To see the other types of publications on this topic, follow the link: Fictin.
Dissertations / Theses on the topic 'Fictin'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Fictin.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Fung, Kit-ting, and 馮潔婷. "Decolonizing fictions: the subversion of 19thcentury realist fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31953001.
Full text
2
Escorihuela, Pujol Lambert. "Modalities of Contemporary Thought and Behaviour in the Edwardian Fiction of Hilaire Belloc." Doctoral thesis, Universitat de Lleida, 2018. http://hdl.handle.net/10803/663323.
Full textAbstract:
Hilaire Belloc (1870-1953) va escriure catorze novel·les que reflecteixen el conjunt de costums i creences del període eduardià. Tot i que ell era reconegut per la seva poesia i assajos, cal repassar les seves novel.les atentament de bell nou, ja que són l’instrument que utilitza per explicar les seves idees mitjançant narracions, sovint estranyes i divertides alhora, que d’antuvi foren considerades literatura d’evasió, però que expliquen el seu pensament més clarament que en altres possibles exposicions teòriques.
Des del seu punt de vista catòlic punyent Belloc fa referència a la Reforma anglicana i la consegüent plutocràcia emergent, la intromissió de la cultura europea en les institucions angleses, la historiografia Whig (la interpretació que en fan els progressistes liberals), el desig de la gent normal per ascendir socialment i la frustració que sol acompanyar l’intent. Belloc analitza la nostra relació amb els diners: com els guanyem, en què els invertim i quines són les nostres prioritats econòmiques. És sagaç i albira el paper emergent de la dona i com s’ho fa per arribar als primers llocs de poder, encara que Belloc sovint presenta imatges estereotipades de la dona.
La tesi intenta descobrir les capes ocultes, plenament significatives, que rauen en les novel·les humorístiques d’en Belloc i la seva aplicació a formes actuals de pensament i conducta. En la seva tasca de novel·lista Belloc s’esforça per descriure les passions humanes i la nostra follia. Malgrat que les seves novel·les foren escrites des del 1904 al 1932, les opinions sobre els seus contemporanis són vigents avui dia, perquè la natura humana és la mateixa que aleshores i mai no canvia, com tampoc ho fa la nostra ambició i afany de domini.Hilaire Belloc (1870-1953) escribió catorce novelas que reflejan el conjunto de costumbres y creencias de la época eduardiana. Aunque es conocido sobre todo por su poesía y ensayos, sus novelas merecen ser revisadas atentamente puesto que expresan la densidad ideológica de Belloc a través de narraciones divertidas, incluso extrañas, a las que inicialmente se etiquetó como literatura de evasión. Sin embargo estas novelas contribuyen a expresar su esfera de pensamiento de forma más clara que en otros teóricamente posibles tratados académicos. Desde su punto de vista inequívocamente católico Belloc introduce temas como la Reforma anglicana y la plutocracia que inmediatamente se originó como nueva clase emergente, la influencia de la cultura europea en las instituciones inglesas, la interpretación Whig de la historia (historiografía ‘oficial’ que elaboran los liberales a partir del siglo XVIII) y el deseo irrefrenable del ciudadano de a pie por ascender en la escala social, con la frustración que suele acompañarlo. Con su característica vena humorística y mirada satírica, Belloc va analizando nuestras obsesiones pecuniarias: cómo ganamos dinero, en qué lo invertimos y cuáles son nuestras prioridades económicas. Su sagacidad le lleva a vislumbrar el papel de la mujer, cada día más preponderante, y de qué manera accede a los máximos puestos de decisión, si bien a menudo ofrece imágenes femeninas estereotipadas. La tesis intenta desentrañar las capas de significación ocultas en las novelas humorísticas de Belloc y extrapolarlas al pensamiento y conducta contemporáneos. Con su habitual perspicacia Belloc se esfuerza en describir las pasiones humanas. Pone el espejo frente a nuestra insensatez. Aunque sus obras de ficción abarcan el período que va de 1904 a 1932, las observaciones que realiza sobre sus coetáneos siguen vigentes en la sociedad actual, puesto que la naturaleza humana no cambia básicamente, ni tampoco nuestra ambición y afán de dominio.
Hilaire Belloc (1870-1953) wrote fourteen novels that reflect the set of habits, customs and beliefs of the Edwardian period. Even though he was well known for his poetry and essays his novels deserve closer attention, as they convey Belloc’s ideological load through weird, amusing stories that were originally considered escapist fiction, but that constitute a more specific expression of ideas than other more formal documents. From his trenchant Roman Catholic point of view, Belloc refers to the English Reformation and the subsequent emerging plutocracy, the interference of continental culture into English institutions, the Whig interpretation of history, and the ordinary people’s urgency to climb up socially and their inherent frustrations. With his peculiar sense of humour and satirical outlook, Belloc dissects our pecuniary attitudes. He analyses how we earn money, what we invest it in, and what our economic priorities are. He is perceptive enough to glimpse the growing role of women and how they achieve top positions, although he often goes on using stereotypical female representations. This thesis analyses significant hidden layers of meaning in Belloc’s comic fiction and their application to present day modalities of thought and behaviour. As a novelist, Belloc makes an effort to describe human passions and casts light on our follies. Even though his fiction books span from 1904 to 1932, the views he applied to his contemporaries are also in force for current society, since essential human nature does not change, neither does human greed and desire to dominate others.
3
Kelly, Alexandra. "Fingo, fingere, finxi, fictum a philosophical treatment of fiction /." Diss., Connect to the thesis, 2004. http://hdl.handle.net/10066/711.
Full text
4
Fung, Kit-ting. "Decolonizing fictions : the subversion of 19th century realist fiction /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23473010.
Full text
5
Llorens, Serrano Jaume. "La transcendencia del homo sapiens: el icono del posthumano en la ciencia ficción." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/400376.
Full textAbstract:
El principal objetivo de esta tesis es estudiar la representación del posthumano en la ciencia ficción. Teniendo en cuenta la influencia de distintas corrientes en la historia del género, se expondrá que el posthumano se consolida como un icono de la ciencia ficción a partir de los años ochenta y noventa. Separándose del cyborg, el posthumano representa de forma más específica cómo la tecnociencia puede transformar nuestra especie. A rasgos generales será definido como el icono que, partiendo del concepto del mejoramiento humano, imagina la evolución o creación de una nueva versión del ser humano, normalmente a través de medios tecnológicos pero a veces también a causa de fenómenos naturales, y que plantea un conflicto con nuestro concepto de la identidad humana. Asimismo, se pretende estudiar la relación y el encaje entre la ciencia ficción y el campo interdisciplinario del posthumanismo, que en la actualidad constituye un ámbito clave para interrogar el impacto de la tecnología en nuestra sociedad, cultura, identidad e incluso nuestro futuro como especie. Para ello se abordarán distintos aspectos de la representación del posthumano compartidos por el posthumanismo y la ciencia ficción. El objeto de estudio principal será la literatura de ciencia ficción escrita en inglés, del periodo 1995 a 2015, sin ignorar el desarrollo de la idea del posthumano en la historia del género. Cinco casos de estudio específicos ilustrarán los aspectos tratados: las novelas Old Man’s War (2005) de John Scalzi, Altered Carbon (2002) de Richard Morgan, The Windup Girl (2009) de Paolo Bacigalupi, Fairyland (1995) de Paul McAuley, y Darwin’s Children (2003) de Greg Bear.The main aim of this dissertation is to study the depiction of the posthuman in the science fiction genre. Taking into consideration the significance of the genre’s history, this thesis will contend that the posthuman flourishes after the eighties and nineties. Evolving from the cyborg, the posthuman portrays the ways in which technoscience may alter and improve humanity. Broadly, it will be defined as an enhanced human —normally through technological means but also as the result of natural phenomena— that becomes the next stage in human evolution. In addition, this thesis will look into the interrelation between science fiction and the field of posthumanism, the key area in the debate of how technology is changing our society, culture and identity, and how it can even shape our future as a species. The subject of study, then, will be the science fiction literature written in English from the period 1995-2015, taking also into account the development of posthuman fiction during the genre’s history. Five specific case studies will illustrate the topics discussed: the novels Old Man’s War (2005) by John Scalzi, Richard Morgan’s Altered Carbon (2002), Paolo Bacigalupi’s The Windup Girl (2009), Paul McAuley’s Fairyland (1995), and Greg Bear’s Darwin’s Children (2003).
6
Asturgó, Ayats Joan. "La escritura o la vida. Una lectura hermenèutica." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/674053.
Full textAbstract:
Aquesta tesi doctoral té el propòsit d’argumentar la possibilitat d’una lectura hermenèutica de La escritura o la vida de Jorge Semprún. A partir d’aquest objectiu discutirem algunes de les idees que l’autor exposa en el seu text, sobretot la utilització de la ficció per explicar el fenomen de la deportació als camps de concentració nazis. La nostra investigació vol partir de les claus conceptuals de la filosofia hermenèutica per endinsar-se en l’anàlisi de la vinculació entre la paraula i el fet viscut en el context d’una experiència traumàtica personal i col·lectiva -i finalment històrica-. En el rerefons s’hi situa la singularitat de la comprensió, les seves condicions de possibilitat i els seus límits, perquè el recolzament conceptual el formalitzem a partir d’una mirada filosòfica i antropològica que té en la condició limítrofa de l’ésser humà l’articulació de la problemàtica presentada. És una investigació sobre un text que relata la realització d’un altre text. Filosofia del fet literari. O pensar la simbiosi inexpugnable i irremeiable de tota lectura crítica sobre l’escriptura i la vida.Esta tesis doctoral tiene el propósito de argumentar la posibilidad de una lectura hermenéutica de La escritura o la vida de Jorge Semprún. A partir de este objetivo discutiremos algunas de las ideas que el autor expone en su texto, sobre todo la utilización de la ficción para explicar el fenómeno de la deportación a los campos de concentración nazis. Nuestra investigación quiere partir de las claves conceptuales de la filosofía hermenéutica para adentrarse en el análisis de la vinculación entre la palabra y el hecho vivido en el contexto de una experiencia traumática personal y colectiva -y finalmente histórica-. En el trasfondo se sitúa la singularidad de la comprensión, sus condiciones de posibilidad y sus límites, porque el apoyo conceptual lo formalizamos a partir de una mirada filosófica y antropológica que tiene en la condición limítrofe del ser humano la articulación de la problemática presentada. Es una investigación sobre un texto que relata la realización de otro texto. Filosofía del hecho literario. O pensar la simbiosis inexpugnable e irremediable de toda lectura crítica sobre la escritura y la vida.
This doctoral thesis aims to argue the possibility of a hermeneutic reading of La escritura o la vida by Jorge Semprún. From this purpose, we will discuss some of the thesis that the author presents in his texts, especially the use of fiction to explain the phenomenon of deportation to Nazi concentration camps. The thesis seeks to start from the conceptual keys of hermeneutic philosophy to delve into the analysis of the link between the word and the fact lived in the context of a personal and collective and therefore historical traumatic experience. In the background, we find the phenomenon of understanding, its conditions of possibility and its limits, because we formalize the conceptual support from a philosophical and anthropological point of view that has in the bordering condition of the human being the articulation of the problem presented. It is a research on a text that relates the realization of another text. Philosophy of the literary fact. Or the impregnable and irremediable symbiosis of all critical reading about writing and life.
Universitat Autònoma de Barcelona. Programa de Doctorat en Filosofia
7
Morris, Davis Maggie Elizabeth. "The Fictions We Keep: Poverty in 1890s New York Tenement Fiction." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/387.
Full textAbstract:
In his 2008 book, American Hungers: The Problem of Poverty in U.S. Literature, 1840-1945, Gavin Jones calls for academic studies of literature that examine poverty as its own actuality, worthy of discussion and definition despite its inherently polemical nature. As presented by Jones and tested here, American literature reveals how poverty is established, defined and understood; the anxieties of class; imperative connections with issues of gender and race; and the fictions of American democracy and the American Dream. This proves to be especially interesting when examining the 1890s. From a sociological standpoint, the eighteenth century's approach to poverty was largely moralistic, while the early parts of the nineteenth century moved toward acknowledging the impact of environmental and social factors. Literature itself was changing as a result of the realism and naturalism movements; the resulting popularity of local color and dialect writing and the exploding market for magazine fiction created access to and an audience for literature that discussed poverty in multifarious ways. Furthermore, New York proved to be an ideal setting - the influx of immigrants, the obvious problem of the slums, and the public's infatuation with those slums - and served as a catalyst for a diverse body of writing. Middle-class anxieties, especially, surfaced in this modern Babel. This study begins with a historical and sociological overview of the time period as well as an analysis of the problematic photography of the effective reformer Jacob Riis. Like Riis's photography, the cartoons of R.F. Outcault both challenge and subtly support stereotypes of poverty and serve as a reminder of the presence of poverty in day-to-day life and entertainment of turn-of-the-century New Yorkers. Stephen Crane's Maggie is discussed in depth, and his Tommie sketches are contrasted with the middle-class Whilomville Tales. These pieces have in common several unifying qualities: the centrality of the human body to the discussion of poverty, the failure of language for those in poverty, vision as a tool writers and artists lean heavily upon, and the awareness of multiple audiences within and without the text. Ultimately, the pieces return to the burdened bodies of small children - "the site that bears the marks, the damage, of being poor" (Jones American Hungers 3).
8
Swarbrick, Josephine. "The Monstrous Masculine: Male Metamorphosis in Contemporary Science Fiction Cinema." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/672043.
Full textAbstract:
Aquesta tesi investiga la construcció i representació del monstre masculí en el cinema de ciència ficció contemporani. El monstre masculí en aquest cas és un home que experimenta una metamorfosi que trenca els binaris com, per exemple, masculinitat/feminitat, jo/altre i humà/maquina. Els cinc capítols examinen cince figures de masculinitat monstruosa: el mutant, el ciborg subjugat, el ciborg poderós, l’alienígena i el transhumà. Al cap i a la fi, la tesi pregunta per què els personatges masculins pateixen transformacions profunds, i normalment dolorosos, tan sovint a la gran pantalla.Esta tesis investiga la construcción y la representación de los monstruos masculinos en el cinema de ciencia ficción contemporáneo. El monstruo masculino en este caso es un hombre que experimenta una metamorfosis que resulta en la confusión de las categorías binárias cómo, por ejemplo, masculinidad/feminidad, humano/maquina o yo/otro. Los cinco capítols consideran cinco figuras de monstruos masculinos: el mutante, el cíborg subyugado, el cíborg-villano poderoso, el alienígena y el transhumano. La pregunta central de la tesis es por qué los hombres padecen transformaciones corporeales y psicológicas— y muchas veces dolorosas— tan frecuentamente en la gran pantalla.
This dissertation investigates the construction and representation of the monstrous masculine in contemporary science fiction cinema. That is to say, men who undergo a striking metamorphosis resulting in the blurring of binaries such as masculine/feminine, human/machine and self/other. A close-reading of key films and a consideration of their historical and socio-cultural contexts serves to identify and explore the mechanisms at work in the formation of male monsters as well as examining the growing presence and influence of technology and posthuman ideas in the portrayal of monstrous men. The five chapters consider five recurrent figures of monstrous masculinity: the mutant, the disempowered cyborg, the cyborg super villain, the alien and the transhuman. Ultimately, the thesis addresses the question as to why masculine characters so often undergo profound, often painful, corporeal and psychological transformations.
Universitat Autònoma de Barcelona. Programa de Doctorat en Teoria de la Literatura i Literatura Comparada
9
Perkins, Aaron M. "Fictions, enabling fictions, and autofiction within painting; or, "This painting is a work of fiction", I said." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/419477.
Full textAbstract:
This practice-led research project investigates the potential for a philosophically defined and
criterial notion of fiction to function within the medium of painting. It develops Kendall L.
Walton’s make-believe theory of fiction via Gregory Currie and Richard Wollheim to include
a criterion of fictive intent, whereby a painting is fictional if it is intended to prompt an act of
imagining in its viewer. Although painting has not art-historically distinguished between
fiction and non-fiction, the research demonstrates the intuitive usefulness of such a
classification. The research then argues that painted works of fiction offer a means of insight
through a visual medium into the everyday fictions that enable our understanding of the real
world around us.
Using contemporary anglophone autofiction—a mode or genre of writing that
purposefully blurs autobiography and fiction—as a model for this inquiry, the research
analyses Ben Lerner’s novel 10:04 to identify a range of strategies that confuse the real world
and the fictional world of a work. These strategies are characteristic of literary autofiction and
include a paratextual communication of fictive intent, an ambiguous authorial presence, the
use of text and image, ekphrasis, self-appropriation, and extratextual reference. These are also
identified in the painting practice of Avery Singer and so are demonstrated to be applicable
across mediums.
The creative outcomes of this research project emerge from a painting practice
concerned with the relationship between image and text to explore the enabling fiction of a
coherent self-narrative. They encompass an artist’s book, a series of paintings that manifest a
tension between typographic and anthropomorphic forms, a site-specific ekphrastic catalogue
essay, a site-specific collaboration with a screenwriter on an exhibition of fictional paintings,
and, ultimately, an autofictional exhibition of paintings that explore a transference between
painting and literature through a short story and a typeface.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
10
Shen, Ruihua. "New woman, new fiction : autobiographical fictions by twentieth-century Chinese women writers /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3113028.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 339-366). Also available for download via the World Wide Web; free to University of Oregon users.
11
Watson, Lauren Pamela. "Contingencies and masterly fictions : deconstructive dialogues in/between Dickens, contemporary fiction and theory." Thesis, Lancaster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444642.
Full text
12
Smith, Allen Permar. "From pulpit to fiction : an examination of sermonic texts and their fictive qualities." Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/2064/.
Full textAbstract:
This thesis will argue that the authority and power of a ‘sermonic text’ is found in its fictive qualities. The term ‘sermonic text’ is chosen in preference to ‘sermon’ to indicate the distinction between the singular occasion of a preached sermon, and the consignment of this singularity to the permanent condition of a written text, that may be read on many occasions by readers separated by time and space. A sermonic text functions in the manner of a work of fiction and creates an event and space that forces a decision upon the reader. Within the text the reader is in a place where the Kingdom of God is about to happen and is happening. Consequently, the reader is forced to make a decision. Will he or she, “Go and do likewise,” or reject the Kingdom of God? This is possible because the sermonic text has what I describe as ‘fictive qualities.’ These qualities include setting the context in which the sermon is proclaimed which in turn creates a space and event for various ‘worlds’ to meet. Necessarily, a sermon, whether historical or in fiction, must be ‘preached’ in a particular place and at a particular time – e.g. Capernaum, the Rolls Chapel in London or the Whaleman’s Chapel in Moby-Dick. At the same time, the ‘sermonic text’ opens up a ‘space of literature’, which is universal, and of no specific time or place, but entertains the various worlds of the reader, the biblical narrative (e.g. the Jonah narrative in Father Mapple’s sermon) as well as the historical setting. Other fictive qualities include a dialogical relationship between the reader and the text and the capacity of time and place to be both specific and universal, temporal and eternal. Finally, the voice of the sermonic text has authority and authenticity because it is at once familiar in the human experience and, at the same time, set apart and distinct through a particular relationship with the divine.
13
Castro, Mariño Deborah. "La televisión social: Ficción y Web 2.0." Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/325681.
Full textAbstract:
La tesis doctoral “La televisión social: Ficción y Web 2.0” se centra en el estudio de la extensión de la ficción española a la Red. Con una estructura que parte de lo general a lo particular, el primer capítulo (“Aproximación a la Web 2.0”) ofrece una taxonomía conceptual de los espacios que constituyen la Web 2.0, así como una panorámica de su influencia en cuatro ámbitos sociales (comunicación, política, movimientos sociales y e-comercio). El segundo capítulo (“Ficción televisiva, webseries y Web 2.0”) aborda el proceso de convergencia mediática entre la televisión y las nuevas tecnologías, brinda una propuesta terminológica de las narrativas transmedia y presenta un recorrido histórico por la ficción española, desde finales de los años 50 hasta comienzos del siglo XXI. El tercer capítulo (“Construcción de la identidad colectiva”) se focaliza en el fenómeno del fandom, e introduce conceptos como intimidad, identidad y extimidad.
El núcleo del estudio se presenta en el cuarto capítulo (“La extensión de la ficción a la Web 2.0”), donde se ofrecen los resultados obtenidos en la investigación empírica. A través de una metodología que combina el análisis cuantitativo y el cualitativo, se explora la extensión a Internet de 77 programas de ficción de producción española (44 series y seriales televisivos; y 33 webseries) estrenados en 2011 y 2012. La primera fase del estudio analiza el contenido de 738 recursos web (microsites, redes sociales, blogs, foros…) vinculados con el corpus de análisis. Los resultados muestran que el origen de la ficción resulta crucial en el posicionamiento digital: las cadenas crean las estrategias 2.0 de la ficción televisiva nativa en torno al microsite, mientras que los productores de webseries se decantan por las redes 2.0 o los blogs. Asimismo, el elevado número de recursos extraoficiales demuestra la expansión de la ficción española más allá del aura de acción de la cadena.
La segunda fase del estudio se centra en el análisis de 8.103 mensajes publicados por los fans y administradores tras la emisión de la última entrega en 2011 y 2012. Los resultados obtenidos adoptan la forma de la larga cola, con una cabeza centrada en las tramas de los programas, y una larga cola integrada por una miscelánea de temáticas como la música, los escenarios o la estética de los personajes. Se observa, también, que los finales mal orquestados, el lento desarrollo de las tramas y los cambios en el reparto son objeto de debate entre los fans, algunos de los cuales deciden apelar al resto de comunidad para iniciar una protesta. Además, los programas de ficción y el (pseudo)anonimato que promete la Web impulsa a los internautas a compartir las emociones que se derivan de su experiencia de recepción (ej. empatía con un personaje) así como información personal (ej. orientación sexual). Finalmente, la limitada implicación de los administradores de las plataformas en las conversaciones justifica el predominio de una fragmentación discursiva. En el caso particular de las plataformas oficiales, este comportamiento señala la superficialidad de las estrategias diseñadas por los canales televisivos o los productores, cuyo foco de atención se centra en promocionar al programa en lugar de apostar por la creación de una comunidad de fans leal.
El trabajo está vinculado temática y metodológicamente con los proyectos realizados por el Observatorio de Ficción Española y Nuevas Tecnologías (Universidad Autónoma de Barcelona), grupo de investigación del que forma parte la autora de la tesis y que dirige la catedrática María Rosario Lacalle. La tesis doctoral ha sido financiada por el Gobierno de España con la incorporación de la autora al programa de Formación de Profesorado Universitario.The PhD dissertation “Social television: Fiction and Web 2.0” studies the expansion of Spanish Television Fiction on the Internet. Following a structure that goes from generals to specifics, its first chapter (“Approaching the Web 2.0”) offers a conceptual taxonomy of the Web 2.0 platforms, along with a panoramic view of its influence over four social fields (communication, politics, social movements and e-commerce). The second chapter, (“Television Fiction, web series and Web 2.0”,) addresses the media convergence process between television and new technologies, provides a conceptual outline of transmedia storytelling and presents an historical overview of Spanish Television Fiction from the late 50s to the beginning of the 21st century. The third chapter (“Construction of collective identity”) focuses on fandom, and introduces terms like intimacy, identity and extimacy. Chapter four (“The expansion of fiction on the Web 2.0”) forms the nucleus of the research and contains the empirical results obtained. Utilizing a methodology combining both quantitative and qualitative analysis, it explores the extension of 77 Spanish TV shows (44 series and serials, and 33 web series) premiered in 2011 and 2012. The first part of the study analyzes the content of 738 web platforms (microsites, social networks, blogs, forums…) linked to the aforementioned object of study. The results show that the origin of the program is crucial in terms of its digital establishment: TV channels build their strategies 2.0 for native television fiction around a microsite, whilst web series producers opt for networks 2.0 or blogs. Likewise, the large number of non-official web-platforms demonstrates the expansion of Spanish fiction beyond the aura of influence of TV channels. The second part of the study is focused on the analysis of 8,103 comments published by fans and moderators after the airing of series finales in 2011 and 2012. Data obtained took the form of a long tail with a big head focused on the storylines of the programs, and a long tail made up of miscellaneous topics like music, settings or aesthetics of the characters. The results demonstrate that badly orchestrated finales, slow development of the story and casting changes raise heated debates, and encourage some fans to appeal to the rest of the community in order to start a protest. Moreover, television fiction and the (pseudo)anonymity of the Web foster internet users to share emotions from their reception experience (e.g. empathy for a character) as well as personal information (e.g. sexual orientation). Finally, the limited involvement of the moderators in the discussions explains the fragmented discourse. In the particular case of official platforms, this behaviour points out the superficial strategies designed by TV channels or producers, whose focus is more on promoting the program than on creating a loyal fandom community. This work maintains a thematic and methodological tie to the projects carried out by the Observatory of Spanish Fiction and New Technologies (Autonomous University of Barcelona). Professor María Rosario Lacalle directs this research group, and the author of this PhD dissertation is a researcher within it. The Spanish Government funded this dissertation with the author’s selection for the “Formación de Profesorado Universitario” program.
14
Dreshfield, Anne C. ""All are finally fictions": Fan Fiction as Creative Empowerment Through the Re-Writing of "Reality"." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/237.
Full textAbstract:
This paper examines online fan fiction communities as spaces for identity formation, collaborative creativity, and fan empowerment. Drawing on case studies of a LiveJournal fan fiction community, fan-written essays, possible world theory, and postmodern theories of the hyperreal and simulacrum, this paper argues that writing fan fiction is a definitive, postmodern act that explores the mutable boundaries of reality and fiction. It concludes that fans are no longer passive consumers of popular media—rather, they are engaged, powerful participants in the creation of celebrity representation that can, ultimately, alter reality.
15
Burgess, Elizabeth. "Understanding interactive fictions as a continuum : reciprocity in experimental writing, hypertext fiction, and video games." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/understanding-interactive-fictions-as-a-continuum-reciprocity-in-experimental-writing-hypertext-fiction-and-video-games(5202be2d-db6d-4791-aa53-004072ffa4a7).html.
Full textAbstract:
This thesis examines key examples of materially experimental writing (B.S. Johnson’s The Unfortunates, Marc Saporta’s Composition No. 1, and Julio Cortázar’s Hopscotch), hypertext fiction (Geoff Ryman’s 253, in both the online and print versions), and video games (Catherine, L.A. Noire, The Elder Scrolls IV: Oblivion, and Phantasmagoria), and asks what new critical understanding of these ‘interactive’ texts, and their broader significance, can be developed by considering the examples as part of a textual continuum. Chapter one focuses on materially experimental writing as part of the textual continuum that is discussed throughout this thesis. It examines the form, function, and reception of key texts, and unpicks emerging issues surrounding truth and realism, the idea of the ostensibly ‘infinite’ text in relation to multicursality and potentiality, and the significance of the presence of authorial instructions that explain to readers how to interact with the texts. The discussions of chapter two centre on hypertext fiction, and examine the significance of new technologies to the acts of reading and writing. This chapter addresses hypertext fiction as part of the continuum on which materially experimental writing and video games are placed, and explores reciprocal concerns of reader agency, multicursality, and the idea of the ‘naturalness’ of hypertext as a method of reading and writing. Chapter three examines video games as part of the continuum, exploring the relationship between print textuality and digital textuality. This chapter draws together the discussions of reciprocity that are ongoing throughout the thesis, examines the significance of open world gaming environments to player agency, and unpicks the idea of empowerment in players and readers. This chapter concludes with a discussion of possible cultural reasons behind what I argue is the reader’s/player’s desire for a high level of perceived agency. The significance of this thesis, then, lies in how it establishes the existence of several reciprocal concerns in these texts including multicursality/potentiality, realism and the accurate representation of truth and, in particular, player and reader agency, which allow the texts to be placed on a textual continuum. This enables cross-media discussions of the reciprocal concerns raised in the texts, which ultimately reveals the ways in which our experiences with these interactive texts are deeply connected to our anxieties about agency in a cultural context in which individualism is encouraged, but our actual individual agency is highly limited.
16
Maslen, Robert W. "Elizabethan fictions : espionage, counter-espionage, and the duplicity of fiction in early Elizabethan prose narratives /." Oxford [GB] : Clarendon press, 1997. http://catalogue.bnf.fr/ark:/12148/cb36968775r.
Full text
17
Crusensvärd, Gustaf. "Monica Ali’s Brick Lane – Fiction, Yet Relevant : The Plight of Bangladeshi Women from a Fictive Perspective." Thesis, Högskolan Kristianstad, Sektionen för Lärarutbildning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-7702.
Full textAbstract:
This essay focuses on the topics of sexism and the function of gender and oppression in Monica Ali’s Brick Lane. Instances in the novel are related to real world incidents in order to show how Ali, in spite of her Western upbringing and perspective, has accurately depicted several problematical cases of injustice in Muslim culture. Even though Ali has been criticized for her, supposedly, incorrect portrayal of Bangladeshis in London, this essay will argue that the topics of the novel remain relevant in the larger scheme of Muslim society.
18
Reuter, Anne-Marie. "Fictions of authority : enchanters, teachers and mentors in selected fiction of Iris Murdoch and A.S. Byatt." Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3784/.
Full textAbstract:
This thesis aims at showing how pedagogical concerns are manifest in the writing of Iris Murdoch and A. S. Byatt. Through the portrayal of teacher and learner characters they explore the working of authority in relationships marked by power, seduction, admiration and love. As Murdoch‟s and Byatt's learners share a tendency to choose a person or a work of literature as a guiding master, who is invested with excessive power, the proximity of teachers' and authors' concerns becomes apparent. Both authors analyse writer and reader characters alongside the pedagogical figures, and their own writing reacts to the concepts of authority as discussed within the novels. Murdoch rejects authority in principle with the consequence of becoming authoritarian in fact but also enchanting through the mystery she imposes on her readers. Byatt accepts authority and moves between an authoritative affirmation of her position and an opening up to the reader, which also leads to a sense of mystery. The conceptual tools used in this thesis are the figure of the fairy-tale enchanter as a teacher and writer model, as well as the figure of Socrates, and above all Jacques Rancière's concepts of the "explicating" and the "ignorant" master. While Rancière's two types need to have enchanting qualities in order to affect change, authority is determined by the needs of the learner, who may be satisfied with explanations and a transmission of knowledge, or who may have the self-confidence to do without firm guidance. Moreover, the timing of the experience is crucial, since what goes unnoticed at one moment may become obvious and clear later on. What exactly authority is, remains obscure to the end, since it is the result of a complex interplay between learners, teachers, lessons on the one hand and readers, authors, texts on the other hand.
19
Brochard, Cécile. "Fictions du pouvoir et pouvoir de la fiction : les romans du dictateur à la première personne." Nantes, 2012. http://www.theses.fr/2012NANT3023.
Full textAbstract:
Le monstrueux est-il indicible ? La question relève du paradoxe : si l'horreur et l'inhumanité trouvent peu d'expression à la hauteur de leur excès, le monstrueux doit malgré tout être montré, car monstrum est son étymon. Qui plus est, dès lors que le monstre ne relève pas d'une anomalie tératologique mais prend la figure très humaine du bourreau, se pose la question de sa représentation par la littérature. Comment celle-ci peut-elle donner forme à l'informe ? Faire le choix d'un roman à la première personne tourné vers la subjectivité du criminel impose une interrogation éthique, d'autant plus lorsqu'il s'agit de crimes historiques : comment le roman peut-il articuler écriture personnelle du dictateur et engagement du romancier ? Lieux privilégiés d'une parole directe du dictateur, ces fictions au premier rang desquelles figurent Yo el Supremo de Roa Bastos, El otono del patriarca de Garcia Marquez, El recurso del método de carpentier, Autobiografia del general Franco de Vazquez Montalban, the Coup d'Updike ou encore Le protecteur de Bourbon Busset, constituent de singuliers romans du pouvoir : que disent-ils qu'eux seuls peuvent dire ? Partant de l'énigmatique formule de Kundera, nous tenterons de saisir la spécificité de cette méditation romanesque au-delà de la critique traditionnelle inhérente aux romans du dictateur. A la lumière de l'anthropologie littéraire, entre mythe moderne et quête identitaire, ces romans du scandale disent le monde du pouvoir, l'excès de l'omnipotence en même temps que son échec et sa solitude essentielle : serait-ce alors dans l'expérience de la désolation livrée au lecteur que résiderait la singularité de ces romans ?
20
Fondanèche, Daniel. "Emergence d'une nouvelle science-fiction en 1960, influence des sciences-fictions americaines et anglaises des annees 60 sur la science-fiction francaise de 1974 a 1980." Limoges, 1989. http://www.theses.fr/1989LIMO0506.
Full textAbstract:
Le but de cette these est de montrer qu'a partir de 1960, une nouvelle science-fiction a emerge aux usa, en grande-bretagne, et que ce mouvement s'est prolonge en france dans les annees 70. Les romans retenus ont ete publies a partir de 1960 et jusqu'en 1973 pour les pays angloamericains; puis entre 1973 et 1980 pour la france. Cette s. F. Emergente est caracterisee par un renouvellement de la thematique traditionnelle et l'apparition d'une thematique nouvelle. Ces nouvelles s. F. Ont eu une volonte commune : se referer au present pour se rapprocher de la litterature generale. Elles ont subi des transformations dont la plus interessante est probablement leur engagement dans une forme moderne d'humanisme. Les romans retenus dans le corpus temoignent du phenomene de transculturation que m. Mead et t. Roszak ont mis en evidence. L'emergence de cette nouvelle thematique a ete justifiee et expliquee en se referant a l'utilisation traditionnelle des themes, a l'histoire du genre, aux transformations politiques, socio-economiques et culturelles qui se sont produites dans le monde occidental au debut des annees 60. Enfin, on a tente de percevoir quels etaient les contenus et les limites de cette nouvelle s. F. Dont tous les apports n'ont pas survecu dans les annees 80The purpose of this thesis is to show that a new form of science fiction came into being in the united states and in great britain in 1960 and that, in france, this movement lasted well into the seventies. The novels that have been selected were published between 1960 and 1973 for anglo-american countries and between 1973 and 1980 for france. This emerging s. F. Was characterised by a revival of the old conventional themes ans the apparition of new topics. These new forms of s. F. Shared a common aim : to use the present times in order to break through separation between general literature and s. F. . They underwent changes, the most remarkable of wich was without doubt this commitment to a modern form of humanism. The novels selected in the corpus show the transculturation which m. Mead and t. Roszak highlighted. The emergence of this new themes has been justified and explained with reference to the conventional use of topics, the history of the genre and the political socio-economic and cultural changes which took place in the western world in the early sixties. Finally, the author attempted to comprehend the content and the limits of this new form of s. F. , not all of their contributions have survived into the eighties
21
Saldías, Rossel Gabriel Alejandro. "En el peor lugar posible: teoría de lo distópico y su presencia en la narrativa tardofranquista española (1965 – 1975)." Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/295707.
Full textAbstract:
La atención histórica de la crítica en torno al fenómeno de la literatura distópica ha estado centrada generalmente sobre las producciones provenientes del mundo anglosajón, en particular sobre los tres distópicos clásicos: Aldous Huxley, George Orwell y Ray Bradbury, inauguradores del género en cuestión. La academia hispánica, por contraste, rara vez se ha preocupado por examinar la extensión de la influencia distópica en el territorio español ni, mucho menos, su configuración específica en la literatura ibérica. Atendiendo a esto, la hipótesis central de este trabajo busca plantear que efectivamente ha existido una tradición literaria distópica española, que no solo ha respondido y reflejado las influencias de las obras inglesas y americanas, sino que, gracias a décadas de práctica, las ha expandido y adaptado al contexto específico de la realidad ibérica durante la segunda mitad del siglo XX, creando, en el proceso, obras narrativas originales y de gran valor tanto literario como cultural.
Para intentar ser lo más exhaustivos posibles en la descripción del fenómeno distópico, el presente estudio se encuentra dividido en tres partes: evolución diacrónica de la distopía narrativa, configuración literaria de lo distópico y la presencia de lo distópico en la narrativa española tardofranquista (1965 – 1975). La primera sección, como su nombre lo indica, pretende otorgar un marco de evolución cronológica general de la distopía narrativa en el contexto anglosajón desde finales del siglo XIX hasta principios del siglo XXI, atendiendo a las principales obras y aproximaciones teóricas que han intentado hacerse cargo de la explicación del fenómeno a lo largo del tiempo. La segunda parte del estudio, por otro lado, busca problematizar los conceptos teóricos establecidos durante la revisión histórica, discutiendo y redefiniendo los aspectos fundamentales de la construcción literaria distópica desde una perspectiva tanto formal como funcional. Finalmente, la tercera parte del trabajo retoma los componentes teóricos y literarios definidos durante los apartados anteriores y los aplica sobre un corpus de obras representativas del fenómeno distópico español durante los últimos diez años del franquismo, período clave en la evolución de la tradición ibérica, estableciendo un puente entre la problemática realidad cultural de España durante la época y las producciones narrativas no miméticas del período.
De esta forma, a través tanto de una discusión en torno a los componentes literarios y culturales de las formas narrativas, el funcionamiento retórico de lo utópico, la configuración ideológica y el entendimiento teórico de la literatura distópica; así como también mediante un análisis crítico, extendido y comprensivo de la narrativa española producida durante los últimos diez años del régimen franquista, que abarca tanto la producción de autores celebrados como Miguel Delibes y Francisco García Pavón, así como también los trabajos de otros autores menos conocidos como Enrique Jarnés, Antonio Burgos y Jorge Ferrer-Vidal, es que la presente tesis doctoral pretende probar el importante alcance e influencia que lo distópico ha tenido en España desde principios del siglo XX y cómo es que esta forma narrativa se ha ido convirtiendo con el paso del tiempo en una práctica no mimética de gran relevancia literaria y cultural.Critical attention towards dystopian literature has been, for the most part, historically focused on the Anglo-Saxon narrative of the 19th and 20th century, particularly on the novels of those considered the three “classical dystopians”: Aldous Huxley, George Orwell and Ray Bradbury. Hispanic academia, on the other hand, has seldom preoccupied itself with examining the influence of these dystopias in Spanish literature, not to mention the little attention given to the structural composition of these particular kind of narratives in the Iberian Peninsula. With this historical and theoretical background in consideration, the main hypothesis of this study seeks to posit that there is a very specific dystopian tradition present in 20th century Spanish narrative that not only shows the evident influence of its North American and English predecessors, but that also expands it and adapts it so that it may accurately reflect the Spanish context of the second half of the 20th century, creating, in the process, a plethora of highly original and aesthetically interesting works of literary fiction. In order to be as exhaustive as possible in our examination of the dystopian phenomenon, this thesis had been divided in three main sections: diachronic evolution of the narrative dystopia, literary configuration of the dystopian and presence of the dystopian in late-Franquist narrative (1965 – 1975). The first part of the study, as indicated by its name, seeks to provide a comprehensible and coherent historical and theoretical frame regarding the different stages of evolution of dystopia over time, as well as the different theories that have tried to explain it over the years, from the last decades of the 19th century to the first ones of the 21st. On a more theoretical front, the second part of the research seeks to problematize and deepen the meaning of many of the concepts introduced during the first section, discussing and redefining the fundamental aspects of the literary dystopian constitution from both a formal and a functional perspective. Finally, the last part of the research recuperates the theoretical and literary propositions made in previous chapters and applies them in the analysis of a very heterogeneous corpus of Spanish narratives written during the last 10 years of the Franquist regime, a historical moment that was pivotal for the evolution of the Spanish dystopian tradition, during which these kind of novels and short stories allowed the dissatisfied intellectuals and creative minds of the country to criticize the totalitarian regime in which they lived via the creation of non-mimetic and imaginative societies. Thus, through the discussion on the cultural and literary components of the narrative forms, the rhetorical functioning of the utopian, the ideological configuration and the theoretical and structural understanding of the dystopian literature; and as also by taking into account the critical, comprehensive and profound body of Spanish narrative produced during the last 10 years of the Franqiust era –period that includes celebrated authors such as Miguel Delibes and Francisco Garcia Pavón, as well as other less renowned names, like Enrique Jarnés, Antonio Burgos and Jorge Ferrer-Vidal–, is that the present thesis seeks to prove the remarkable importance the dystopian, both as a cultural and literary phenomenon, has had in shaping the literature of the last century in the Spanish territory and explain why its practice has only grown over time and will continue to do so in the following years.
22
O'Rawe, Catherine Geraldine. "Fictions of theory and theories of fiction : umorismo, metaphor and epiphany in the narrative of Luigi Pirandello." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621235.
Full text
23
Wolfe, Trevor M. "Cuentos en extranjero." Thesis, Boston College, 2004. http://hdl.handle.net/2345/451.
Full textAbstract:
Thesis advisor: Elizabeth M. RhodesThis collection of short stories is an exploration of the Spanish language, both in itself, and its contrast to English, and thus consists of a range of works, from English stories translated into Spanish, to stories composed in Spanish, to stories that can be described as Spanish, in their character. Authors such as Unamuno, Mercè Rodoreda, García Márquez, and Pardo Bazán formed the core sources from which I drew, as they are some of the best-known examples of great Spanish short fiction. From this background, the stories explore aspects of the language that particularly fascinate one coming from an English background (e.g. the subjunctive mood, the ambiguity of subject pronouns, the passive voice). Ultimately, though, what is essential is the structural progression throughout the collection towards, or in search of, “lo español.”
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: Romance Languages and Literature
Discipline: College Honors Program
24
Juste, Mompel Felicidad. "Ficciones parra una teoría de la novela. La poética de la conjunción en Enrique Vila-Matas." Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/665603.
Full textAbstract:
Esta tesis se plantea como un acto de lectura y de análisis textual en el sentido que lo configura Roland Barthes, entendiendo el relato subsumido a la noción de «texto» como espacio, como proceso de significaciones en marcha. El punto de partida (y de llegada) de esta investigación es la misma ficción como campo de observación autónomo y propicio para desgranar cuál es la teoría que se da en ella, o por lo menos, determinar aquellos elementos sine qua non que configuran el lugar aparte en el que se sitúa el escritor respecto a la literatura. La investigación tiene como objetivo registrar las avenidas del sentido donde confluyen especialmente la voz de la ficción y la voz de la reflexión teórica, atender al diálogo que establecen y entrever la apertura de su «significancia». La expresión poética de la conjunción se presenta como espacio de convergencia de los distintos plurales que se concitan en sus ficciones. Estos se coordinan de tal forma que constituyen un rasgo singular de su obra. Poética entendida como praxis de un discurso literario junto con las ideas teóricas que se generan en él y que crean de facto una estructura conceptual compleja. El análisis de las distintas ficciones está organizado en cuatro trayectos o capítulos que se corresponden con las lecturas seleccionadas o corpus del trabajo: 1. La lectura de París no se acaba nunca junto con La asesina ilustrada está enfocada desde la metáfora de la «red literaria». La red se constituye como plataforma que propicia los movimientos de conjunción: paralelismos, ecos y resonancias, asociaciones y fugas que establecen una singular ars combinatoria y remiten a una poética del vínculo. 2. La lectura pormenorizada de Dublinesca se compagina con la lectura de Perder teorías. En estas obras se formulan y desarrollan los cinco elementos esenciales para la «novela del futuro» proclamados por el escritor. Son los ejes que nos ofrecen leer la ficción como si fuera la andadura de una teoría puesta en marcha o leer la teoría a la luz de la ficción. 3. La lectura de Aire de Dylan indaga las cuestiones en torno al acto de la escritura siempre formuladas en la narrativa vila-matiana: ¿qué es lo real?, ¿quién soy?, ¿continuidad y ruptura? Y se complementa con la lectura de Chet Baker piensa en su arte. 4. El cuarto y último trayecto se abre con la lectura de Kassel no invita a la lógica y se cierra con la de Marienbad eléctrico. Ambas obras acrecientan la conjunción de ficción-teoría-arte de forma explícita y declarada, reflexionan sobre el arte y buscan la renovación de las formas. En estos recorridos podemos observar el «manifiesto literario del autor» y vislumbrar la especificidad de la idea de conjunción que rige la narrativa de Enrique Vila-Matas. Esta «conjunción» está orientada a una operación cuantitativa y cualitativa, al inducir la frecuencia de sus ocurrencias y las transformaciones a que da lugar, es decir, aquellas que definen –como señala Barthes– el hecho estructural, el estar presentes «en todas partes» y «siempre».This thesis is an act of reading and textual analysis as configured by Roland Barthes, who perceives the story as encompassed by the notion of «text» as a space, as a process of meaning in progress. The starting (and arrival) of this research project is fiction itself as an autonomous field of observation favorable to revealing the theory that arises from it or, at least, determine those essential elements that shape the place the writer is in with respect to literature. The dissertation aims to register the avenues of meaning especially the space where the voice of fiction and the voice of theoretical reflection converge, to recognize the dialogue they have established and to glimpse the opening of its «significance». The expression Poetics of the conjunction is presented as a space of convergence of the different plurals that take part in Vila-Mata’s fictions. These combine in such a way that they constitute a unique characteristic of his work. Poetics is understood as the praxis of a literary discourse together with the theoretical ideas that these generate and that create a complex conceptual structure. The analysis of the different fictions is organized into four sections or chapters that correspond to the selected readings or corpus of this work. 1. The reading of Never Any End to Paris1 together with La asesina ilustrada focuses on the metaphor of the «literary network». The network is constituted as a platform that brings about the movements of conjunction: parallelisms, echoes and resonances, associations and fugues that establish a unique ars combinatoria and refer to a poetics of linkage. 2. The detailed reading of Dublinesque is combined with the reading of Leaving Theories Behind. In these books the five essential elements for the «novel of the future» proclaimed by the writer are formulated and developed. These are the axes that offer us a reading of fiction as if it were the itinerary of a theory put into action or a reading of the theory in the light of fiction. 3. The analysis of Aire de Dylan explores the questions around the act of writing constantly formulated in Vila-Mata’s narrative: What is real? Who am I? Continuity and/or rupture? This is complemented by the reading of Chet Baker piensa en su arte. 4. The fourth and last section starts with the reading of The Illogic of Kassel and closes with that of Marienbad eléctrico. Both works expand the fiction-theory-art conjunction in an explicit and evident way, reflect on art and seek the renewal of forms. Within these explorations we can observe the author’s «literary manifesto» and glimpse the specificity of the idea of conjunction that prevails in his narrative. This «conjunction» points to a quantitative and qualitative operation, by encouraging the frequency of his fancies and the transformations that result from it, that is, those that define –as Barthes points out– the structural fact, the presence «everywhere» and «always».
25
Zeilig, Hannah. "Older people and their families in 1920s popular fiction : fictions of age and their importance for social gerontology." Thesis, King's College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313516.
Full text
26
Steinmetz, Thomas. "Fictions de la connaissance, connaissance de la fiction : aspects du Néofantastique de J.-L. Borges à David Lynch." Paris 7, 2008. http://www.theses.fr/2008PA070046.
Full textAbstract:
La présente étude aborde et remet en contexte les importantes transformations qu'a connues la fiction fantastique au cours du XXe siècle, ainsi que l'évolution du regard porté par la critique sur le genre fantastique à l'époque contemporaine. Le fantastique canonique, dont la forme s'élabore tout au long du XIXe siècle, est avant tout destiné à faire peur en confrontant, dans le récit, le surnaturel à une certaine idée du réel. Or ce modèle éclate au Xxe siècle. Dès la fin des années 1930, le fantastique renouvelle largement ses thèmes et ses techniques narratives ; le "néofantastique", dont le foyer principal est l'Amérique latine, en est un exemple éclatant. Le genre est ainsi en grande partie redéfini : la peur est y parfois supplantée par la fantaisie, la provocation ludique du lecteur, le trouble, ou même par une forme de romanesque très intellectualisé - comme dans les contes métaphysiques de Borges. La dimension artificielle du récit, la virtuosité du conteur sont plus volontiers exhibées, dans des dispositifs métaleptiques ou autoréférentiels parfois complexes. Cette transformation est donc largement marquée par l'intellectualisation du genre : le surnaturel tend, bien souvent, à s'intérioriser, le conte devient une aventure de la conscience. L'effet fantastique n'estalors plus obtenu par la mise en scène d'événements troublants, mais, de façon médiate, à travers une conception du réel. C'est pourquoi le néofantastique est ici abordé à travers le prisme de cette notion de connaissance : représentations innombrables du savoir, mise en scène d'autres formes de connaissance insoupçonnées, exceptionnelles (révélation, omniscience. . . ). This study is about fantasy’s major transformation in the XXth century. In the course of XIXth century. A main form of fantasy fiction developped. Which aim was to give rise to fear in the lector's mind, by confronting supernatural events to a representation of reality. In the XXth century, new types of fantasy fiction appear, and since the end of the 1930s, themes and narrative techniques were largely renewed. Latin-american "neofantasy fiction is a striking example of this renewal. This transformation is characterized by the intellectualization of the genre ; the supernatural part of the story tends to be internalized, many tales relate an adventure of the mind. In this case, fantasy fiction is not about strange or impossible events: it is about aconception of realitv
27
Gosselin, Michel. "La scénarisation télévisuelle de fiction : fiction et réflexion." Thèse, Université de Sherbrooke, 1991. http://hdl.handle.net/11143/10106.
Full textAbstract:
Nous nous intéressons à la scénarisation télévisuelle de fiction depuis plusieurs années. À regarder les téléromans, les mini-séries et les dramatiques que les différentes chaînes francophones nous proposent, nous en sommes venu à nous demander si l'écriture télévisuelle de fiction est spécifique à ce médium et, si oui, quelles en seraient les caractéristiques? Suite à nos lectures, nous avons constaté qu'aucun chercheur au Québec ne s'était penché d'une façon sérieuse sur cette forme d'écriture (visuelle). À l'exception de quelques paragraphes touchant tantôt aux personnages, tantôt aux intrigues ou aux dialogues, paragraphes insérés dans une étude sociologique ou thématique, comme une incise, nous n'avons retrouvé aucune étude sur le sujet. Notre recherche vise à combler cette lacune. Nous sommes d'autant plus convaincus de la pertinence de notre propos que, depuis quelques années, certains organismes (PARLIMAGE, SARDEC) offrent des cours, des stages, des ateliers d'écriture ou des tables de travail en scénarisation, confirmant, a posteriori, la spécificité de cette écriture sous-jacente à l'image. Notre travail se divisera en deux parties: la première partie, intitulée, FICTION, comprendra une présentation et une description de tous les personnages d'une mini-série intitulée LA TENDRESSE DES PIERRES, ainsi que son synopsis. Enfin, nous retrouverons la scénarisation des trois premières heures de la série qui en comptera treize. Nous croyons que ces trois heures donnent une idée assez exacte de la trame et du continuum de la série. La seconde partie, appelée RÉFLEXION, sera une recherche sur ce type d'écriture spécifique au médium, où les didascalies prennent l'aspect d'un récit dans lequel le scénariste s'adresse tantôt au réalisateur, tantôt aux comédiens ou à l'équipe technique, instructions essentielles à une réalisation éventuelle. Ces informations excentriques à la narration que "le faiseur d'histoires" apporte aux principaux artisans de la production ne visent qu'un seul but: "nourrir" tous les intervenants (décorateur, costumier, éclairagiste, réalisateur, etc.) qui créeront le contexte narratif du texte. [...]
28
Long, Bruce Raymond. "Informationist Science Fiction Theory and Informationist Science Fiction." Thesis, The University of Sydney, 2009. http://hdl.handle.net/2123/5838.
Full textAbstract:
Informationist Science Fiction theory provides a way of analysing science fiction texts and narratives in order to demonstrate on an informational basis the uniqueness of science fiction proper as a mode of fiction writing. The theoretical framework presented can be applied to all types of written texts, including non-fictional texts. In "Informationist Science Fiction Theory and Informationist Science Fiction" the author applies the theoretical framework and its specific methods and principles to various contemporary science fiction works, including works by William Gibson, Neal Stephenson and Vernor Vinge. The theoretical framework introduces a new informational theoretic re-framing of existing science fiction literary theoretic posits such as Darko Suvin's novum, the mega-text as conceived of by Damien Broderick, and the work of Samuel R Delany in investigating the subjunctive mood in SF. An informational aesthetics of SF proper is established, and the influence of analytic philosophy - especially modal logic - is investigated. The materialist foundations of the metaphysical outlook of SF proper is investigated with a view to elucidating the importance of the relationship between scientific materialism and SF. SF is presented as The Fiction of Veridical, Counterfactual and Heterogeneous Information.
29
Long, Bruce Raymond. "Informationist Science Fiction Theory and Informationist Science Fiction." University of Sydney, 2009. http://hdl.handle.net/2123/5838.
Full textAbstract:
Master of Philosophy (MPhil)Informationist Science Fiction theory provides a way of analysing science fiction texts and narratives in order to demonstrate on an informational basis the uniqueness of science fiction proper as a mode of fiction writing. The theoretical framework presented can be applied to all types of written texts, including non-fictional texts. In "Informationist Science Fiction Theory and Informationist Science Fiction" the author applies the theoretical framework and its specific methods and principles to various contemporary science fiction works, including works by William Gibson, Neal Stephenson and Vernor Vinge. The theoretical framework introduces a new informational theoretic re-framing of existing science fiction literary theoretic posits such as Darko Suvin's novum, the mega-text as conceived of by Damien Broderick, and the work of Samuel R Delany in investigating the subjunctive mood in SF. An informational aesthetics of SF proper is established, and the influence of analytic philosophy - especially modal logic - is investigated. The materialist foundations of the metaphysical outlook of SF proper is investigated with a view to elucidating the importance of the relationship between scientific materialism and SF. SF is presented as The Fiction of Veridical, Counterfactual and Heterogeneous Information.
30
Von, Solodkoff Tatjana. "Grounding fiction." Thesis, University of Sheffield, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.578699.
Full textAbstract:
Fictional characters are awkward creatures. They are described as being girls, wizards and detectives, as being famous, based on real people, and well developed, and as being paradigmatic examples of things that don't exist. It's not hard to see that there are tensions between these various descriptions - how can something that is a detective not exist? - and there is a range of views designed to make sense of the pre-theoretical data. Proponents of some views are fictional realists, who hold that we should accept that fictional characters are part of 'the furniture of our world'. Others are fictional anti-realists, who hold instead that our world does not contain any such things. The realist and the anti-realist thus disagree about ontology and about which alleged entities we should be prepared to embrace an ontological commitment to. But behind this ontological dispute lies a methodological one that has all too often been left implicit. This dispute concerns the very nature of ontological inquiry: its subject matter, its aims, and its methodology. This thesis aims to bring these methodological issues to the fore. I show how the arguments realists have offered in favour of their views rely on crucial 'metaontological' assumptions about what ontological questions are and how they should be answered. In addition to casting doubt on some of the more orthodox approaches to ontological inquiry, my positive goal is to deploy an independently motivated metaontology to defend a novel version of fictional anti-realism. On the view I develop and defend, the central task we face is that of explaining truths concerning fictional characters, where the relevant notion of explanation is distinctively metaphysical in character. Fictional anti-realism emerges as the plausible thesis that truths about fictional entities can be completely explained in terms of the existence and features of other things.
31
Tajovský, Jakub. "FICTION CENCRETE." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2017. http://www.nusl.cz/ntk/nusl-316054.
Full textAbstract:
In my master thesis I realize the set of pictures and painterly objects, which should imitate principles of augmented reality by analogial form. From technical standpoint Im interested in question of bidirectional remediation of new media and painting and how its evolution supports ilussion and imagination. In ontologiacal way im looking for mystical nature of picture. Final exhibition is an metaphor composed in hybryd picture based on technological and theoretical experiences in Painting. The result is little synthetic reality.
32
Modrei, Karen. "Craft Fiction." Thesis, Konstfack, Textil, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7814.
Full textAbstract:
In this paper I introduce and explain the construct of ‘Craft Fiction’ as a setting for my own artistic work. Within a fictional framework, I am mediating between the field of craft and the contemporary environment of relocated materialities and digital worlds I find myself in. Using the vehicle of language and analyzing those dialogue that are ongoing in craft processes, I am assessing the intimate relationships between maker and its tools/machines, in order to discuss hierarchies and purpose of crafting.
33
Guevara, Cornejo Stefany Milagros. "Estereotipos normalizados en series de origen peruano." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653169.
Full textAbstract:
En el presente trabajo de investigación se analiza y explora la presencia de los diferentes estereotipos y arquetipos con los que los guionistas, en su mayoría, trabajan y lo representan en los diferentes personajes hombres y mujeres de nivel principal y/o secundario de los diferentes programas de la televisión peruana, ya sea de ficción o de programas de entretenimiento. Es así que, mediante la pregunta y objetivos delimitados se podrá analizar si existe alguna estereotipación en los diferentes programas audiovisuales que se encuentran en la parrilla nacional.This paper analyzes and explores the presence of the different stereotypes and archetypes with which the writers, for the most part, work and represent it in the different main and / or secondary level male and female characters of the different programs. of Peruvian television, either fiction or entertainment programs. Thus, by means of the question and delimited objectives, it will be possible to analyze if there is any stereotyping in the different audiovisual programs that are on the national grid.
Trabajo de investigación
34
Llorens, Ruiz Mireia. "L'Experiència bèl·lica de Siegfried Sasson i l'autobiografia de George Sherston: el compromís ètic i la vocació literària." Doctoral thesis, Universitat Pompeu Fabra, 2005. http://hdl.handle.net/10803/7429.
Full textAbstract:
Es planteja el caràcter bifront del gènere autobiogràfic. Siegfried Sassoon, poeta i combatent de la Primera Guerra Mundial, és l'autor de les memòries de George Sherston que narren la infantesa i joventut del protagonista en l'entorn rural idíl·lic del sud d'Anglaterra i, després, la seva participació al front occidental. Tanmateix, resulta difícil adscriure aquestes memòries a la ficció pel sol fet que els noms de l'autor i el narrador-protagonista no coincideixin. La trilogia autobiogràfica de Sherston narra amb precisió documental les vicissituds biogràfiques més rellevants de Sassoon. Ficció i autobiografia, història i memòria configuren alguns dels trets distintius d'una narració que explora i explota la hibridesa genèrica.The dual nature of the autobiography genre is approached. Siegfried Sassoon, poet and combatant in the First World War, is the author of the memoirs of George Sherston, which narrate the childhood and youth of the protagonist in the idyllic rural environment of southern England followed by his participation on the Western Front. However, it is difficult to label these memoirs as fiction only because the names of the author and the narrator-protagonist are not the same. Sherston's autobiographical trilogy narrates with documentary accuracy the most relevant biographical vicissitudes of Sassoon. Fiction and autobiography, history and memory make up some of the distinctive traits of a narrative that explores and exploits the hybridism of the genre.
35
Atencia-Linares, P. "Arts and facts : fiction, non-fiction and the photographic medium." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1434513/.
Full textAbstract:
In this thesis, I deal with the rarely discussed issue of how the nature of a representational medium—in this case photography—affects or contributes to the classification of works as fiction or non-fiction, and I provide a novel view on the relation between photographs and documentary works. Part I focuses on issues concerning the nature of photographic representation, its special relation with the real and its purported fictional incompetence. Part II takes up issues concerning the nature of fiction and non-fiction with an emphasis on the category of non-fiction/documentary, and examines its application to photography. Firstly, I discuss the claim, put forward by Kendall Walton, according to which photographs, in virtue of being depictive, are or favour fiction. I deny that this is so, although I argue that Walton’s claim is frequently misunderstood. Then, I address the more intuitive claim that photographs favour non-fiction. I argue that, if this is so, it is not because photographs are fictionally incapable. Photographs, I claim, can depict ficta by photographic means. However, this is consistent with saying that photographs bear a special relation with the real: (1) photographs are typically natural ‘signals’; they are handicaps and indices (Green 2007, Maynard-Smith and Harper 2004)—and thereby typically factive; and (2) photographs are documental images, images that support an experience that preserves the particularity of the original scene. These features contribute to non-fiction/documentary. To see how, I discuss various views on the nature of documentary and I propose an alternative account based on Stacie Friend’s ‘Genre Theory’. Finally, I discuss the application of the categories of fiction and non-fiction to photography. I claim that although these are active genres in the medium, it is more accurate to speak about factual and non-factual photography, where the former is a more basic category. This, in turn, is a consequence of the nature of the medium itself.
36
Jones, Margaret Anne. "The Blackshaw Chord ; Crime fiction, literary fiction : why the demarcation?" Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/366620/.
Full textAbstract:
My thesis is in two parts: Part 1 a novel, Part 2 a critical rationale. The novel examines abuse in a range of manifestations – parental power; alcohol; the press; corporate power – all of which combine to perpetrate a catalogue of abuse against my protagonist. But it is the completely innocent protagonist who is perceived as the abuser. The novel quite deliberately has the feel of a crime story although the only serious crime is off-the-page and not connected with any of the characters or locations. This is intentional. The critical rationale seeks to investigate the classification of crime fiction and literary fiction with crime in it, and attempts to examine where the demarcation appears. Much of the critical rationale examines my novel in this regard. Initially I was looking at the debate from the point-of-view of non-whodunnit crime, but my research took me increasingly towards literary authors who have moved into mystery writing, such as, Kate Atkinson, Susan Hill, John Banville (Benjamin Black) and Joanne Harris. I refer to several novels from the crime genre and from novels which occupy a ‘hinterland’ whereby crime is a major element of the narrative but where they are not regarded as crime fiction. I have researched the shelving policies of the local library and bookshops, and interviewed writers with regard to where they wish their work to be placed. I have also considered briefly what is genre and why hinterland novels are placed somewhere outside the classification of any genre. Where appropriate I have quoted from published authors with regard to their position in this debate, and have used four main novels to discuss the development of my novel - John Brown’s Body; Psycho; Rebecca and Brighton Rock.
37
Suarez, Adriana Esther. "Desmaquillar, reescribir, maquillar. Algunos procedimientos narrativos en La novela de Perón de Tomás Eloy Martínez." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-21092011-090752/.
Full text
38
Casablancas, i. Cervantes Anna. "Closing circles: the construction of mother archetypes in five novels by doris lessing." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/400144.
Full textAbstract:
Aquesta tesi investiga la construcció i desenvolupament dels personatges femenins a l´obra de Doris Lessing, considerant especialment la relació personal que estableixen amb el concepte de maternitat.
El capítol 1 ofereix una revisió dels diferents enfocaments existents sobre l’escriptura de Doris Lessing, i també un repàs al seu context cultural i teòric, parant atenció a la psicoanàlisi i el feminisme i especialment, dins d´aquests camps d´estudi, a la psicoanàlisi Junguiana i Lacaniana i al feminisme post-Lacanià. A més, també planteja la qüestió de la figura materna a la novel·la postmoderna i el lloc que hi ocupa.
El cos de l’estudi analitza cinc personatges representatius del cànon de Lessing, que daten de diferents períodes de la seva carrera. Cada figura ocupa un capítol separat de la tesi, que es centra en el seu desenvolupament intern: així, el capítol 2 examina la Mary Turner (The Grass is Singing, 1950); el capítol 3, l’Anna Wulf (The Golden Notebook, 1962); el capítol 4, la Kate Brown (The Summer Before the Dark, 1973); el capítol 5, la Harriet Lovatt (The Fifth Child, 1988); i el capítol 6, l’Emily McVeagh (Alfred and Emily, 2008). Es proposa una lectura Junguiana tot analitzant el procés d’individuació que els personatges proven d´assolir per tal d’adquirir una identitat plena. Amb aquest objectiu, es descriuen i s’interpreten diferents conjunts d’arquetips Junguians presents en les novel·les segons el paper que juguen en l’evolució de les protagonistes. Cal afegir que s’examinen altres conceptes psicoanalítics fonamentals, tals com la influència Lacaniana subjacent que s’evidencia en la recreació de l’estadi del mirall, o en la importància de nocions com “l’abjecció” de Julia Kristeva. Alguns motius textuals com els somnis, els records, les fantasies i la imaginació dels personatges resulten centrals per a la discussió.
En l’última secció, després de l’anàlisi de les cinc novel·les, s’estableix un fil conductor entre elles pel que fa a la construcció de la identitat. A més, queda justificat l´ús de les teories psicoanalítiques de Jung i (en menor mesura) Lacan com a base per a una lectura, ja que permet aclarir aquest procés de construcció i evolució. D’altra banda, aquest marc teòric permet treure conclusions sobre les diferents reinterpretacions de l’arquetip de la mare per part de Lessing i, com a conseqüència, sobre el lloc que la maternitat ocupa a la literatura contemporània. Finalment, el concepte de circularitat es treballa especialment, a diferents nivells: primer, com a estructura que conforma cadascuna de les novel·les pel que fa a la forma i al contingut, com a mode de creació artística associada al mite i als símbols, o com a patró general de tota l’obra de Lessing.The present thesis investigates the construction and development of Doris Lessing’s female characters, taking into account their personal relationship with their potential motherhood. Chapter 1 offers a review of the different approaches to the writing of Doris Lessing, as well as an overview of its cultural and theoretical background, focusing on psychoanalysis and feminism, and, most especially, on Jungian and Lacanian psychoanalysis, and post-Lacanian feminism. In addition, the question of the mother figure in the postmodern novel and the place it occupies is also raised. The body of the study analyses five representative characters of Lessing’s canon, dating from different stages in her career. Each figure occupies a separate chapter in the thesis, which focuses on internal development: chapter 2 examines Mary Turner (The Grass is Singing, 1950); chapter 3, Anna Wulf (The Golden Notebook, 1962); chapter4, Kate Brown (The Summer Before the Dark, 1973); chapter 5, Harriet Lovatt (The Fifth Child, 1988); and chapter 6, Emily McVeagh (Alfred and Emily, 2008). A Jungian reading is offered by analysing the individuation process they are trying to undergo as characters trying to achieve a full identity. In order to do so, different sets of Jungian archetypes present in the novels are outlined and interpreted according to their role in the evolution of the protagonists. Moreover, other prevalent psychoanalytic concepts are examined, such as the underlying Lacanian influence made evident by the recreation of the mirror stage, or the importance of such notions as Kristevan “abjection”. Some textual details as dreams, memories, fantasies and imagination of the characters are central to the discussion. In the last section, after the analysis of the five novels, a common thread is established among them in terms of identity building. Moreover, the psychoanalytic theories of Jung and (to a lesser degree) Lacan as a basis for a reading is justified as they clarify this process of construction and development. In addition, this theoretical framework allows for conclusions on Lessing’s different reinterpretations of the mother archetype, and, subsequently, the place of motherhood in contemporary literature is reinterpreted according to Lessing’s work. Finally, special mention is made to circularity, at different levels; namely: as the structure that underlies each of the novels either formally or conceptually, as a mode of artistic creation associated with myth and symbol, and as the general pattern of Lessing’s entire career.
39
Dargnat, Mathilde. "L'oral comme fiction." Phd thesis, Université de Provence - Aix-Marseille I, 2006. http://tel.archives-ouvertes.fr/tel-00136043.
Full textAbstract:
Ce travail est consacré à une comparaison entre l'image de l'oral véhiculée par une œuvre théâtrale (cinq pièces de l'écrivain québécois Michel Tremblay) et par une transcription linguistique (corpus Sankoff-Cedergren et Montréal 84). Il aboutit à deux conclusions. D'une part, la comparaison systématique du corpus littéraire et linguistique met en évidence les contraintes différenciées qui pèsent sur le codage de l'oralité (aux niveaux graphique, syntaxique et énonciatif). D'autre part, l'oralité apparaît dans le corpus littéraire non seulement comme un paramètre sociolinguistique, mais aussi comme une composante de l'organisation fictionnelle narrative. L'oralité est ainsi doublement fictionnelle, à la fois imaginaire social de la langue et élément d'un univers narratif et affectif.Du point de vue méthodologique, l'étude repose sur l'utilisation du logiciel Weblex (http://weblex.ens-lsh.fr/wlx/), qui permet de comparer les différentes transcriptions de mots et de locutions caractéristiques de l'oral, et de mettre en évidence les choix techniques ou esthétiques des transcripteurs et de l'écrivain. Par ailleurs, à l'intérieur du corpus littéraire, on peut faire apparaître des profils linguistiques pour les différents personnages, ou encore dessiner une évolution stylistique du traitement de la fiction langagière sur trente ans (1968-1998).
Du point de vue théorique, la question centrale est celle de la nature des « filtres » de l'oral. Ce travail montre une double nécessité : a. la nécessité d'une définition précise des catégories linguistiques pour constituer (annoter) et exploiter des corpus de langue non standard, qu'il s'agisse de transcriptions d'entretiens ou de littérature ; b. la nécessité d'articuler la description de la langue avec les aspects culturels et affectifs, pour mieux comprendre les trois dimensions (linguistique, symbolique et esthétique) du phénomène de l'oralité.
40
Sjörs, Simon. "Fysikundervisningens science fiction." Thesis, Uppsala universitet, Fysikundervisningens didaktik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-331199.
Full textAbstract:
Science fiction och populärmedia är en stor del av vardagen i dagens samhälle. Elever konsumerar den typen av media på egen tid och söker sig till den för underhållning utanför skolans väggar, möjligen utan att reflektera över vad det är som konsumeras. Den här studien fokuserar på science fiction och hur de välproducerade medierna tas emot och reflekteras kring av konsumenterna, som i det här fallet är elever. Finns det möjlighet för lärare inom fysik eller någon annan naturvetenskap att utnyttja det intresse och den pseudovetenskap, som dessa medier kan förmedla, i skolan? Elever har en bild av vad fysik är i skolans värld efter hur fysikundervisningen är upplagd och syftet för arbetet är att undersöka möjliga sätt som de olika världarna kan mötas. Det riktar sig mot att utvärdera en undersökning gjord i en elevgrupp bestående av 6 fysikstuderande elever på gymnasiet. Kärnan i undersökningen är att se vilka typer av diskussioner som uppstår efter visning av ett eller flera filmklipp från populära spelfilmer, innehållande fysiska moment. De fysiska momenten är sekvenser som kan förklaras med den fysik vi har idag eller så kan det vara orimliga sekvenser som inte går att förklara. Eftersom den här typen av media ofta bygger på att skapa känslor hos konsumenten så förekommer det att verklighetsförankringen ofta försvinner. Det teoretiska ramverk som undersökningen håller sig till utgår i konceptet ägandeskap av lärande och syftar till hur elever utvärderar sina egna idéer och tar ansvar för att följa upp tidigare funderingar eller frågor som de själva uttryckt. På så vis kan eleverna själva förhoppningsvis se värdet av kritiskt tänkande och även att eleverna kan minnas vad de lärt sig över en längre tid.Science fiction or rather popular media is a major part of everyday life in today's society. Students consume this media in their spare time and watch it for entertainment, possibly without even reflecting over the consumed content. This paper will focus on science fiction and how the well-produced media is received and reflected upon by the consumers, in this case upper-secondary physics students. Is there an opportunity for physics teachers or other natural sciences teachers to make good use of the interest and the pseudo science, that these media can convey, at school? Pupils have an idea of what physics is in school considering how physics education is laid out and the purpose of this work is to explore possible ways that these different worlds can meet. The work is aimed at evaluating a one hour session done with a student group consisting of 6 physics students in high school. The essence of the survey is to see what types of discussions occur after viewing one or more movie clips containing different physical phenomena. The physical events are shown in movieclips and can be explained by the physics we have today or there may be unrealistic events that cannot be explained. This kind of popular media is often based on creating emotional connections with the consumer which can take away the connection to reality and the real world physics. The theoretical framework that the study was based on is the concept of ownership of learning, this aims to consider how students evaluate their own ideas and take responsibility for following up on previous ideas or questions that they themselves expressed. That way the students hopefully find value in critical thinking and the retention of knowledge might increase.
41
Leavitt, John Hudson. "Killers: Fiction Pieces." PDXScholar, 2016. http://pdxscholar.library.pdx.edu/open_access_etds/3021.
Full textAbstract:
This fiction collection attempts to convey the essence of Oregon's landscape, nature, and people. Many of these pieces reflect violent behavior, which is sometimes directed from one character to another, and sometimes directed toward nature. Sometimes this violence is mild, sometimes it is horrific. But the reasons for the violence and any connection it has to the landscape, nature, and people of Oregon is left to the reader to decide. The focus of this collection is not to teach lessons--it is to entertain.
42
Isenberg, Jillian Alexandra. "Fiction without pretense." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44925.
Full textAbstract:
A No-Object theory of fiction denies that there is any sense of “object” in which the
objects of fiction are objects at all. This is conjunction of two fundamental assumptions. The
first is a metaphysical principle that asserts that there is nothing that does not exist. The second
asserts that the individuals and events that figure in works of fiction do not exist. I call these
assumptions “Parmenides’ Rule” and the “Non-Existence Postulate”. The No-Object theory
also raises what I call the subject-matter paradox. If the objects of fiction are nothing, how can it be
that we refer to them, ascribe properties to them, and draw inferences about them?
My dissertation dissolves the subject-matter paradox by providing an explanandum for
philosophical theories of fiction. A theory of fiction must explain how we can know that there
are no objects of fiction, while we respond as though there are. In order to better understand
these responses to fiction, I consider recent empirical work in psychology. This work supports
the claim that fictional narratives impact our beliefs and attitudes about both the fictional and
the actual worlds and shows that we do in fact accept and act as though fictional statements are
true, even when we are aware of their falsity. Empirical data concerning our responses to fiction
supports a number of claims. First, fictions have objects. Second, we refer to, make true claims
about, and draw correct inferences about the objects fiction. The Rule and the Postulate seem to
cost us the truths of these two claims; given the Rule and the Postulate are true the claims must
be false. If we accept the No-Object view, we shouldn’t feel philosophically obliged to honour
our linguistic intuitions. What the data also show, however, is that the very people whose
intuitions the No-Object view tramples have other commitments that actually support these
intuitions. It is this seeming contradiction that a theory of fiction must accommodate. It must
account for the fact that our responses to fiction are double-aspected. I provide a
characterization of these double-aspected responses.
43
Neill, Alexander Dudley. "Feelings and fiction." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333311.
Full text
44
SILVA, SUELI RIOS E. "SELF-FICTION EXPERIMENT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30024@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEste trabalho é composto por duas partes distintas e complementares: a primeira apresenta o romance autoficcional Menina do Cerrado, colagem de resíduos da memória e da fabulação criativa engendrada especialmente para a presente composição. A segunda agrega um posfácio com considerações sobre elementos de cunho prático-teórico que alicerçam a ficção. A união das duas partes realça o esforço de fazer a aproximação de percepções artísticas a determinados conceitos da filosofia recente.
This work consists of two distinct but complementary sections: the first presents the auto-fictional novel Menina do Cerrado (The Girl from the Cerrado), a collage of bits of memories and the creative figment specially designed for this composition. The second one adds an afterword with considerations about practical and theorectical elements which support the fiction. Both parts together highlight the application of approaching artistic perceptions and some concepts of new philosophy.
45
Fuller, Elizabeth A. "'New femininities' fiction." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3573.
Full textAbstract:
I identify and analyse an emergent sub-genre of contemporary literature by women that I am calling ‘New Femininities’ fiction. This fiction is about the distinctly feminine experience of contemporary domestic life written by women about the lives of heterosexual female characters that are married or in committed partnerships, often with children. These texts are concerned with the nature of the self, with a self that is plural and ‘in process’, and make use of particular narrative devices – ironic voice, unreliable narration, free indirect discourse, and interrogative endings that exceed their roles as simply telling stories. ‘New Femininities’ fictions allow their language the necessary freedom to multiply meanings and enact the narrative conflicts they raise and by so doing, undermine the binary oppositions which structure a gendered world. In this dissertation, I argue the models of existing criticism would do a disservice to these texts because much of the criticism either overvalues the theoretical and ignores the literariness of the text or seeks to identify a ‘feminine’ language the definition of which serves to reinforce and revalue patriarchal notions of femininity. The readings that this fiction requires necessitate a negotiation with established models of feminist literary criticism. I attempt to identify the characteristics of their style that allows them to straddle binary oppositions and to look at the language these authors use without having to label it ‘feminine’ and by so doing establish, build, or reinforce a boundary with some undefined ‘masculine’ language which stands in for all occurrences that are not ‘feminine’. Additionally, I attempt to forge a transformed, adapted concept vocabulary for dealing with this group of writers. To this end, I make use of various discourses to show how the different authors either negotiate with that discourse or prove its inadequacy to describe or explain these new femininities.
46
Pelletier, Jérôme. "Fiction et référence." Paris 1, 1995. http://www.theses.fr/1995PA010597.
Full textAbstract:
Pour elucider les proprietes semantiques des enonciations des noms propres dans les recits de fiction, une double reflexion sur les notions de fiction et de references singuliere est entreprise la ficiton est analysee comme une activite communicationnelle dans laquelle un auteru utilise le langage avec l'intention que son lecteur adopte vis-a-vis du contenu represente une attitude de faire semblant sur la base de la reconnaissance que telle est l'intention de l'auteur en exprimant ce contenu. Les pensees fictionnelles s'averent intrinsequement liees a une pratique communicative et au langage, non pas aux entites fictionnelles qui seraient les referents des noms propres dans les recits de fiction. Bien que les noms propres de la fiction n'aient pas dans leurs occurences dans les recits de fiction de referents, ce sont des expressions linguistiques qui, en tant que types, sont des dispositifs directement referentiels. Les objets fictionnels se revelent de simples reflets d'une pratique communicationnelle mettant en jeu des noms propres. Le jeu que joue l'esprit avec la reference des noms propres dans les recits de fiction, l'intentionnalite des pensees fictionnelles, rien de cela ne serait possible si le langage ne contenait ces dispositifs directement referentiels que sont les noms de la fictionIn order to elucidate the semantic properties of utterances of proper names in fictional narratives, the concepts of fiction and of singular reference are philosophically analysed. Fiction is analysed as a species of communicative intentions : the author of fiction intends that the reader take an attitude of make-believe towards the proposition he or she utters because the reader recognizes that this is the intenton of the author. Fictional thoughts are based on this communicative and linguistic practice, not on the fictional entities supposed to be the references of proper names uttered in fictional narratives. Fictional proper names takened in fiction are empty but considered as types, fictional proper names are directly referential expressions. Fictional objects appear to be simple reflections of a communicative practice involving proper names. Without such directly referential terms as the names of fiction, the game played by the mind with the references of proper names in fiction, the intentionality of fictional thinking, none of this would be possible
47
Rouillé, Louis. "Disagreeing about fiction." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEE064.
Full textAbstract:
Dans cette thèse, je contribue aux débats contemporains en philosophie analytique sur la vérité, l’interprétation et la référence dans la fiction. Je défends une version du "fonctionnalisme" (issu de l’oeuvre de Kendall Walton) selon lequel le concept clé pour analyser les fictions est la feinte ou le faire-semblant. Dans la première partie, je m’oppose à la théorie modale de la vérité dans la fiction et j’introduis ensuite une "sémantique de la feinte". La théorie modale dit que les énoncés fictionnels sont comme les énoncés contrefactuels, qui peuvent se voir attribuer des conditions de vérité dans la sémantique des mondes possibles. Mais le fictif déborde le possible, et même l’impossible (de l’hypothétique sémantique des mondes impossibles). De plus, la théorie modale est incompatible avec une théorie causale de l’information sémantique, qui a des bons arguments pour elle. Quant à la sémantique de la feinte, il s’agit d’un appareil formel donnant des conditions de fictionnalité (au lieu de conditions de vérité) provenant des caractéristiques réelles des accessoires utilisés dans les jeux de faire-semblant et des "principes de génération". Dans la deuxième partie, j’affine la sémantique de la feinte à partir d’une étude de cas. C’est un débat littéraire à propos ce qui est vrai dans la nouvelle de Kafka, "la Métamorphose". Nabokov a un jour donné un argument contre les critiques qui affirment que Gregor Samsa s’est transformé en un monstrueux cafard. Les cafards ne restent pas coincés sur le dos ; or, Gregor est coincé sur le dos dans la première scène. Nabokov affirme donc qu’il ne peut pas être un cafard ; ça doit être un gros scarabée. Pour analyser ce "grand débat du scarabée", j’utilise la notion de "désaccord sans faute" qui vient de l’épistémologie. J’étudie finalement l’indétermination des événements fictionnels qui, à mon sens, n’est ni linguistique ni ontologique, mais pragmatique. Dans la troisième partie, je défends l’antiréalisme des noms fictifs selon lequel les personnages de fiction n’existent pas et les noms fictifs ne font pas référence. L’antiréalisme est le pendant du fonctionnalisme sur la question de la référence. Bien qu’intuitive, cette théorie doit répondre à un contre-argument puissant basé sur des "emplois métafictionnels" des noms. Par exemple, on peut dire : "Emma Woodhouse est un personnage de fiction". Étant donné un principe de compositionalité, il s’ensuit que le nom "Emma Woodhouse" fait référence dans de tels contextes. Cet argument conduit à une forme de réalisme : les noms fictifs font référence à une sorte "d’artefact abstrait". Je montre que les meilleures théories réalistes sont inadéquates. Je fournis ensuite une analyse des données linguistiques en introduisant une notion de perspective. Cela me permet de circonscrire les énoncés métafictionnels problématiques pour l’antiréaliste. Ironie de l’histoire, les anti-réalistes buttent principalement sur des existentiels négatifs bien que ceux-ci affirment précisément l’idée centrale de l’antiréalisme, à savoir que les personnages de fiction n’existent pas. La sémantique de la feinte (qui donne des conditions de fictionnalité) est impuissante à leur donner des conditions de vérité. Pour les expliquer, j’utilise une logique libre positive qui se combine avec la sémantique de la feinte. L’antiréalisme est donc à la fois intuitif et tenableIn this dissertation, I contribute to contemporary debates in analytic philosophy about truth, interpretation and reference in fiction. I defend a version of "functionalism" (originating in Kendall Walton's work) which says that the key concept for analyzing fictions is pretence or make-believe. In the first part, I argue against the modal account of truth in fiction and then introduce "pretence semantics". The modal account says that fictional statements are similar to counterfactual statements, which can be given truth-conditions using possible-world semantics. But the fictional well exceeds the possible, and also the impossible (of hypothetical impossible-world semantics). Moreover, the modal account is incompatible with a causal theories of semantic information which can be argued for independently. As for pretence semantics: it is a formal apparatus delivering fictionality-conditions (instead of truth-conditions) which derive from real features of the props used in games of make-believe and some "principles of generation". In the second part, I fine-tune pretence semantics on a case study. It is a literary debate about what is true in Kafka's story "the Metamorphosis". Nabokov once argued against critics who say that Gregor Samsa has turned into a monstrous cockroach. Cockroaches do not get stuck on their backs; Gregor is stuck on his back in the opening scene of the story. So, Nabokov argues, he cannot be a cockroach; he must be a big beetle. In order to analyze this "great beetle debate", I use the notion of "faultless disagreement" which comes from epistemology. I thus investigate the indeterminacy of fictional events which, I argue, is neither linguistic nor ontological but pragmatic in nature. In the third part, I defend anti-realism about fictional names which says that fictional characters do not exist and that fictional names do not refer. Anti-realism is the same doctrine as functionalism applied to reference. Though intuitive, the view has to meet a powerful counterargument based on "metafictional uses" of names. For instance, one can say truly: "Emma Woodhouse is a fictional character". Given compositionality, it follows that the name "Emma Woodhouse" refers in such contexts. This argument leads to a form of realism: fictional names refer to some kind of "abstract artefact". I show that the best realist theories are inadequate. Then I provide an analysis of the linguistic data introducing a notion of perspective. It enables me to circumscribe the problematic metafictional statements for the anti-realist. Ironically, anti-realists mainly struggle with negative existentials, although these put into words the central tenet of anti-realism, namely that fictional characters do not exist. Pretence semantics (which yields fictionality-conditions) is helpless for giving truth-conditions to them. To account for them, I use a version of positive free logic which combines with pretence semantics. Anti-realism is thus both intuitive and tenable
48
Balcells, Nicholas M. "Reality Meets Fiction." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/403.
Full text
49
Dimming, Jessica. "Fan fiction en värld för fans : En textanalys av fan fiction." Thesis, Karlstads universitet, Fakulteten för ekonomi, kommunikation och IT, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-7294.
Full text
50
Peters, Susan. "Intending fiction, Lamarque's theory of fiction compared to Walton's and Currie's." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ54477.pdf.
Full text