theory in practice. This collection of short fictions The Dead Girl Scrolls: Unearthed Apocalyptic Fictions is modelled on the Dead Sea Scrolls. The Dead Sea Scrolls were found serendipitously by shepherds in 1946 in the Qumran caves, West Bank. These scrolls contain a key to ancient languages, cultures, and narratives that were previously hidden. Later forensic analysis of the papyrus scrolls involved using UV light, a blue chemical glow that excavated layers of hidden narrative. By offering a secular version of these sacred texts, The Dead Girl Scrolls operates within a forensic imaginary; that is, it performs an empathetic and creative response to the secular aporia. It does this through offering dead women a central position that refuses to reify, objectify, or fetishise them or their bodies.
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Barbu, Andra. "La mort et son cadavre : qu'en dit la littérature ? Lectures du corps mort dans des cuentos hispano-américains contemporains." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR113.
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Ce travail explore les représentations du corps mort dans des cuentos hispano-américains contemporains pour essayer d’établir par ce biais une typologie des rapports que l’être humain entretient de façon générale avec la mort. L’idée centrale que nous avançons est que la littérature reproduit un nombre limité de réactions universellement valables, se montrant ainsi capable de mettre à la disposition de ses lecteurs un inventaire étrangement fiable des attitudes qu’eux-mêmes, à l’instar des personnages, sont susceptibles d’aborder face à cet événement ultime. Le choix du cadavre comme protagoniste des récits étudiés s’explique par le fait qu’il soit la seule image concrète et tangible de la mort et que, par son apparence repoussante, il représente une terrible source de hantise qui conditionne et altère toute tentative paisible de se rapprocher de celle-ci. Le cadre théorique des mondes possibles littéraires qui posent la fiction comme expérience envisageable et la particularité formelle du genre littéraire du cuento avec sa petite étendue et son caractère auto-suffisant permettent la vision du texte comme espace tombal où gisent ces nombreux cadavres fictionnels. Le lecteur a ainsi accès de près au corps mourant/mort, froid, putride, puant, dépecé ou bien embaumé, et les expériences littéraires acquises de cette manière s’ajoutent à son effort d’apprivoisement de la réalité effrayante de la mortThis work explores the dead body as it is represented in a number of contemporary Latin American cuentos in order to establish a typology of the different reactions of human beings in general when faced with death. I suggest that literature reproduces a limited number of universal behaviours in this situation and thus it gives readers a fairly reliable inventory of the attitudes that they, like the characters, are likely to adopt.The corpse as a protagonist of the short stories discussed here has been selected because it is the only concrete and palpable image of death and that, by its repulsive appearance, it represents a terrible source of fear which conditions and alters any intention of peacefully trying to come to terms with it. The theoretical framework of the literary possible worlds whereby fiction is seen as a potential experience, and the formal characteristics of the cuento, such as its reduced, self-contained nature, allow the text to be read as a funerary space where all these fictional dead bodies lie. The reader is thus brought into close contact to the dying/dead, cold, putrid, stinking, dismembered or embalmed body and the literary experiences he/she goes through help him/her to come to grips with the frightening reality of death
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Al-Harby, Rajih. "'Yes-Oh, dear, yes-the novel tells a story' : a consideration of Forster's narrative technique." Thesis, University of Dundee, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390805.
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Cannon, Ammie. "Controversial Politics, Conservative Genre: Rex Stout's Archie-Wolfe Duo and Detective Fiction's Conventional Form." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/469.
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Rex Stout maintained his popular readership despite the often controversial and radical political content expressed in his detective fiction. His political ideals often made him many enemies. Stances such as his ardent opposition to censorship, racism, Nazism, Germany, Fascism, Communism, McCarthyism, and the unfettered FBI were potentially offensive to colleagues and readers from various political backgrounds. Yet Stout attempted to present radical messages via the content of his detective fiction with subtlety. As a literary traditionalist, he resisted using his fiction as a platform for an often extreme political agenda. Where political messages are apparent in his work, Stout employs various techniques to mute potentially offensive messages. First, his hugely successful bantering Archie Goodwin-Nero Wolfe detective duo—a combination of both the lippy American and the tidy, sanitary British detective schools—fosters exploration, contradiction, and conflict between political viewpoints. Archie often rejects or criticizes Wolfe's extreme political viewpoints. Second, Stout utilizes the contradictions between values that occur when the form of detective fiction counters his radical political messages. This suggests that the form of detective fiction (in this case the conventional patterns and attitudes reinforced by the genre) is as important as the content (in this case the muted political message or the lack of overt politics) in reinforcing or shaping political, economic, moral, and social viewpoints. An analysis of the novels The Black Mountain (1954) and The Doorbell Rang (1965) and the novellas "Not Quite Dead Enough" and "Booby Trap" (1944) from Stout's Nero Wolfe series demonstrates his use of detective fiction for both the expression of political viewpoints and the muting of those political messages.
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Brien, Donna Lee. "The case of Mary Dean : sex, poisoning and gender relations in Australia." Queensland University of Technology, 2003. http://eprints.qut.edu.au/16340/.
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The genre of biography is, by nature, imprecise and limited. Real lives are lived synchronously and diversely; they do not divide spontaneously into chapters, subjects or themes. All biographers construct stories, in the process forcing the disordered complexity of an actual life into a neat literary form. This doctoral submission comprises a book length creative work, Poisoned: The Trials of Mary Dean, and a reflective written component on that creative work, Writing Fictionalised Biography. Poisoned is a biography of Mary Dean, who, although repeatedly poisoned by her husband at the end of the nineteenth century, did not die. This biography, presented in the form of a first-person memoir, is based closely on historical evidence and is supported with discursive notes and a select bibliography. The reflective written component, Writing Fictionalised Biography, outlines the process and challenges of writing a biography when the source material available is inadequate and unreliable. In writing Poisoned my genre solution has been fictionalised biography - biography which is historically diligent while utilising fictional writing strategies and incorporating fictional passages. This written component reflectively discusses how I arrived at that solution. It includes discussion of the sources I utilised in writing Poisoned, including the limitations of trial transcripts and other court records as biographical evidence; useful precursors to the form; the process wherein I located both a form for my fictionalised biography and a voice for my biographical subject; possible models I considered; how I distinguished established fact from speculative supposition in the text; as well as some of the ambivalences and ethical concerns such a narrative process implies.
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Kollm, Stephanie. "Divorce and the American novel the shifting definition of modern marriage /." Click here for download, 2009. http://proquest.umi.com/pqdweb?did=1827193691&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Langendorfer, Anne Therese. "Feeling Real: Emotion in the Novels of William Dean Howells and Henry James." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1499858033212105.
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Hansson, Mikael, and Stefan Karlsson. "A Matter of Perspective : A Qualitative study of Player-presence in First-person Video Games." Thesis, Umeå universitet, Institutionen för informatik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-121058.
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In this study we aimed to investigate the process through which players of video games situate, and form an understanding of their presence within the virtual game environment. This study specifically investigates this process in games played through a first person perspective with the intention of minimising the amount of visual information provided the participants. For this purpose we created two scenarios within a videogame environment specifically design for the study. A total of thirteen participants took part in the study, and after each season a semi structured interview was performed. In a qualitative content analysis we identified patterns and commonalities ascertaining to our line of questioning, and conclude that while the player-presence relationship would appear to be largely dependent on the individual’s type of play, the varying focus on either narratology or ludology in our two scenarios did indeed influence the participants to approach this relationship similarly within the separate groups. Finally we defined four types of player-presence relationship, and how they can be said to relate to the varying ludonarrative dynamics within the two specified genres, as well as the varying types of play observed amongst the participants in our study.
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Kampf, Raymond William. "Fauxtopia." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/749.
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To all who come to this fictitious place:Welcome.Fauxtopia is your land. Here, age relives distorted memories of the past, and here, youth may savor the challenge of trying to understand the present. Fauxtopia is made up of the ideals, the dreams and the fuzzy facts which have re-created reality... with the hope that it will be a source of edutainment for all the world.Ray KampfFauxtopia DedicationApril 1st, 2004
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Boyer, Sabrina Leigh Suarez Virgil. "Walking the dead." 2004. http://etd.lib.fsu.edu/theses/available/etd-07162004-165510.
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Thesis (M.A.)--Florida State University, 2004.Advisor: Dr. Virgil Suarez, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Sept. 22, 2004). Includes bibliographical references.
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Ash, R. A. "Dead drunk." 2009. http://repository.unimelb.edu.au/10187/4008.
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My concern in Dead Drunk is not simply the subject matter of death, it is rather with the representation of drunks in the form of fictional phantoms in The Glass Canoe and Bliss as rendering the death drive visible. Close scrutiny of the representation of the drunk in Australian fiction, as discussed in relation to The Glass Canoe, and Bliss reveals a ‘constant recurrence of the same thing’ rendered uncannily visible. On inspection, what becomes visible is recurring deaths and subsequent resurrections. For the ghostly Australian drunk there is always the possibility of resurrection, but that resurrection is usually in the form of another drink. A drink promises resurrection, but instead delivers a return or recurrence of the drunken, ghostly state.The presence of drinking and drunks in Australian fiction can be described as a haunting, the ghostly drunks as repetition of an anachronistic past. It is the repetition of the representations of drunks as ghostly presences in Australian fiction that is telling. Utilising Sigmund Freud’s theories developed in ‘The Uncanny’ (1919) and Beyond the Pleasure Principle (1920), I propose that if the uncanny is an encounter with one’s origins and the death drive is a backward looking return to origins; the drunks are a past that is repeatedly encountered in an uncanny moment. Utilising the modalities of the uncanny in regards to The Glass Canoe reveals the guises of the drunken ghosts. Making reference to an Australian colonial past, founded on intoxicant use and abuse the dissertation suggests alcoholism as a white man’s dreaming. A discussion of Bliss links the uncanny ghosts to a registration or surfacing of the death drive. In conclusion I suggest the psychoanalytic concept of sublimation as both an explanation for and a release from the symptomatic repetition.
Floundering, the creative work, is an extract from a novel in progress. The section presented is the opening to the novel. The narrative unfolds during one day, New Year’s Eve, and involves the interactions between the two brothers Jordy and Tom, and Old Fat. Loretta, the boys’ absent mother, haunts the novel and drives the narrative. Although the creative work does not explicitly depict dead drunks as discussed in the dissertation, the theory has by necessity permeated the creative, and the creative permeated the theory, forming a chiasma – a crossing over between strands of thought.
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Cederlöf, Henriette. "Alien Places in Late Soviet Science Fiction : The "Unexpected Encounters" of Arkady and Boris Strugatsky as Novels and Films." Doctoral thesis, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105822.
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This dissertation deals with how science fiction reflects the shift in cultural paradigms that occurred in the Soviet Union between the 1960s and the 1970s. Interest was displaced from the rational to the irrational, from a scientific-technologically oriented optimism about the future to art, religion, philosophy and metaphysics. Concomitant with this shift in interests was a shift from the future to an elsewhere or, reformulated in exclusively spatial terms, from utopia to heterotopia. The dissertation consists of an analysis of three novels by the Strugatsky brothers (Arkady, 1925-1991 and Boris 1933-2012): Inspector Glebsky’s Puzzle (Otel’ U pogibšego al’pinista, 1970), The Kid (Malyš, 1971) and Roadside Picnic (Piknik na obočine, 1972) and two films Dead Mountaineer’s Hotel (Hukkunud alpinisti hotell/ Otel’ U pogibšego al’pinista, Kromanov, 1979) and Stalker (Tarkovsky, 1980). The three novels, allegedly treatments of the theme of contact with an extraterrestrial intelligence, were intended to be published in one volume with the title Unexpected Encounters. The films are based on two of the novels. In the novels an earlier Marxist utopia has given way to a considerably more ambiguous heterotopia, largely envisioned as versions of the West. An indication of how the authors here seem to look back towards history rather than forward towards the future is to be found in the persistent strain of literary Gothic that runs through the novels. This particular trait resurfaces in the films as well. The films reflect how tendencies only discernable in the novels have developed throughout the decade, such as the budding Soviet consumer culture and the religious sensibilities of the artistic community.
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Wells, Stephen H. "William Dean Howells and the new science Darwinian evolution and the rise of realism /." 2008. http://cdm256101.cdmhost.com/cdm-p256101coll31/document.php?CISOROOT=/p256101coll31&CISOPTR=96088.
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