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1
Wright, Kenneth Patrick. "The Law and Its Enforcers in Faulkner's Trilogy." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501260/.
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This thesis evaluates how effectively the trilogy's laws and law enforcers further the ends of the fictional laws. The study examines the trilogy's law enforcers' responses to Snopes violations and bendings of the laws to evaluate the laws and their enforcers. The enforcers' responses to Snopes wrongs make clear how well the laws are written. These responses also reveal how well the enforcers themselves are able to achieve the objectives of the laws. It is argued in the thesis that although the laws are effectively written, the law enforcers fail to enforce the laws and, consequently, fail to achieve the laws' ends. It is also shown that the enforcers invariably harm innocent persons when they fail to enforce the law.
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Agüero, Miñano Maritza Yesenia. "From fiction to reality: reflections surrounding fictional characters." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/115971.
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The growth and development of worldwide products and services containing fictional characters has been exponential due to development, among others, of technology. This article examines the protection of fictional characters through copyright and reflects on its legal treatment.El crecimiento y desarrollo de productos y servicios a nivel mundial de obras que contienen personajes de ficción ha sido exponencial, debido al desarrollo, entre otros factores, de la tecnología. El presente artículo examina la protección de los personajes de ficción a través del derecho de autor y reflexiona sobre su tratamiento legal.
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Travis, Mitchell. "Interrogating personhood : law and science fiction." Thesis, Keele University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602983.
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This thesis brings together for the first time the legal humanities and feminist legal theory in an interrogation of legal personhood. Originality can be found in the consideration of the relationship between law and science fiction. This thesis considers the question of what makes a legal person. Proponents of feminism have highlighted that legal personhood is predicated upon the bodies of healthy white heterosexual males. As a consequence embodiment becomes central to understanding whom or what can become legal persons. In this thesis Ngaire Naffine's (1997, 2003, 2009, 2011) understanding of the embodied legal person is used as a starting point and applied to a number of different contemporary and potential entities including human-level artificial intelligence, admixed embryos and elective amputees. Adopting a law and culture approach three different science fiction films are used to anchor this work. 77w Matrix trilogy (1999, 2003a, 2003b) is used to highlight the relationship between embodiment and legal personhood. Bladerunner (1982) is used to exemplify the relationship between legal personhood and the conflated concepts of rationality and masculinity. District 9 (2009) and elective amputees are used to demonstrate the relationship between the body, rationality and legal personhood. Science fiction is presented as prophetic and allegorical; forewarning of the possibilities associated with potential entities but also serving as a reminder of the injustices of contemporary and historical times. These themes are drawn together through the proposition of a new approach to legal personhood; an approach based on multiple modes of embodied experience, diversity and heterogeneity.
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Örnemark, Helena. "Language in the fictional world of lesbian and gay law enforcement characters." Thesis, University West, Department of Social and Behavioural Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-1472.
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Shmilovits, Liron. "Deus ex machina : legal fictions in private law." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/286225.
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This PhD dissertation is about legal fictions in private law. A legal fiction, broadly, is a false assumption knowingly relied upon by the courts. The main aim of the dissertation is to formulate a test for which fictions should be accepted and which rejected. Subsidiary aims include a better understanding of the fiction as a device and of certain individual fictions, past and present. This research is undertaken, primarily, to establish a rigorous system for the treatment of fictions in English law - which is lacking. Secondarily, it is intended to settle some intractable disputes, which have plagued the scholarship. These theoretical debates have hindered progress on the practical matters which affect litigants in the real world. The dissertation is divided into four chapters. The first chapter is a historical study of common-law fictions. The conclusions drawn thereform are the foundation of the acceptance test for fictions. The second chapter deals with the theoretical problems surrounding the fiction. Chiefly, it seeks precisely to define 'legal fiction', a recurrent problem in the literature. A solution, in the form of a two-pronged definition, is proposed, adding an important element to the acceptance test. The third chapter analyses modern-day fictions and recommends retention or abolition for each fiction. In the fourth chapter, the findings hitherto are synthesised into a general acceptance test for fictions. This test, which is the thesis of this work, is presented as a flowchart. It is the author's hope that this project will raise awareness as to the merits and demerits of legal fictions, de-mystify the debate and bring about reform.
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Zetlein, Sarah. "Lesbian bodies before the law : intimate relations and regulatory fictions /." Title page, contents and abstract only, 1994. http://web4.library.adelaide.edu.au/theses/09AR/09arz61.pdf.
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DeVuono, Adrian. "Before the law: rethinking censorship in late modernist American fiction." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104831.
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This study examines Djuna Barnes' Nightwood, Henry Miller's Tropic of Cancer, and William S. Burroughs' Naked Lunch within the contextual framework of censorship. In particular, the three texts are studied as providing unique challenges to the way that obscenity has been determined and governed by the trials that defined the modernist period in America. Therefore, the objective of this study is twofold: to investigate the complex, multidirectional and productive mechanisms of censorship; to recuperate the transgressive potential in the obscenity of Barnes, Miller and Burroughs from the afterlife of the legalized text. Situating these texts in the concept of E.S. Burt's "reading pact" – a sociohistoric contract of rules and regulations that governs the way a text is to be received within a given culture – reveals a intricate relationship between aesthetic form and the interconnected methods through which power and knowledge are secured. Within this interpretive scheme, I explore how obscenity ("the unspeakable") operates as a serious violation of the contract, one that works to widen the field of legitimate discourse ("The speakable"). In the first chapter, the "non case" of Barnes' Nightwood is proposed to be a result of the T.S. Eliot's intervention, reflecting a strategic effort to disguise Barnes' obscenity under the legitimating veil forged by Judge Woolsey's verdict in the 1933 Ulysses trial. The second chapter features an analysis of the epistolary origins of Tropic of Cancer and argues that the letter provides Miller with both a material base to dismantle the constraints of 'the well-made work of art' and a space to write the sexual body back into Woolsey's "l'homme moyen sensuel." Finally, an exploration of the monstrous unspeakability of Naked Lunch illustrates how Burroughs employs the figure of the double agent to deconstruct the allegorical method at the foundation of the legal codes that authorize literature under pre-fabricated moral precepts and bring about the end of censorship.Cette étude examine «Nightwood» par Djuna Barnes, «Tropic of Cancer» par Henry Miller, et «Naked Lunch» par William S. Burroughs dans le cadre contextuel de la censure. En particulier, les trois textes sont étudiées en fournissant des défis uniques pour le moyen que l'obscénité a été déterminée et régie par les essais qui ont défini la période moderniste en Amérique. Par conséquent, l'objectif de cette étude est double: d'enquêter les mécanismes complexes, productifs et multidirectionnelle de la censure; de récupérer le potentiel transgressif de l'obscénité de Barnes, Miller, et Burroughs de la vie après la mort légalisée de texte. Situer ces textes dans le concept « pacte de lecture » de E.S. Burt, un contrat socio-historiques de règles et de règlements qui régissent la façon dont la littérature est reçu dans une culture donnée, révèle la relation embrouillé entre la forme esthétique et les méthodes par lesquelles le pouvoir et la connaissance sont fixé. Dans ce cadre, j'explore la façon dont l'obscénité («non dicible») est une violation grave du contrat, qui élargisse le domaine de ce qui peut être inclus dans le domaine du discours légitime («dicible»). Dans le premier chapitre, le «non case» de «Nightwood» de Barnes est proposé d'être à la suite de l'intervention de TS Eliot qui reflète un essai stratégique pour cacher l'obscénité de Barnes sous le voile de légitimation du juge Woolsey's verdict dans le procès historique 1933 Ulysse. Le deuxième chapitre analyse les origines épistolaire du «Tropic of Cancer» et suggère que la lettre fournit Miller avec un matériau de base pour lutter contre les contraintes du «grand art» et un espace pour écrire le corps sexuelle de «l'homme moyen sensuel» de Woolsey dans la littérature. Enfin, une exploration de la indicible monstrueux de «Naked Lunch» illustre comment Burroughs emploie l'agent-double de déconstruire la méthode allégorique à la base des codes juridiques qui a autorisé le roman et aider à amener la fin du contrôle de la censure.
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Ballinger, Gillian J. "Dickens beyond the law : justice in the fiction 1837-1857." Thesis, Keele University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273022.
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Dang, Thanh-Tram. "Droit, littérature et traduction : rencontre sur le terrain de la fiction." Thesis, University of Ottawa (Canada), 2002. http://hdl.handle.net/10393/6447.
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This thesis examines the unique perspective that the Law and Literature movement can bring to the study of legal translation in literature and how the movement can further the reflection on the task of the legal translator. Charles Dickens' legal novel Bleak House (La Maison d'Apre-Vent) will serve to foreground the main problems of legal translation, both theoretical and practical, and special emphasis will be put on the many traps of legal language. The object of this thesis is to foster a better understanding of law and its social repercussions, and of how language contributes to the elaboration and interpretation of law.
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Bruneau, Jonathan M. "Antitrust law enforcement within the U.S. airline industry : fact or fiction?" Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22505.
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The overriding theme of this thesis concerns the level of antitrust enforcement within the U.S. airline industry by the agencies entrusted with this task.After a brief Introduction, Chapter I will examine whether concentration within the U.S. airline industry is a natural phenomenon or an ordinary monopoly/oligopoly resulting from the behaviour of competitors. In concluding that a natural monopoly/oligopoly does not exist, Chapter II will analyse the policy being antitrust enforcement in the industry.
Chapter III will then use the implementation of S 408 of the Federal Aviation Act (FAA) by the Department of Transportation (DOT) as an example of such a policy. Finally, the remaining chapters are dedicated to an analysis of the CRS industry. By using this industry as an example, the writer will suggest that, by removing barriers to entry through aggressive use of S 411 of the FAA, the future may see new entrants enter the market. Emphasis will be placed on the attitude of the DOT in this regard.
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Kropp, Colleen Mary. "Courting Equity; or Moral Sentiments in the Law and British Fiction." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/472318.
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EnglishPh.D.
This dissertation explores the relationship between the ‘rise’ of the British novel and the critical changes happening in contemporary English marriage law from early eighteenth-century to the end of the nineteenth-century. While citing landmark legal treatises and acts and positioning these novels as the medium through which to see the way these legal moments significantly shaped British culture and society, equity is ultimately at the heart of this study, with equity functioning as part of law but a corrective to it. Running parallel to this protocol of reading through equity is a reading informed through moral philosophy, drawn predominantly from the work of Adam Smith and other thinkers from the Scottish Enlightenment. They encourage us to think about obligation, and the relationship between intentions, expectations, and consequences on the point of promise and contract. Beginning with Daniel Defoe’s Moll Flanders (1722), I show the moral and legal difficulties that arise when promises are based purely on verbal contracts. I then move to Samuel Richardson’s Pamela (1740) and Pamela in Her Exalted Condition (1741) to address the importance and utility of contract, but also the need to outline and endorse a system—introduced through Hardwicke’s Act (1753)—that would provide a more reliable structure for the marriage narrative. Mary Wollstonecraft’s Maria (1798) and Sir Walter Scott’s The Bride of Lammermoor (1819), both of which I call historical novels, pinpoint legal structures that are both oppressive and obsolete, and those who fall victim to the insufficient common law require a more equitable judgment. George Eliot’s Daniel Deronda (1876) encourages readers to think about the potency behind intentions, both expressed and implied, and how resulting consequences can often run counter to the original intentions and expectations. I posit each text as a ‘case’ warranting treatment and judgment in a court of equity, where the particular details are judged in and of themselves but then stand as an offering for ways to continue to think about the general pattern and evaluation of human nature and morals.
Temple University--Theses
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Cho, Wing-keung Tommy. "Judicial interpretation / fictionalization." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21924077.
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Voruz, Veronique M. M. "Psychoanalysis and the law beyond the Oedipus : a study in legal fictions." Thesis, Queen Mary, University of London, 2002. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1627.
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The present thesis considers the function of law in the political from the perspective of psychoanalysis, a discipline which foregrounds the subject. Drawing from the Lacanian contributions to psychoanalytic theory, I begin by assessing the validity of the Oedipal hypothesis for the purposes of understanding the dynamics of collective life. My analysis of civilisation in psychoanalytic terms will expose the subject as the seat of 'certain key phenomena which, despite their deeply intimate character, play themselves out in the field of law, in the confines of the institution, or again in the political realm: essentially, culpability, belief and love. I will argue that, although these phenomena irretrievably obstruct the rational unfolding of discourse, they also impel the precipitation of the subject's attachment to the political, and permit the consolidation thereof through the medium of transference. Yet, and in contradistinction to other strands of psychoanalytic jurisprudence, in this work psychoanalysis will be used neither as an hermeneutic tool nor as an analogical model. Indeed, my purpose is to evidence the existence of a certain continuity between the unconscious as discourse and the political order. This continuity between the unconscious and the political will be presented in terms of the logic of exception, which structures the subject's relation to language, and which Lacan identified as the structural core of the Oedipus complex. I will then apply Lacan's hypothesis of the exceptional structure of discourse to the theories of three political thinkers, chosen for the distinctness of their approach: Legendre, Bentham and Foucault. Finally, I will argue for the dispensability of the function of the Ideal, parasitic occupier of what should remain the structurally `empty' place of exception.
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Moynihan, Sinéad. "Fictions of law and custom : passing narratives at the fins des siècles." Thesis, University of Nottingham, 2007. http://eprints.nottingham.ac.uk/14442/.
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This dissertation examines narratives of passing of the nineteenth- and twentieth century fins de siècle. My central thesis is that passing narratives of the 1990s and beyond evidence symmetry between the tropes of passing that occur at plot level and passing strategies surrounding the production of the texts themselves. I argue that the connections between passing and authorship that emerge in contemporary stories invite us to reconsider extant interpretations of earlier passing stories, specifically those published at the turn of the twentieth century. The Introduction challenges the historiography of the passing narrative traced in existing studies of passing. It also suggests the ways in which authorship and passing are inextricably linked via the arbitrary standard of "authenticity," both authorial and racial. In Chapter One, I examine the relationship between the African American body-as-text and the African American author who produces a text in The Bondwoman's Narrative (date unknown), Philip Roth's The Human Stain (2000) and Percival Everett's Erasure (2001). Chapter Two takes the self-reflexive detective genre and traces the changing roles of the passing character within the conventions of the form, from femme fatale to hard-boiled detective. Here, I focus specifically on Pauline Hopkins's Hagar's Daughter (1901-1902), Walter Mosley's Devil in a Blue Dress (1990) and Robert Skinner's Wesley Farrell series (1997-2002). In Chapter Three, I examine texts whose protagonists' gender and/or racial ambiguity serve to destabilise analogously the religious categories under interrogation in those texts, namely Hopkins's Winona (1902) and Louise Erdrich's Tracks (1988) and The Last Report on the Miracles at Little No Horse (2001). Chapter Four examines tropes of passing in relation to three contemporary novels of adolescence, Paul Beatty's The White Boy Shuffle (1996), Danzy Senna's Caucasia (1998) and Jeffrey Eugenides's Middlesex (2002). Finally, the Conclusion discusses recent controversies of authorship and authenticity in the U.S., particularly as these pertain to the ambiguous literary category of "memoir."
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Blagg, Caroline. "The Pink Papers." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4270/.
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The Pink Papers is a collection of three short stories and a novel in progress consisting of four chapters. Each piece is a work of original fiction. The preface addresses the female writer and the female voice in fiction. "Broken Clock" and "Pink Paper" are the stories of two girls coping with endometriosis. "Normal Capacity" looks at the loss of a dream through the eyes of a first-year law student. The novel in progress, titled Blanchard, OK, is set in a rural farming town in Oklahoma. The novel tells the stories of 24-year-old Robin, her Aunt Paula, and Paula's boyfriend, Sam.
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Wilson, Deborah Lynn. "Perceptual Differences Between Males and Females Concerning Sexually Harassing Behavior: Fact or Fiction? /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487935125882303.
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Affolder, Natasha. "Fiction, fear and fallacy : compound interest in national law and international arbitration." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322784.
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Walton, Samantha. "Guilty but insane : psychology, law and selfhood in golden age crime fiction." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7793.
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Writers of golden age crime fiction (1920 to 1945), and in particular female writers, have been seen by many critics as socially and politically detached. Their texts have been read as morality tales, theoretically rich mise en scenès, or psychic fantasies, by necessity emerging from an historical epoch with unique cultural and social concerns, but only obliquely engaging with these concerns by toying with unstable identities, or through playful, but doomed, private transgressions. The thesis overturns assumptions about the crime novel as a negation of the present moment, detached and escapist, by demonstrating how crime narratives responded to public debates which highlighted some of the most pressing legal and philosophical concerns of their time. Grounded in meticulous historical research, the thesis draws attention to contemporary debates between antagonistic psychological schools – giving equal space to debates within psychoanalysis and adaptive neuroscience – and charts how these debates were reflected in crime writing. Chapter two explores the contestation of the M’Naghten laws on criminal responsibility in light of Ronald True’s case (1922), followed by readings of crime narratives in which perpetrators have ambiguous and controversial legal status in regard to criminal responsibility. At the intersection of psychiatric discourse and the popular literary imagination, a critical and ethical perspective developed which not only conveyed a version of psychological discourse to a wider public, but profoundly reworked the foundations of the genre as the ritual unveiling of deviancy and the restoration of the rational institutions of society. In similar vein, chapter three explores the status of the ‘Born Criminal’ in law and medicine, and looks at crime writer Gladys Mitchell’s efforts to expose both the pitfalls of categorisation, and competing discourses’ limitations in adequately accounting for crime. Chapter four, whilst maintaining close medical-legal focus, opens up the study to consider how understandings of deviant selfhood in modernist writing inflected crime writers’ representations of unconscious and epileptic killers. Finally, chapter five continues this intertextual approach by asserting that certain crime novels express an exhaustion with the genre’s classic rational and scientific heroes, and turn instead to the affective epistemologies and notions of subconscious synthesis concomitantly being celebrated in modernist writing. Altering the position of the authoritative detective in ways that profoundly alter the politics of the form, the chapter and the thesis in total propose a reading of golden age crime fiction more responsive to cultural, psychological and legal debates of the era, leading to a reassessment of the form as neither escapist nor purely affirmative of the status quo.
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Stoyan, Sydney Lyn. "The widow's might: Law and the widow in British fiction, 1689-1792." Thesis, University of Ottawa (Canada), 2002. http://hdl.handle.net/10393/6238.
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Repeatedly in eighteenth-century fiction, the widow embodies a narrative agency that has as its actual counterpart the directive relation to property granted to widows by English law: unlike a wife, a widow had a separate legal identity and could hold real property as could a man. Common law dower granted her a life interest in her husband's estate, but over the course of the eighteenth century, dower was increasingly barred by jointure, a monetary provision negotiated in the marriage settlement. Jointure was contractual in nature, often unconnected to land, subject to the ideological vagaries of the Courts of Equity, and violable in ways that dower was not. Running parallel to this legal alteration is a demographic decline in the rate of remarriage for widows. These historical phenomena together provoke speculation about the widow's disadvantaging through jointure over dower. From the perspective of a feminist reading, the replacement of a common law right with a discretionary claim, and its corollary substitution of mobile for real property, indicate an anxiety about the widow's potential might in accumulating wealth in land. This uneasiness infuses contemporary representations of widowhood. Satirical treatments both mock the widow's lubricity and apprehend a re-allocation of property through remarriage. Conduct manuals advocate the strictest modesty to contain the widow's energy. The thesis elucidates, within the context of these representations, the legal and historical developments affecting the widow and reads, accordingly, a range of British fictions. Short fictions by Aphra Behn, Jane Barker, and Eliza Haywood, and novels by Frances Sheridan, Sarah Scott and Clara Reeve are analyzed to assess a widow's entitlement to desire, to examine her capacity for narrative agency, and to question her security in a transactional economy. Although the widow exerts a consequential narrative authority in the texts under consideration, a familiarity with eighteenth-century law reveals what the novelists imply: the contemporary valorization of acquisitive inclination over disinterested civic virtue, and its legal parallel of unchartered contract over entrenched status right, register a diminution of the widow's proprietary might.
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Legnani, Nicole Delia. "Love Interest: Figures and Fictions of Venture Capital and the Law in Conquista." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11471.
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Inspired by the visual allegory ("Conquista, embarcáronse a las Indias" fol. 73 of the Nueva corónica), Legnani contends that the development of the laws of peoples (jus gentium) by 16th century Spanish jurists should be analyzed within the corpus of commercial law (lex mercatoria) employed by sea merchants, bankers and mercenaries throughout the 15th and 16th centuries. This dissertation explores the movement from figure to fiction in discourses of capital and violence.Romance Languages and Literatures
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Bukatz, Tamara. "The practical difficulties of applying current trade mark law, actions for passing off and copyright law to literary fictional characters per se, independent of the original work." Thesis, Bangor University, 2017. https://research.bangor.ac.uk/portal/en/theses/the-practical-difficulties-of-applying-current-trade-mark-law-actions-for-passing-off-and-copyright-law-to-literary-fictional-characters-per-se-independent-of-the-original-work(a440313e-8f53-43ad-8c44-7ee1f5426011).html.
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Fictional characters have a gigantic commercial and social appeal. Fans create fanfiction and other transformative works. Professionals create films, plays and artwork or literary, musical, and other works based on the underlying work by another author. These professionals as well as third parties are involved in character merchandising. Disney reported a revenue of USD 45.2 billion just for retail sales of worldwide licensed products in 2014. The appeal of fictional characters is not limited to artistic fictional characters (AFCs), but also encompasses literary fictional characters (LFCs), such as ‘Harry Potter’ and ’The Doctor’. The plot-independent protection of LFCs is more challenging than AFCs, because of their representation in words instead of images. Non-graphic representation inevitably leaves more to the imagination of the reader. Regardless, authors’ interests in their LFCs are worth protecting. Copyright is more appropriate than trade mark law and actions for passing off when it comes to the protection of authors against unauthorized exploitation of LFCs per se for new professional literary and other works, fanfiction, mash-ups or other transformative works by amateur content creators, as well as unauthorized character merchandise. Copyright vests in the author automatically. No formalities are required. No cost is involved. Moreover, under copyright law LFCs would benefit from a set of moral rights, which could protect the LFC per se i.a. against unsavoury distortion or attribution to another than its creator. Trade mark law is ill equipped for the protection of LFCs, i.a. because names of LFCs are often devoid of distinctiveness and are descriptive of posters, notebooks, and similar products which feature the characters. Passing off actions are also suboptimal. Like trade marks, an action for passing off is also trader orientated instead of author orientated. This leads to an imbalance favouring whoever fulfils the criteria for a claim that the tort passing off has been committed. Thus, even a free-riding trader can claim protection against the author who actually created the LFC. However, in order to accommodate copyrightability of LFCs per se, a combination of judicial re-interpretation and changes to the Copyright, Designs and Patents Act 1988 are required. These are set out in this thesis. The effect of the ‘new‘ originality standard (‘the author’s own intellectual creation‘) on LFC copyrightability shall be discussed as well. Both foreign common law jurisdictions (namely Canada and the USA) as well as civil law jurisdictions (namely Germany and France) provide insights into the protection of LFCs by copyright. Each country has its own strong points to offer: In Canada, LFCs are copyrightable, if they are distinct and recognized by the public. Moreover, an exception concerning user-generated content, which affects fanfiction, was introduced into the Canadian Copyright Act 1985 by the Copyright Modernization Act 2012. In the USA, LFCs have been protected since 1930 and two tests have been developed to judge LFC copyrightability. In Germany, quite a number of copyright cases concerning LFCs, in particular with regard to character merchandising, have been decided. Even the Supreme Court held that LFCs can attract copyright. In France, LFCs can enjoy copyright protection even after the economic rights have expired, because the moral rights last indefinitely. In addition to critically evaluating how LFCs could be protected by copyright plot-independently, this thesis also considers how further legal certainty could be provided for parties intending to reuse existing LFCs. In this regard, this thesis looks i.a. into the viability of an extension of PLSclear in collaboration with the Copyright Hub to licensing of LFCs via this system.
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Currie, Susan. "Writing women into the law in Queensland." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16395/.
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Writing Women into the Law in Queensland consists, as well as an exegesis, of profiles of seven significant women in the law in Queensland which have been published in A Woman's Place: 100 years of women lawyers edited by Susan Purdon and Aladin Rahemtula and published by the Supreme Court of Queensland Library in November 2005. Those women are Leneen Forde, Chancellor of Griffith University and former Governor of Queensland; Kate Holmes, Justice of the Supreme Court and now of the Court of Appeal; Leanne Clare, the first female Director of Public Prosecutions; Barbara Newton, the first female Public Defender; Carmel MacDonald, President of the Aboriginal Land Tribunals and the first female law lecturer in Queensland; Fleur Kingham, formerly Deputy President of the land and Resources Tribunal and now Judge of the District Court and Catherine Pirie, the first Magistrate of Torres Strait descent. The accompanying exegesis investigates the development of the creative work out of the tensions between the aims of the work, its political context, the multiple positions of the biographer, and the collaborative and collective nature of the enterprise.
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Glover, Susan. "Property and possession, law, land, and early eighteenth-century English fiction, 1700-1735." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ63654.pdf.
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Mckee, Jessica. "Ghosts, Orphans, and Outlaws: History, Family, and the Law in Toni Morrison's Fiction." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5071.
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This dissertation explores Toni Morrison's most prevalent motifs: the ghost, the orphan, and the outlaw. Each figure advances a critique of dominant narratives, specifically those that comprise history, family, and the law. In Chapter One, I argue that Morrison's ghost stories contrast two methods of memory, one that is authoritative and another that is imaginative, in order to counter the official renderings of history. Her ghosts signal forgotten aspects of American history and provide access to another storyline--one that lies in the shadows of the novel's principal narrative. This chapter compares the ghosts of Love and Home in order to show how Morrison uses ghosts as conduits of a subversive individual and communal memory. In my second chapter, I assert a reading of Morrison's orphans as blues figures. They attest to the destructive effects of race, class, and gender oppression, which render her characters biologically and culturally orphaned. I conclude this chapter by comparing Paradise and A Mercy to show how Morrison's orphaned characters posit an alternative model of kinship that is built from the shared project of liberation. In Chapter Three, I examine Morrison's treatment of the law and its foil--the outlaw. I argue that Morrison foregrounds criminality in the absence of the law and its apparatuses (courts, police) in order to subvert the social institutions that give rise to the ghost and the orphan. I compare the crimes at the heart of Tar Baby and Jazz in order to posit another notion of justice operating in Morrison's fiction. When looked at together, Morrison's triptych threatens the coherence of governing ideologies and offers a meditation on the transformative possibilities of narrative.
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Chaplin, Susan. "Speaking of dread : the law, sensibility and the sublime in eighteenth-century fiction." Thesis, University of Salford, 2001. http://usir.salford.ac.uk/26612/.
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This thesis examines the relationship between the discourses of law, aesthetics and sensibility during the eighteenth century and argues in favour of a strong conceptual link between them. This nexus will be shown to be central to an understanding of constructions of femininity in eighteenth-century English fiction and within the wider social and cultural domain. Central to the work theoretically is a theory of the sublime which draws upon Lyotard's 'The Sublime and the Avant-Garde', but which reworks its insights in the light of Luce Irigaray's analysis of the role of the feminine within Western culture. From this will emerge the central theoretical tenet of this work: that within Western culture woman is an object of dread, or a 'sublime object'. From this theoretical perspective, the historical situation of the eighteenth-century woman and her representation in fiction will be considered. It will be argued that a certain form of 'improper' feminine subjectivity developed during this period due in no small measure to the operation of aspects of English law and the discourse of sensibility. The term 'improper' as it is meant to be understood in this work will be rigorously defined in the early chapters and the position of woman as an improper subject, it will be shown, is never far removed from her status as sublime object.
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Bylund, Måns. "Teknikens fängslande frihet : teknik och människoförståelse i samtida svensk science fiction." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-167058.
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曹永強 and Wing-keung Tommy Cho. "Judicial interpretation / fictionalization." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31972731.
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Michaud, Thomas. "La stratégie comme discours : l'utilisation de la science fiction dans les projets de réalité virtuelle des Orange Labs." Paris, CNAM, 2009. http://www.theses.fr/2009CNAM0631.
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La science-fiction est un élément important dans l’élaboration des stratégies des grandes entreprises, notamment technologiques et de télécommunication. Cette thèse repose sur une enquête de terrain de plus de trois ans au sein des Orange Labs, et plus précisément dans les projets de réalité virtuelle de France Télécom R&D. L’objectif était de déterminer les différentes modalités d’utilisation de la science-fiction par les chercheurs, ingénieurs,scientifiques et managers de l’entreprise. Il en ressort, après plusieurs interviews dont les vingt plus importantes sont reportées en annexes, que la science-fiction est filtrée par l’entreprise pour inspirer les décideurs. Une idéologie de la science-fiction contribue à structurer le discours stratégique de l’entreprise, qui peut ainsi diffuser son discours auprès des marchés et de ses employés. Par ailleurs, un philtrage science-fictionnel, c’est-à-dire la création d’un philtre visant à charmer les acteurs et reposant sur la science-fiction structure la stratégie de l’entreprise. La science-fiction, notamment cyberpunk, a beaucoup contribué à diffuser des représentations de technologies utopiques auprès des ingénieurs et des managers qui ont investi pour réaliser ces visions. La science-fiction constitue aussi une culture commune aux décideurs du capitalisme global. Elle a beaucoup contribué à structurer les visions innovantes en proposant des fictions avant-gardistes aux innovateurs durant le vingtième siècle. Les Orange Labs développent de nombreuses méthodes pour exploiter au mieux le potentiel innovant de ce genre artistiqueScience fiction is a key element in the elaboration of the strategies of big companies of telecommunications and technologies. This thesis in funded on a study of more than three years in the Orange Labs, and more precisely in the virtual reality projects. The aim was to determine the different modalities of utilization of science fiction by researchers, engineers, scientists and managers of the company. Several interviews have been established. The twenty most important are in annexes. Science fiction is filtered by the company to inspire leaders. An ideology of science fiction contributes to structure the strategic discourse of the company that can diffuse its discourse to employees and markets. Moreover, a science fictional philter, that is to say the creation of a philter aiming to charm actors and founded on science fiction contributes to structure the strategy of the company. Cyberpunk science fiction has contributed a lot to diffuse the representations of utopian technologies to managers who have invested to realize these visions. Science fiction constitutes too a common culture of leaders of global capitalism. It has participated a lot to structure innovative visions by proposing avant-gardist visions to innovators during the twentieth century. Orange Labs develop a lot of methods to exploit the innovative potential of this artistic genre
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Murillo, Chávez Javier André. "The incomplete puzzle. The missing rule and ruling about the protection by copyright of characters and objects of the work." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/115696.
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This article analyzes the missing rule and ruling about the protection of characters and fictional objects which are part of works covered by copyright. The author systematizes the criteria used in the administrative jurisprudence for conflicts between the intellectual property and the industrial property to extract specific rules in cases that involve fictional objects and characters, establishing and proposing criteria to find out the originality of these elements.El presente artículo analiza la omisión normativa y jurisprudencial sobre la protección de los personajes y objetos de ficción que son parte de las obras protegidas por el régimen de derecho de autor. El autor sistematiza los criterios utilizados en los casos de jurisprudencia administrativa en conflictos existentes entre la propiedad intelectual y la propiedad industrial para extraer las reglas específicas existentes en casos que involucran objetos de ficción y personajes, estableciendo y proponiendo criterios para encontrar la originalidad de estos elementos.
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Jarvie, Paul A. "Ready to trample on all human law : financial capitalism in the fiction of Charles Dickens /." New York : Routledge, 2005. http://catalogue.bnf.fr/ark:/12148/cb40061135w.
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Johnson, Nancy E. (Nancy Edna) 1956. "The "equivocal spirit" of law : property, agency and the contract in the English Jacobin novel." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29054.
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In the 1790s, the English Jacobin novelists became vital participants in the fiery debates over natural and civil rights. Energized by the success of the American Revolution and inspired by the calls for l'egalite, la liberte, la surete, and la propriete in France, the Jacobin authors contributed their narratives to the British campaigns for reform of parliament and extension of the franchise. In this dissertation, I argue that the Jacobin novel furnishes crucial insights into the development of a theory of juridical rights in the late eighteenth century. Working in the early modern traditions of contract theory, writers such as Thomas Holcroft, Mary Wollstonecraft and William Godwin embraced the concept of inalienable natural rights. In their novels, they identified the critical role property played in determining the individual's relationship to the law, and they celebrated the emergence of a new kind of citizen distinguished by economic independence, inalienable rights and political agency. But they also offered an important critique of contractarian thought. The Jacobins' narratives revealed the exclusion of certain segments of the population from participation in government formed by contract. Their analyses of the origins of political authority and the constitution of the legal subject render the Jacobin novel a critical component of the history of juridical rights.
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Koonce, Elizabeth Godke. "SENSATION FICTION AND THE LAW: DANGEROUS ALTERNATIVE SOCIAL TEXTS AND CULTURAL REVOLUTION IN NINETEENTH-CENTURY BRITAIN." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1155670056.
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Veremchuk, Mira. "Humanitarian intervention : fact or fiction? : an analysis of international law and post-Cold War state practice /." Title page, abstract and contents only, 1997. http://web4.library.adelaide.edu.au/theses/09AR/09arv492.pdf.
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Landgraf, Svante. "Fångenskap och flykt : Om frihetstemat i svensk barndomsskildring, reseskildring och science fiction decennierna kring 1970." Doctoral thesis, Linköpings universitet, Tema Kultur och samhälle – Tema Q, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-132008.
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Frihet är ett viktigt tema under nittonhundratalet, kanske särskilt decennierna omkring 1970 med allt vad den tiden innehåller av frigörelsekamp, uppror mot gamla traditioner, individualism och kollektivism. Den här avhandlingen spårar det temat genom tre genrer i den svenska litteraturen, från sextiotalet och framåt: den självbiografiska barndomsskildringen, reseskildringen och science fiction-romanen. De olika genrerna erbjuder olika möjligheter för en författare att diskutera och gestalta frihetstemat, explicit och implicit. Skilda narratologiska utgångspunkter skapar skilda förutsättningar. Genomgående frågeställningar är vilka hinder som finns för att friheten ska kunna uppnås, vilka utvägar mot friheten som ändå existerar och vilka innebörder frihetsbegreppet ges. Avslutningsvis diskuteras resultaten i förhållande till de skilda genrevillkoren men även till det som texterna har gemensamt, exempelvis utopiska drag, mötet med det obekanta och främmande, sökandet efter en subjektiv sanning eller 1968-årens tidsanda. På så sätt kan något sägas om den sköna litteraturens särart jämfört med andra slags texter.Freedom is an important theme of the twentieth century, perhaps particularly during the decades around 1970, that time of struggle for liberation, the rebellion against the old ways, of individualism and collectivism. This thesis traces that theme through three genres of Swedish literature, from the sixties onwards: the autobiographical childhood novel, the travelogue and the science fiction novel. The different genres offer different possibilities for an author to discuss and depict the theme of freedom, explicitly and implicitly. Different narratological starting points create different conditions. Some returning issues are which restrictions on, opportunities for and meanings of freedom are visible in the texts. Finally, the results are discussed in relation to the different conventions of genre but also in relation to what the texts have in common, such as features of utopia, the encounter with the unfamiliar and strange, the search for a subjective truth or the zeitgeist of the year 1968. In that way, something can be said about the specific nature of fictive or partly fictive texts compared to other kinds of prose.
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de, la Garza Valenzuela José A. "IMPOSSIBLY HERE, IMPOSSIBLY QUEER:CITIZENSHIP, SEXUALITY, AND GAY CHICANO FICTION." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1460677739.
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Wall, Brian Robert. "Inheritance and insanity : transatlantic depictions of property and criminal law in nineteenth century Scottish and American fiction." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/21707.
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Participants in the critical enterprise of “Law and Literature” tend to center their arguments on the question of literature’s utility to the study and practice of law. I focus instead on the reciprocal corollary: how can an understanding of law influence a critical reading of literature? Taking cues from discussions in Renaissance studies of law and literature and drawing on my own legal training, I assert that transatlantic literary studies provides both a conceptual framework for positing a reciprocal relationship between law and literature and, in nineteenth century Scottish and American depictions of property and criminal law, a crucial test case for this exploration by uncovering new “legal fictions” within these texts. I begin my first chapter by situating my work within recent critical work in Law and Literature. While most scholarship in the “law in literature” subcategory since James Boyd White’s influential 1973 text The Legal Imagination has focused on how (and if) literary studies can help current and future legal practitioners through what Maria Aristodemou calls “instrumental” and “humanistic” mechanisms, recent work, particularly by a dedicated group of interdisciplinary scholars in Renaissance studies, has focused on the law’s benefit to literary studies in this field. I explore the critical mechanisms employed by these scholars as well as by scholars in nineteenth century literary studies such as Ian Ward. I then turn to transatlantic literary studies, arguing that the approaches outlined by Susan Manning, Joselyn Almeida, and others provide a framework that can give nineteenth-century literary studies a similar framework to that proposed by Aristodemou: an “instrumental” method of giving greater precision to discussions of how historical institutions and hierarchies are depicted in nineteenth century literature, and a “humanistic” method of extending beyond historicist approaches to see beyond the often artificial demarcations of literary period and genre by finding commonalities that transcend disciplinary and historical borders. I conclude this introduction by identifying the legal and literary parameters of my project in the legal-political tensions of late-eighteenth and early-nineteenth century Scotland and America. My second chapter focuses on property law and the question of inheritance, reading Walter Scott’s Rob Roy and The Bride of Lammermoor alongside Nathaniel Hawthorne’s The House of the Seven Gables to demonstrate how the narratives play with two dueling theories of inheritance law – meritocratic and feudal – and how those dueling legal theories impact the events of the tales themselves. After outlining tensions between older but still prevalent ideas of feudal succession and newer but admittedly flawed in execution notions of meritocratic land transfer, I explore how Scott’s and Hawthorne’s narratives demonstrate the inability of their characters to reconcile these notions. Both Rob Roy and The House of the Seven Gables seem to demonstrate the triumph of deserving but legally alienated protagonists over their titled foes; both novels, however, end with the reconciliation of all parties through ostensibly love-based weddings that perform the legal function of uniting competing land claims, thus providing a suspiciously easy resolution to the legal conflict at the heart of both stories. While reconciliation makes the legal controversies at the heart of these stories ultimately irrelevant, the legal nihilism of The Bride of Lammermoor takes the opposite tactic, demonstrating both the individual shortcomings of the Ashton and Ravenswood families and the systemic failure of Scottish property law’s feudalism to achieve equitable outcomes. I next turn to the question of insanity in Edgar Allan Poe’s “The Tell-Tale Heart” and James Hogg’s “Strange Letter of a Lunatic,” arguing that both narratives complicate the legal definition of insanity by showing gaps between the legislative formulation and actual application to their fictional defendants. After developing the different viewpoints towards criminal culpability articulated by the American (but based on English law) and Scottish versions of the insanity defense, I turn first to Poe’s “The Tell-Tale Heart.” Poe’s narrator, I argue, deliberately develops a narrative that takes him outside the protections of the insanity defense, insisting on his own culpability despite – or perhaps because of – the implications for his own punishment. Meanwhile, Hogg’s narrative, both in its original draft form for Blackwood’s and its published version in Fraser’s, paints a different picture of a narrator who avoids criminal punishment but finds himself confined in asylum custody. These two areas of inheritance and insanity collide in my exploration of Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde and Frank Norris’s McTeague, where I illustrate the relationship between the urban demographics and zoning laws of both the real and fictional versions of London and San Francisco and the title characters’ mentally ill but probably not legally insane murderers. After demonstrating Stevenson’s and Norris’s link between psychology and the complex amalgamations of their fictional cityscapes, I demonstrate how these cityscapes also allow them to sidestep rather than embrace mental illness as an excuse for their murderous protagonists’ crimes, indicting the institutions at the center of their texts as equally divided and flawed.
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Brooklyn, Bridget. "Something old, something new : divorce and divorce law in South Australia, 1859-1918." Title page, contents and summary only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phb872.pdf.
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Elgue, de Martini Cristina. "La re-escritura de la historia en las ficciones argentina y quebequense contemporáneas." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0002/NQ43067.pdf.
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Raynal, Pierre-Marie. "De la fiction constituante. Contribution à la théorie du droit politique." Thesis, Paris 2, 2014. http://www.theses.fr/2014PA020058.
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Inspiré par une démarche de droit politique, le présent travail se propose d’envisager la fiction en droit à travers le prisme inédit de la légitimité, afin d’étudier sous un angle théorique son utilité dans la constitution de la réalité juridique, c’est-à-dire dans les fondations du droit en vigueur. Caractérisée en référence à la réalité politique, la fiction constituante est une technique justificative dont la fonction relève soit de la connaissance, soit du gouvernement. En tant qu’instrument de connaissance, la fiction constituante se trouve au coeur de l’épistémologie du positivisme juridique, et sert à reléguer la légitimité en son sens le plus profondément politique à une simple affaire de "Sein", c’est-à-dire « extra-juridique » ; tel est notamment l’objet de la "Grundnorm" de Kelsen. Le propos de la première partie de ce travail est de montrer que cet isolement de la chose juridique empêche d’approfondir la connaissance de ses fondations ; ce faisant, il s’agira de poser les bases de ce que pourrait être une épistémologie de droit politique. En tant qu’instrument de gouvernement, la fiction constituante se trouve au coeur de l’État, et sert à légitimer l’exercice du pouvoir politique par le biais de la représentation. En s’appuyant sur des auteurs classiques tels que Hobbes, Locke et Rousseau, le propos de la seconde partie de ce travail est de montrer que ce sont les caractéristiques de ce système d’organisation politique, quelle que soit au demeurant la forme de gouvernement retenue, qui rendent nécessaire le recours au registre fictionnel "lato sensu" ; celui-ci étant en effet susceptible de s’inscrire dans trois catégories discursives distinctes : la fiction "stricto sensu", le mensonge ou le mytheFollowing an approach inspired by "droit politique", this work aims at considering legal fiction through the unexplored prism of legitimacy in order to study from a theoretical perspective its utility in creating legal reality, i.e. in founding the law in force. Defined through its relation to political reality, constituent fiction is a technique of justification and its function is either a matter of knowledge or of government. As an instrument of knowledge, constituent fiction is at the core of the epistemology of legal positivism. It is used to relegate legitimacy, in its most political sense, to a simple matter of "Sein, i.e". to an “extra legal” matter, as it is notably the case of Kelsen’s "Grundnorm". The first part of this work aims at showing that this isolation of law prevents a deeper understanding of its foundations. In doing so, we will try to lay the grounds for what could be an epistemology of "droit politique". As an instrument of government, constituent fiction is at the core of the State. It is used to legitimize the exercise of political power by the means of representation. Relying on the classical works of Hobbes, Locke and Rousseau, the second part of this study aims at identifying the characteristics of this system of political organization that makes recourse to fiction a necessity; whatever the form of government chosen. This recourse to fiction, considered here in its broadest sense, can relate to three distinct discursive models: fiction in its strictest sense, falsehood, or myth
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Oldham, Davis. "The idea of trust in the age of trusts /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9335.
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West, Sydney Yorke. "Representaciones de La Malinche en las narrativas de la conquista: Una nueva perspectiva en el siglo XXI." Thesis, Boston College, 2013. http://hdl.handle.net/2345/bc-ir:104433.
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Thesis advisor: Sarah BeckjordEn la tradición mexicana, la figura de La Malinche ha llegado a representar un paradigma importante para explorar el legado de la conquista. A fines del siglo XX, Kimberle López señaló el surgimiento de un nuevo tipo de narrativa de la conquista, una que se esforzaba por revisar las narrativas antiguas para que éstas pudieran mejor explicar las realidades y la identidad de los latinoamericanos contemporáneos. Como tal, la desilusión y las injusticias de la opresión han surgido como temas principales en la literatura histórica de la época posmoderna. Debido a este empeño, se están recuperando las identidades que antes sufrían el efecto de ser olvidadas por una tradición histórica que se negaba a reconocer su valor en la representación del pasado. Si se encuentra uno de los primeros retratos de La Malinche en la Historia verdadera de la conquista de la Nueva España de Bernal Díaz del Castillo, los comentarios críticos de Octavio Paz y Carlos Fuentes evidencian la presencia de una dicotomía problemática con respecto a la representación de esta figura. Además, la publicación de Malinche por Laura Esquivel ha sacado a la luz el trauma de la conquista y, por consiguiente, ha cuestionado las mismísimas estructuras e ideas que sofocaban las voces de la gente, como Malinalli, que se quedaban en las márgenes de la historia. Imaginando una nueva versión de la conquista a través de los ojos de su protagonista, esta autora logra ampliar la narrativa del pasado para que la participación de todos, especialmente las mujeres, sea una realidad. Al expandir los límites de la representación del pasado mediante la libertad imaginativa de la literatura, hemos podido llevar una suerte de justicia, sea ésta poética, a las personas cuyas identidades que se perdieron en la lucha para el poder
Thesis (BA) — Boston College, 2013
Submitted to: Boston College. College of Arts and Sciences
Discipline: Romance Languages and Literatures Honors Program
Discipline: Romance Languages and Literatures
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Cleger, Osvaldo. "El Arte de Narrar en la Era de las Blogoficciones: Una Aproximacion Interdisciplinaria a la Literatura en los Blogs." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195521.
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This dissertation constitutes an interdisciplinary approach to electronic narratives, which explores the impact of recent technological developments in the literary field. The work of theorists and scholars such as Henry Jenkins, Jean Baudrillard, Lev Manovich, Albert-Laszlo Barabasi, Erving Goffman, Sherry Turkle, George Landow, Marie-Laure Ryan and Espen Aarseth, among many others, are applied to the study of how key sociological and narratological concepts acquire new meanings when implemented in an electronic environment. More specifically, this research provides evidence of how emerging media culture challenges the traditional concepts of authorship, textuality, fictionality, sequential structure, and readership, with tendencies toward anonimity, pseudonymity, collaborative authorship, hypertextual narrative structures, and the reader's involvement in the creative process. Chapter One lays out the methodology used for the study of blog-fictions. This chapter proposes an interdisciplinary approach to blogging which combines the contributions made in several fields of study within digital humanities: computer-mediated communication theory, hypertext theory, Internet ethnography, social network theory, narratology of hypertext, research on blogging and Web 2.0, ludology and performance studies. The purpose of this chapter is to conceptualize the study of blog-fictions both as an expression of information society in its current state, and as a new fictional genre that challenges traditional narrative concepts. In Chapter Two ("Blogosphere: a network of social convergences"), the center of analysis concerns the study of the blogger as a social type who reproduces its social life on the Internet. This chapter studies the peculiar and new ways in which bloggers communicate with each other and create social networks through the production and distribution of texts, hyperlinks, and multimedia artifacts. Chapter Three presents a theory of the blog-text focussing on its structure and defining features. Finally, Chapter Four analyzes how the socio-aesthetic and narrative concepts studied in previous chapters are reflected in blog-novels written in Spanish by Argentinean author Hernan Casciari. This research contributes to literary studies in general by acknowledging that electronic fictions and blog-fictions constitute an emerging literary genre with its own identifiable features, and are molded by the culture of the information society.
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Trotman, Tiffany Gagliardi, and n/a. "Eduardo Mendoza�s Ceferino series : spanish crime fiction and the carnivalesque." University of Otago. Department of Languages and Cultures, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070613.114325.
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In the wake of Francisco Franco�s long dictatorship, various new forms of literature emerged in Spain. A new period of transformation, the so-called Spanish Transition, fostered an environment of experimentation and innovation free from the restrictive barriers of Franco�s regime. The Transition proved a period of great hopes and expectations as well as disillusionment and disappointment. This time, above all, provided an opportunity to reflect critically on the history and experience of the nation in the 20th century.
Eduardo Mendoza is one among a generation of writers that experienced the early years of the Transition, the subsequent emergence of the Socialist Party and the reintroduction of Spain to Europe and, indeed, the rest of the world post 1975. This noted Catalan is one of several distinguished writers working within a new genre, the Spanish novela negra, or crime novel. In particular, he has written three novels El misterio de la cripta embrujada (1979), El laberinto de las aceitunas (1982) and La aventura del tocador de senoras (2001); each featuring an unlikely detective known as Ceferino.
In this thesis, I examine Eduardo Mendoza�s three crime novels as a carnivalesque discourse. The work relies on the theory outlined by Mikhail Bakhtin in two of his foundational texts, Problems of Dostoevsky�s Poetics (1929) and Rabelais� World (1940). In 1929, Bakhtin sketched out the idea of "carnivalization" as the transposition of the spirit of carnival into art. It was not until his thesis (now known as Rabelais� World) was published in 1960 however that his vision of carnival was understood and the link between the carnivalized text and popular culture emerged. This research focuses on Bakhtin�s four 'categories of carnival': free and familiar contact, eccentricity, carnivalistic mesalliances, and profanation, in order to develop a critical framework by which a text may be defined as carnivalesque. Through a comprehensive examination of what each of these categories entails, Bakhtin�s paradigm is linked to Eduardo Mendoza�s crime trilogy and these texts are consequently defined as undeniably carnivalesque.
The conclusion of the thesis suggests several possibilities as to why Eduardo Mendoza, as a contemporary Spanish crime fiction writer, employs a carnivalesque discourse to depict post-Franco culture. The Transition and the decade between 1982 and 1992 are defined as periods of rupture from the official order. These years are considered an ideal environment for the unleashing of a carnivalesque ambiance in Spain that inherently effected the aesthetic production of the period, and specifically the works of Eduardo Mendoza.
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Tose, M. J. "Ubuchule bencoko yababini nesimbo sokubhala kwincwadi ka A.M. Mmango ethi, "Law' ilahle"." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/621.
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Olu phando lugxile kakhulu kwincwadi ka-A.M. Mmango ethi, Law’ilahle. Apha sizama ukuveza ukubaluleka kobuchule bokubhala phakathi kwencoko yabantu ababini kubhalo lwemidlalo ngoovulindlela bedrama esiXhoseni. Oku kwenziwa ngokuthi kuphononongwe nzulu isimbo sokubhala. Ezinye izinto esiza kuziveza ziindlela zokuthetha ezithi zizesetyenziswe ngabalinganiswa. Oku kwenziwa ngokuthi kugxeleshwe kakhulu kumagama namaganyana adelelekileyo asetyeniswayo ngabalinganiswa ze kuthi kubuywe kukhangelwe nefuthe laloo magama kulwimi olusulungekileyo lwesiXhosa. Oku kukhokelela ekuphononongeni indlela ekuthi umbhali asebenzise ngayo isigama esivumelekileyo nesigama esithi sisetyenziswe esibangela ukuba umfundi lowo asebenzise ingqondo yakhe ukucinga ukuba kutheni umbhali etshintsha isigama kuloo ncoko ithile ayakhayo. U-A. M. Mmango usizobela asivezele kakuhle zonke izigaba ekufuneka zilandelwe xa sibhala uncwadi lwedrama. Uyaphumelele ke ukuziveza zonke ezi zinto ngenxa yeengxoxo azakhayo phakathi kwabalinganiswa. Ukuba sithelekisa uluncwadi lwedrama yale mihla luye lube nawo umahluko kuncwadi olwalubhalwe kuqala. Kananjalo, lo ka-Mmango usebenzisa uyilo lwengxoxo nocwangciso lwimi olululo ukwenzela ukuba umfundi lowo ofunda incwadi yakhe akwazi ukuwubona umahluko phakathi kwababhali bale mihla nabakudala. Esi simbo sikaMmango sokubhala asiwenzi umdintsi. Oku kuphawuleka ngamandla kwimixholwana esekeleze ululeko olungqongqo.
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Poyhonen, Alexander J. "Don Quijote lo Interminable: La Cuestión de los Textos Originales y las Emanaciones a Través de Formas Secundarias de Arte." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/522.
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In chapter 1, I ponder the role of authorship and whether or not an original text can truly exist. Specifically, the claim that Borges has that a copy can be superior to an original. From this, brings me to chapter 2 with the movie Man of la Mancha. In this movie, I highlight some of the pros and cons of a copy. The windmill scene is a negative emanation of the Quixote, while the interaction between people and the presence of women is something the movie truly displays well. In the third chapter, I look at Lost in la Mancha because it demonstrates a failed attempt to translate the Quixote. In essence, anything that tries to represent this truly great text will fail; however, it's failure can paradoxically be thought of as a success because it's an homage to the Quixote. As far as the Ezra Pound material, I thought it extremely pertinent to look at his experience on a metro because he attempts to describe a vision that he had through poetry. He notes that it is very difficult to encapsulate his entire experience because the primary form of art (his vision) is being described through a secondary form (words). Thus, when you translate a form of art through a medium it loses some of its value. This is what happens with the Quixote; its primary form (words) is being displayed through a secondary form (film), and it inevitably loses something in the translation. The final chapter/conclusion is a more in-depth investigation of this investigation primary form of art (writing). This uses the character of Gines as a concrete example of a formal and stylistic quality that is unique to literature. Namely, the physical ranging of words on a page in both a spatial and literary sense. When you extract those lines from a novel you implicitly remove some of the dialectic between Cervantes' work and the genres he's invoking, just by taking it out of the form of literature. The surroundings of text establish the meaning of the novel. The conclusion is my final chance to argue why the Quixote is so special and untranslatable. I touch on the qualities that keep it forever live and present in us today. Through the Quixote's proclivity for renaming the real world (established societal beliefs/values, etc.) in his own vein, Cervantes allows for the Quixote to reappropriate the world around him, making it uniquely his. In so doing, Cervantes creates a character who is able, not only to write his own self-history, but to control the way that said self-history will be written by others. By blurring the lines between narrator and narration and history and fiction, Cervantes creates a work that is endlessly present, where words becoming living page, and actions occur as they are said.
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Rocha, Karen Gomes da. "Representações do sujeito feminino em presença de Thalia, de Ruth Laus : regionalidade, cultura e subjetividade." reponame:Repositório Institucional da UCS, 2015. https://repositorio.ucs.br/handle/11338/1084.
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A presente dissertação focaliza as representações da figura feminina em Presença de Thalia (1989), da escritora catarinense Ruth Laus, dialogando e relacionando com questões inerentes à identidade e ao espaço das representações ficcionais entre gênero, o sujeito feminino enquanto produtora de textos e personagem ficcional, assim como avalia a interferência da ideologia patriarcal presente na obra. Para buscar resposta ao questionamento do que é o feminino, pela análise do mascullino e do feminino, entre outras possibilidades combinatórias, viabiliza-se uma visão crítica por meio de pesquisa e análise, acerca da ruptura, ou não, do modelo mítico do patriarcado. Para tanto, analisa-se a configuração regional e as suas interrelações culturais na obra, primeiramente, a partir de pressupostos teóricos sobre região e regionalidade; depois, aliados à perspectiva da crítica feminista, utilizam-se como subsídios os estudos de Showalter (1994) e dos antropólogos Bruner (1986) e Geertz (1989), com o intuito de, ao evidenciar o texto de autoria feminina, isto é, sua expressão, no que concerne à avaliação do campo social familiar e as estruturas de poder estabelecidas ficcionalmente, desvelar as estruturas conceptuais e interpretar as “teias de relações” ficcionais; e, finalmente, embasando as reflexões sobre representação, identidade e subjetividade, os pressupostos de Chartier (2002) e Weedon (2003), revelar como são concebidos os sujeitos femininos.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-12-15T11:29:51Z No. of bitstreams: 1 Dissertacao Karen Gomes da Rocha.pdf: 1905682 bytes, checksum: 15957982653c10d6aa5cc7d638920b0a (MD5)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior.
This dissertation focuses on the representations of the female figure in Presença de Thalia (1989), by Ruth Laus, a writer from Santa Catarina, dialoguing and relating to issues inherent to the identity and the space of fictional representations of gender, the female subject as a producer of texts and fictional character, as well as evaluates the interference of patriarchal ideology present in the novel. To seek answers to the question of what is the feminine, the analysis of masculine and feminine, among other combinatorial possibilities, enables a critical view through research and analysis, on breaking, or not, the mythical model of patriarchy. Therefore, it is analyzed the regional setting and its cultural interrelations in the novel, first, from theoretical assumptions regarding the region and regionality; then, combined with the perspective of feminist criticism, are used as subsidies the studies of Showalter (1994) and the anthropologists Bruner (1986) and Geertz (1989), in order to, by focusing on the female authorship text, that is, her expression, regarding the evaluation of family court and social power structures established fictionally, to unveil the conceptual structures and interpret the culture's fictional web of symbols; and, finally, basing the discussions on representation, identity and subjectivity with the assumptions of Chartier (2002) and Weedon (2003), reveal how female subjects are conceived.
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Orssaud, Geneviève. "Histoire et fiction dans le roman argentin contemporain : d'Operación masacre de Rodolfo Walsh à Las aventuras del Sr. Maíz de Cucurto." Paris 3, 2008. http://www.theses.fr/2008PA030041.
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Le but de ce travail est d’étudier les apparitions de l’Histoire dans la littérature argentine contemporaine. La littérature crée des univers autonomes dont l’impossibilité est le corps, et partant l’action. Elle s’inspire néanmoins du réel ; il est sa seule limite. Dans le réagencement que la littérature opère sur le réel, on peut donc trouver des traces de l’Histoire. L’historiographie, quant à elle, peut sembler être un récit partiel, découlant des nombreuses sélections des documents de l’historien influencé par son temps et par le pouvoir qui le régit : l’histoire officielle, à de nombreux égards, est une construction artificielle. En Argentine, dans la deuxième moitié du XXe siècle, les régimes militaires interrompent l’écriture de l’Histoire. Le roman argentin contemporain préserve la mémoire collective en évoquant des faits que le pouvoir militaire fait disparaître de l’Histoire. En outre, la littérature nationale ayant émergé dans les années 50, elle devient l’espace de préservation d’une identité nationale, face à l’instrumentalisation de l’Histoire par le pouvoir et à l’écriture conquérante de l’Histoire par l’EuropeThe purpose of this work is to study the manifestations of History in contemporary Argentinean literature. Literature creates autonomous universes whose impossibility is the body, and therefore the action. However it draws its inspiration from the reality that is its only limit. Then in the reconstruction operated by literature upon real, traces of history may be found. As regards historiography it may appear as a partial account, following from many selections of documents by the historian, himself under influence of his time, and the power he is governed by: the official history, in many respects is an artificial construction. In Argentina, during the second half of the XXth century, the military governments suspended the writing of History. Argentinean contemporary novels preserve collective memory evoking facts that military power gets disappear from History. Moreover, as national literature has emerged in the 50’s, its becomes a mean of preservation for the national identity, that stood up to the misuse and distorting of History by the power, and Europe’s conquering writing of History
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Faustino, Pauline. "De la justice à la fiction : Gianrico Carofiglio et le roman judiciaire." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC011.
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L'entrée de Gianrico Carofiglio sur la scène littéraire, en 2002, a permis l'affirmation d'un genre qui, jusque-là, semblait l'apanage de la production américaine. Le roman de procédure italien, écrit par des juristes et offrant une représentation réaliste de l'univers judiciaire, est en plein essor en Italie et rencontre un lectorat important. Cette thèse tente d'en dégager les spécificités et d'en expliquer le succès au travers de l'analyse des cinq romans centrés sur le personnage de ''l'avvocato Guerrieri"The entry of Gianrico Carofiglio on the literary scene in 2002 allowed the affirmation of a genre that until then seemed the preserve of the American production. The ltalian legal thriller, written by jurists and offering a realistic representation of the judiciary, is growing in Italy and meets an important readershp. This thesis attempts to identify its specificities and explain its success through the analysis of the five novels centered on the character of the avvocato Guerrieri
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Zelaya, Jenny. "El personaje femenino : una visión panorámica en la literatura femenina hondureña del siglo XX y las concepciones de identidad y nación /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164556.
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Cotter, Brianne. "Las “brujas” en las carceles clandestinas de Argentina: La prisionera politica embarazada y otra madres en la imaginaria cultural del terrorismo estatal." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1589746381503724.
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