Academic literature on the topic 'Gaiman, Neil'
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Journal articles on the topic "Gaiman, Neil"
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Coats, Karen. "Cinnamon by Neil Gaiman." Bulletin of the Center for Children's Books 70, no. 8 (2017): 361–62. http://dx.doi.org/10.1353/bcc.2017.0275.
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Berglind, Natalie. "Pirate Stew by Neil Gaiman." Bulletin of the Center for Children's Books 74, no. 4 (2020): 171. http://dx.doi.org/10.1353/bcc.2020.0826.
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Vilches, Gerardo. "Reseña de Sandman: Obertura de Neil Gaiman, J.H. Williams III y Dave Stewart." CuCo, Cuadernos de cómic, no. 6 (June 30, 2016): 166–70. http://dx.doi.org/10.37536/cuco.2016.6.1157.
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Godfrey, Carole. "THE ‘OTHER’ NARNIA: MANIFESTATIONS AND MUTATIONS OF C.S. LEWIS’s THE LION, THE WITCH AND THE WARDROBE IN NEIL GAIMAN’s CORALINE." Mousaion: South African Journal of Information Studies 33, no. 2 (2015): 92–110. http://dx.doi.org/10.25159/0027-2639/191.
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Between 2003 and 2004, Neil Gaiman wrote a short story called ‘The problem of Susan’. In it, a young journalist has a dream in which she is Susan Pevensie and the world of Narnia has become dark and terrifying. In this article, the author argues that Gaiman’s preoccupation with and intertextual re-envisioning of Narnia goes beyond ‘The problem of Susan’, and that his children’s book, Coraline (2002), can be viewed partly as a rewriting of C.S. Lewis’s The lion, the witch and the wardrobe ([1950] 2001). The author further shows that the two books have many shared aspects, but that Gaiman transforms these aspects to make the fantasy world in Coraline an unsteady, threatening and even horrifying version of the bright and inviting world of Narnia. The author also argues that Gaiman’s purpose in so doing is to defy and subtly criticise what he views as Lewis’s attempts to encourage children to remain innocent and childlike.
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Quealy-Gainer, Kate. "Fortunately, the Milk by Neil Gaiman." Bulletin of the Center for Children's Books 67, no. 2 (2013): 89–90. http://dx.doi.org/10.1353/bcc.2013.0645.
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Coats, Karen. "Hansel and Gretel by Neil Gaiman." Bulletin of the Center for Children's Books 68, no. 4 (2014): 205. http://dx.doi.org/10.1353/bcc.2014.1032.
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Oliveira, Leandro Vilar. "Os mitos nórdicos segundo Neil Gaiman." Anuário de Literatura 22, no. 1 (2017): 192. http://dx.doi.org/10.5007/2175-7917.2017v22n1p192.
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Azi, Rahmawati, and Muarifuddin Muarifuddin. "NOVEL STARDUST KARYA NEIL GAIMAN SEBAGAI MONOMYTH." ETNOREFLIKA: Jurnal Sosial dan Budaya 8, no. 3 (2019): 210–25. http://dx.doi.org/10.33772/etnoreflika.v8i3.812.
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Penelitian ini bertujuan mengkaji proses perjalanan hero yang bernama Tristan dalam novel Stardust karya Neil Gaiman dengan mengaplikasikan metode penelitian bersifat kualitatif dimana data-data diperoleh dari teks, frase, ekspresi-ekspresi dan visualisasi. Hasil dari penelitian ini menemukan bahwa Struktur perjalanan hero mengikuti struktur monomyth yaitu merupakan simbolisasi dari suatu struktur psike manusia yaitu ketika manusia diperhadapkan dengan rintangan-rintangan atau cobaan-cobaan dalam perjalanan hidupnya sebagai suatu fase atau proses agar menusia mencapai kematangan baik mental maupun rohani atau spritualnya. Pada fase Keberangkatan yang dialami adalah 1) Panggilan untuk Bertualang, 2) Penolakan Panggilan, 3) Bantuan Supernatural, 4) Penyeberangan Threshold Pertama. Tetapi fase ke -.5 yaitu simbolisasi Perut Paus tidak dilalui atau dialaminya. Selanjutnya pada fase Inisiasi: tokoh Tristan mengalami semua peristiwa-peristiwa yang ada dalam fase inisiasi yaitu 2) Jalan Uji Coba, 3) Pertemuan dengan Dewi, 4) Wanita sebagai ujian, 5) Atonement with the Father (Penebusan dengan Bapa), 6) Manusia Setengah Dewa Apotheosis) 7) The Ultimate Boon. Dan yang terakhir adalah fase Kembali, dimana tokoh Tristan mengalami peristiwa-peristiwa: 1) Penolakan Pengembalian, 3) Penyelamatan dari Luar, 5) Master of the Two Worlds, 6) Kebebasan untuk Hidup. Kecuali peristiwa Penerbangan Ajaib dan penyeberangan Threshold. Kembali. Perjalanan hero di atas merupakan simbolisasi psike manusia yakni ketika manusia diperhadapkan dengan rintangan dan cobaan-cobaan sebagai proses latihan dari hero untuk mencapai kematangan pribadi baik secara fisik maupun spiritual.
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Mukics, Júlia. "Neil Gaiman Coraline című regényének komparatisztikai vizsgálata." Gyermeknevelés 9, no. 1 (2021): 162–90. http://dx.doi.org/10.31074/gyntf.2021.1.162.190.
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Jelen tanulmány elsődleges célja az, hogy Neil Gaiman Coraline című alkotását összevetve más világirodalmi, illetve filmes alkotásokkal feltárjam a regény, valamint a történetben megtalálható motívumok értelmezési lehetőségeit. Továbbá célom amellett érvelni, hogy a történet megegyezik a beavatási, valamint az átmeneti rítusok szertartásának folyamatával, szerkezetével. A tanulmányban a regény fontosabb alapmotívumai kerültek kiemelésre: az ajtó, és annak a történetben betöltött funkciója – mint a különböző világok között átjárási lehetőséget biztosító poétikai eljárás; a köd és a tükör motívuma – melyek a látással állnak szoros kapcsolatban; továbbá a macska és az egér irodalomban betöltött szerepe. A dolgozat utolsó fejezetében a regény és a filmes adaptáció közötti eltérésekre keresem a válaszokat. A történet olvasható gyermekeknek szóló meseként, azonban a felnőtt olvasók számára is mély jelentéssel bír, ezért a művet a gyermeki és a felnőtt nézőpont közötti átmenetiség tükrében elemzem.
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Čipkár, Ivan. "Aesthetic Universals in Neil Gaiman’s Post-Postmodern Mythmaking." Prague Journal of English Studies 8, no. 1 (2019): 97–117. http://dx.doi.org/10.2478/pjes-2019-0006.
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Abstract Aesthetic theory, as reflected in both contemporary cognitive (Patrick Colm Hogan) and more traditional structuralist criticism (H.G. Widdowson), points to the dynamics between familiarity and surprise as the driving force behind the pleasure we derive from reading fiction. This paper explains how Neil Gaiman’s works, particularly his novel Neverwhere, utilize genre expectations and reinvent mythologies in order to captivate audiences in the current age of unprecedented access to information and a rather superficial intertextuality. The paper draws on Brian Attebery’s analyses of the literature of the fantastic to place Gaiman within the context of both modernist and postmodernist legacies, while proposing that his works could be best understood as representative of the current cultural paradigm, sometimes labelled as the pseudo-modern or post-postmodernism. The discussion of the shifting paradigm is used as a backdrop for the scrutiny of the devices employed in Gaiman’s writing: the pre-modern focus on storytelling, prototypicality, modernist “mythic principle”, postmodernist textual strategies, and utilization of current technologies and mass-communication media.
Dissertations / Theses on the topic "Gaiman, Neil"
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Camus, Cyril. "Mythe et fabulation dans la fiction populaire de Neil Gaiman." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20030.
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Les œuvres de Neil Gaiman sont souvent qualifiées de postmodernes dans la mesure où elles lient expérimentation et autoréflexivité à une démarche de fiction populaire qui leur paraît antagoniste. A l’inverse d'une œuvre postmoderniste typique, qui met en avant sa mise à nu des mécanismes fabulateurs, les métafictions et les parodies gaimaniennes restent des fictions fantastiques et merveilleuses où les enjeux fabulateurs (psychologie et parcours des personnages, intrigue, émotion et suspens) gardent leur place primordiale. Elles ne sont donc pas des œuvres expérimentales mêlées d'éléments de fiction populaire, mais des œuvres de fiction populaire autoréflexive. Cette posture singulière fait de ces œuvres un terrain d'exploration fertile pour la réflexion sur les spécificités de la fiction populaire, et sur la place privilégiée qu'y occupe la fabulation ("storytelling"), notion qu’Henri Bergson ou Frank McConnell considéraient comme le fil rouge entre l’écriture de fiction d’aujourd'hui et la mythopoèse religieuse d’autrefois. Cette dialectique instaurée entre fabulation, mythe et fiction populaire constitue le cœur thématique des œuvres de Gaiman, qui abondent en réécritures de mythes anciens, modernes, religieux, populaires, et en représentations de personnages d’écrivains et de conteurs traditionnels, ou de personae gaimaniennes, qui, au plus fort de l’intrigue comme aux confins du paratexte, au détour d’une préface ou d’une vignette de bande dessinée, forgent une représentation de la fiction comme mythe, de l’écrivain comme figure mythique du conteur, et de la fabulation comme activité humaine quintessentielle<br>Neil Gaiman’s fantasy works are often deemed postmodernist since they experiment with self-reflexivity and mix it with a supposedly antagonistic impulse towards popular fiction. Typical postmodernist works mostly emphasize their attacks against the fictional illusions of referentiality, character or plot. On the contrary, Gaiman’s works unapologetically remain within the bounds of fantasy, a genre in which imagination and storytelling are paramount–along with their related issues: characterization, plot, emotion and suspense. Thus, Gaiman’s fiction is not experimental fiction enhanced with elements of popular fiction, but actual popular fiction made self-reflexive. Thanks to that peculiar mood, studying Gaiman’s work is a very fruitful means of investigating the distinctive features of popular fiction, and its inherent emphasis on storytelling–or, as Henri Bergson called it, “fabulation.” Both Bergson and Frank McConnell focused on this notion which they saw as the essential link between ancient mythmaking and today’s fiction writing. Gaiman’s fiction mostly relies on such a dialectics between myth, popular fiction and storytelling or fabulation. His fantasy stories constantly rewrite ancient, religious myths, modern myths or the “myths” of popular fiction, and feature many fictional and historical writers, traditional storytellers, or Gaiman’s own personae, so that in paratext as well as in the heart of a narrative, in the quiet and supposedly reliable words of an introduction as surely as on the most striking comics panels, fiction is portrayed as myth, writers as mythical avatars of some archetypal storyteller, and storytelling as the one, quintessential human act
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Morais, Gabriele Cristina Borges de [UNESP]. "Topofilia e topofobia na Londres de Neil Gaiman." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141522.
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Previous issue date: 2016-05-31<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Na dissertação de mestrado “Topofilia e topofobia na Londres de Neil Gaiman”, pretendemos analisar a construção do espaço no romance Lugar Nenhum e a relação que o protagonista estabelece com ele. Na narrativa, Richard Mayhew, um escocês residente em Londres, torna-se invisível não apenas para as pessoas, mas também para os objetos que fazem parte da rotina da cidade, após ajudar uma estranha moradora de rua, que estava ferida. A única pessoa a notar sua presença é um mendigo que lhe apresenta uma alternativa para seu estado desesperador: passar a viver nos túneis e esgotos que formam uma cidade escondida sob Londres. Nesta cidade subterrânea, que seus moradores chamam de Londres de Baixo – em oposição à Londres de Cima, a Londres por nós conhecida – ele consegue reencontrar a moça que resgatara e que fora o estopim para esse novo modo de vida. Richard embarca em uma jornada em busca do responsável pelo assassinato de toda a família da moça, que se chama Door, juntamente com o marquês de Carabas e Hunter, seus protetores. Na Londres de Baixo, embora muitos locais preservem os mesmos nomes a que Richard estava habituado na Londres de Cima, ele descobre que nem tudo é o que parece e que o tempo e o espaço se configuram de forma muito diferente do que ele tinha como certo. Richard tem que se familiarizar com a nova cidade e com os hábitos de seus moradores. E ao estudo dessa espécie de conexão ou “relação de afeto” que se cria entre protagonista e espaço chamamos de topofilia. Além disso, para que se crie a conexão pautada no afeto e a sensação de segurança e pertencimento ao espaço, é preciso que Richard enfrente os medos que nele se escondem: a esta relação com os medos do espaço chamamos topofobia. Pretendemos discutir como topofobia e topofilia se interconectam no romance para criar a familiarização do protagonista – e, consequentemente, do leitor – com o espaço ficcional e como essa familiarização é essencial para a transformação de Richard de um simples trabalhador da Londres de Cima em um herói consagrado da Londres de Baixo.<br>In this Master’s thesis “Topophilia and topophobia in Neil Gaiman’s London”, we intend to analyse the creation of space in the novel Neverwhere and the relation established between its main character and space. In this novel, Richard Mayhew is a Scottish man living in London, who suddenly becomes invisible not only to the people, but also to the objects that are part of the city’s routine, after helping a strange homeless girl whom he found wounded on the sidewalk. The only person who sees Richard is a homeless man, who gives him an alternative solution to his despairing state: to live in a city hidden in the tunnels and sewers under London. In that city, called by its inhabitants London Below – in opposition to London Above, the London we know as “real” – he manages to meet once again the girl he rescued, whose name is Door. Accompanied by her and her protectors, the marquis de Carabas and Hunter, Richard starts a journey to find the responsible for the murder of the girl’s entire family. In London Below, though many places carry the same names to which Richard was used in London Above, he finds out that not all is what it seems and that time and space occur in very different ways. Richard has to familiarize himself with the new city and its inhabitants’ habits:we call the study of this relation of affection between character and space topophilia. Also, to create the affection and the sense of security and belonging to space, it is necessary that Richard face the fears hidden there: we call this relation with those fears in space topophobia. We intend to demonstrate, through the analysis of passages of the novel, how topophobia and topophilia relate to create the familiarization of the main character – and, consequently, the reader’s – with the fictional space, and how this familiarization is essential to turn Richard from an ordinary London worker into a London Below hero.
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Morais, Gabriele Cristina Borges de. "Topofilia e topofobia na Londres de Neil Gaiman /." Araraquara, 2016. http://hdl.handle.net/11449/141522.
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Orientador: Karin Volobuef<br>Banca: Aparecido Donizete Rossi<br>Banca: Renata Philippov<br>Resumo: Na dissertação de mestrado "Topofilia e topofobia na Londres de Neil Gaiman", pretendemos analisar a construção do espaço no romance Lugar Nenhum e a relação que o protagonista estabelece com ele. Na narrativa, Richard Mayhew, um escocês residente em Londres, torna-se invisível não apenas para as pessoas, mas também para os objetos que fazem parte da rotina da cidade, após ajudar uma estranha moradora de rua, que estava ferida. A única pessoa a notar sua presença é um mendigo que lhe apresenta uma alternativa para seu estado desesperador: passar a viver nos túneis e esgotos que formam uma cidade escondida sob Londres. Nesta cidade subterrânea, que seus moradores chamam de Londres de Baixo - em oposição à Londres de Cima, a Londres por nós conhecida - ele consegue reencontrar a moça que resgatara e que fora o estopim para esse novo modo de vida. Richard embarca em uma jornada em busca do responsável pelo assassinato de toda a família da moça, que se chama Door, juntamente com o marquês de Carabas e Hunter, seus protetores. Na Londres de Baixo, embora muitos locais preservem os mesmos nomes a que Richard estava habituado na Londres de Cima, ele descobre que nem tudo é o que parece e que o tempo e o espaço se configuram de forma muito diferente do que ele tinha como certo. Richard tem que se familiarizar com a nova cidade e com os hábitos de seus moradores. E ao estudo dessa espécie de conexão ou "relação de afeto" que se cria entre protagonista e espaço chamamos de topofilia. Além disso, para que se crie a conexão pautada no afeto e a sensação de segurança e pertencimento ao espaço, é preciso que Richard enfrente os medos que nele se escondem: a esta relação com os medos do espaço chamamos topofobia. Pretendemos discutir como topofobia e topofilia se interconectam no romance para criar a familiarização do protagonista - e,...<br>Abstract: In this Master's thesis "Topophilia and topophobia in Neil Gaiman's London", we intend to analyse the creation of space in the novel Neverwhere and the relation established between its main character and space. In this novel, Richard Mayhew is a Scottish man living in London, who suddenly becomes invisible not only to the people, but also to the objects that are part of the city's routine, after helping a strange homeless girl whom he found wounded on the sidewalk. The only person who sees Richard is a homeless man, who gives him an alternative solution to his despairing state: to live in a city hidden in the tunnels and sewers under London. In that city, called by its inhabitants London Below - in opposition to London Above, the London we know as "real" - he manages to meet once again the girl he rescued, whose name is Door. Accompanied by her and her protectors, the marquis de Carabas and Hunter, Richard starts a journey to find the responsible for the murder of the girl's entire family. In London Below, though many places carry the same names to which Richard was used in London Above, he finds out that not all is what it seems and that time and space occur in very different ways. Richard has to familiarize himself with the new city and its inhabitants' habits:we call the study of this relation of affection between character and space topophilia. Also, to create the affection and the sense of security and belonging to space, it is necessary that Richard face the fears hidden there: we call this relation with those fears in space topophobia. We intend to demonstrate, through the analysis of passages of the novel, how topophobia and topophilia relate to create the familiarization of the main character - and, consequently, the reader's - with the fictional space, and how this familiarization is essential to turn Richard from an ordinary London worker into...<br>Mestre
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Herndon, Karlie E. "Food and power in Roald Dahl's James and the giant peach and Neil Gaiman's Coraline." View electronic thesis (PDF), 2009. http://dl.uncw.edu/etd/2009-1/herndonk/karlieherndon.pdf.
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Lucchi, Amanda. ""The White Road" di Neil Gaiman: una proposta di traduzione." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8181/.
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L'obiettivo del presente elaborato è di fornire una proposta di traduzione dall'inglese all'italiano del poema "The White Road" di Neil Gaiman, pubblicato in Ruby Slippers, Golden Tears (1995) e in Smoke and Mirrors (1998). L'elaborato è articolato in: una breve presentazione dell’autore, con accento sui temi ricorrenti presenti nelle sue opere; una descrizione del testo scelto, sia in termini di struttura che di contenuti e riferimenti culturali; la proposta di traduzione con testo originale a fronte; un’analisi dei problemi traduttivi riscontrati con le relative soluzioni adottate.
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Marin, Hebe Tocci [UNESP]. "A sacralização da ciência em Deuses Americanos, de Neil Gaiman." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141511.
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Previous issue date: 2016-05-31<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Abordar a ciência e as mudanças científico-tecnológicas na literatura é uma prática que acompanha a humanidade e sua evolução desde o princípio. Dessa prática surge a Ficção Científica (FC), um dos muitos ramos da rica literatura gótica. Na nossa sociedade, que faz uso constante e cada vez maior da tecnologia e seus gadgets, porém, muitas das mudanças imaginadas pelos autores de FC, sendo elas fantásticas ou verossímeis, já foram alcançadas e, desta maneira, o gênero foi compelido a buscar novos temas e abordagens. À beira de uma revolução na FC, o autor inglês Neil Gaiman cria em sua obra Deuses Americanos (2001) um novo tipo de ciência: uma ciência sacralizada, “deusificada”. No romance, deuses de culturas e religiões antigas devem conviver com e sobreviver a novos deuses emergentes – os deuses da mídia, dos carros e dos computadores, entre outros. As duas gerações de deuses disputam a fé da humanidade, o que os alimenta, e nesse processo, muitos desses deuses evoluem, involuem ou até mesmo morrem. A FC criada por Neil Gaiman retorna ao mito para explicar o desconhecido e torna-se então uma espécie de FC “reversa”. Este trabalho propõe um debate sobre essa nova face da FC, com base nas teorias de Fred Botting, Mircea Elíade, Robert Adams e Sigmund Freud, entre outros.<br>Approaching science and technoscientific changes in literature has been done by humanity since the beginning and has evolved alongside with history. From this practice derives Science Fiction (SF), one of the many branches of gothic literature. In our society, which makes constant and increasing use of technology and gadgets, however, many changes imagined by SF authors, either fantastic or verisimilar, have already been reached and so the literary genre was compelled to search for new themes and approaches. On the brink of a revolution in SF, British author Neil Gaiman creates in his masterpiece, American Gods (2001), a new type of science: a sacralized and “godfied” science. In the novel, gods from different cultures and ancient religions must live with and survive to new emergent gods – gods of the media, of cars and computers, among others. Both generations of gods fight over what feeds them – the faith of mankind – and during this process, many of these gods evolve, devolve or even perish. The SF created by Neil Gaiman returns to the myth as an explanation to the unknown and becomes then a kind of “reverse” SF. This work proposes a debate on this new face of SF, based on the theories of Fred Botting, Mircea Elíade, Robert Adams and Sigmund Freud, among others.
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Marin, Hebe Tocci. "A sacralização da ciência em Deuses Americanos, de Neil Gaiman /." Araraquara, 2016. http://hdl.handle.net/11449/141511.
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Orientador: Aparecido Donizete Rossi<br>Banca: Alexander Meireles da Silva<br>Banca: Karin Volobuef<br>Resumo: Abordar a ciência e as mudanças científico-tecnológicas na literatura é uma prática que acompanha a humanidade e sua evolução desde o princípio. Dessa prática surge a Ficção Científica (FC), um dos muitos ramos da rica literatura gótica. Na nossa sociedade, que faz uso constante e cada vez maior da tecnologia e seus gadgets, porém, muitas das mudanças imaginadas pelos autores de FC, sendo elas fantásticas ou verossímeis, já foram alcançadas e, desta maneira, o gênero foi compelido a buscar novos temas e abordagens. À beira de uma revolução na FC, o autor inglês Neil Gaiman cria em sua obra Deuses Americanos (2001) um novo tipo de ciência: uma ciência sacralizada, "deusificada". No romance, deuses de culturas e religiões antigas devem conviver com e sobreviver a novos deuses emergentes - os deuses da mídia, dos carros e dos computadores, entre outros. As duas gerações de deuses disputam a fé da humanidade, o que os alimenta, e nesse processo, muitos desses deuses evoluem, involuem ou até mesmo morrem. A FC criada por Neil Gaiman retorna ao mito para explicar o desconhecido e torna-se então uma espécie de FC "reversa". Este trabalho propõe um debate sobre essa nova face da FC, com base nas teorias de Fred Botting, Mircea Elíade, Robert Adams e Sigmund Freud, entre outros.<br>Abstract: Approaching science and technoscientific changes in literature has been done by humanity since the beginning and has evolved alongside with history. From this practice derives Science Fiction (SF), one of the many branches of gothic literature. In our society, which makes constant and increasing use of technology and gadgets, however, many changes imagined by SF authors, either fantastic or verisimilar, have already been reached and so the literary genre was compelled to search for new themes and approaches. On the brink of a revolution in SF, British author Neil Gaiman creates in his masterpiece, American Gods (2001), a new type of science: a sacralized and "godfied" science. In the novel, gods from different cultures and ancient religions must live with and survive to new emergent gods - gods of the media, of cars and computers, among others. Both generations of gods fight over what feeds them - the faith of mankind - and during this process, many of these gods evolve, devolve or even perish. The SF created by Neil Gaiman returns to the myth as an explanation to the unknown and becomes then a kind of "reverse" SF. This work proposes a debate on this new face of SF, based on the theories of Fred Botting, Mircea Elíade, Robert Adams and Sigmund Freud, among others.<br>Mestre
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Dixon, Sean. "Folklore and Mythology in Neil Gaiman's American Gods." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22735.
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This thesis provides a critical analysis of the use of folklore and mythology that exists in Neil Gaiman's award-winning novel, American Gods. I focus on the ways in which American Gods is situated within an intertextual corpus of mythological and mythopoeic writing. In particular, this study analyses Gaiman’s writing by drawing upon Mircea Eliade’s ideas about mythology and Northrop Frye’s archetypal criticism to discuss the emergence of secular myth through fantasy fiction.
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Dessì, Giulia. "“The Treasures of the Gods” di Neil Gaiman: proposta di traduzione." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13798/.
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L'elaborato consiste in una proposta di traduzione di un racconto tratto da "Norse Mythology" di Neil Gaiman e in una breve analisi dell’origine e della storia traduttiva dei due testi medievali alla base dell’opera di Gaiman, l’Edda di Snorri e l’Edda poetica, da cui deriva gran parte della nostra conoscenza della mitologia norrena.
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Stepanek, Ellyn. "POP-CULTURE ARTIFACTS: VICE, VIRTUE AND VALUES IN AMERICAN GODS." Cleveland State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1209741511.
Full textBooks on the topic "Gaiman, Neil"
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Soares, David. Neil Gaiman: Sonhos, palavras e imagens. Centro Nacional de Banda Desenhada e Imagem, 2004.
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Gaiman, Neil, and Maria Dahvana Headley, eds. Unnatural Creatures: Stories Selected by Neil Gaiman. Harper, 2013.
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Christopher, Golden, and Bissette Stephen, eds. Prince of stories: The many worlds of Neil Gaiman. St. Martin's Griffin, 2009.
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Christopher, Golden, and Bissette Stephen, eds. Prince of stories: The many worlds of Neil Gaiman. St. Martin's Press, 2008.
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Gaiman, Neil. Mu yuan li de nan hai: The graveyard book / Neil Gaiman. Huang guan wen hua chu ban you xian gong si, 2009.
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Good madness: A collection of essays on the work of Neil Gaiman. Inter-Disciplinary Press, 2014.
Find full textBook chapters on the topic "Gaiman, Neil"
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Klauk, Tobias, and Stephan Naguschewski. "Gaiman, Neil." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8584-1.
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Klauk, Tobias, and Stephan Naguschewski. "Neil Gaiman." In Kindler Kompakt: Horrorliteratur. J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04502-7_45.
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Klauk, Tobias, and Stephan Naguschewski. "Gaiman, Neil: Graphic Novels." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8585-1.
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Klauk, Tobias, and Stephan Naguschewski. "Gaiman, Neil: Das erzählerische Werk." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8586-1.
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Bida, Aleksandra. "Homecoming in Neil Gaiman’s Neverwhere." In Mapping Home in Contemporary Narratives. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97967-0_4.
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Wheeler, Alexandra-Mary. "The Porosity of Human/Nonhuman Beings in Neil Gaiman’s American Gods and Anansi Boys." In Indigenous Creatures, Native Knowledges, and the Arts. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56874-4_7.
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Brasse, Freya. ".Kindliche Ängste und drohender Ich-Verlust als Motive von Neil Gaimans Coraline und Lewis Carrolls Alice im Wunderland." In Zur Ästhetik psychischer Krankheit in kinder- und jugendliterarischen Medien. V&R unipress, 2020. http://dx.doi.org/10.14220/9783737010597.347.
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Baumann, Mona. "Ähnlich und doch nicht gleich. Das Unheimliche nach Sigmund Freud in Neil Gaimans Coraline und Henry Selicks gleichnamiger Verfilmung." In Zur Ästhetik psychischer Krankheit in kinder- und jugendliterarischen Medien. V&R unipress, 2020. http://dx.doi.org/10.14220/9783737010597.73.
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Willems, Brian. "Double-Vision: Neil Gaiman." In Speculative Realism and Science Fiction. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474422697.003.0004.
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A number of works by Neil Gaiman include incomprehensible elements within a comprehensible story. Such inclusion in sf is here called the Zug effect. This effect appears in Gaiman’s work when diachronic events are represented synchronically. In his novel Anansi Boys (2005), Gaiman calls these events moments of ‘double-vision’. These moments consist of the co-presencing of the changed and the unchanged within a single being at one moment in time. In other words, a world is developed in which both the knowable and unknowable appear together. While change is everywhere around us, in germination, growth and decay, the term ‘double-vision’ indicates the potential of seeing more than one side of a transformation simultaneously, thereby presenting a moment of stasis within change. One of the important consequences of Gaiman’s double-vision is that the movement of change then becomes easier to see.
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Hayles Gledhill, Evan. "25 Neil Gaiman: The Sandman." In Handbook of Comics and Graphic Narratives. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110446968-029.
Full textConference papers on the topic "Gaiman, Neil"
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Restrepo, Bernardo, Larry E. Banta, Alex J. Tsai, and David Tucker. "Combination of a Nonlinear Static and a Linear Dynamic Model of the NETL HyPer System." In ASME 2010 8th International Conference on Fuel Cell Science, Engineering and Technology. ASMEDC, 2010. http://dx.doi.org/10.1115/fuelcell2010-33111.
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A nonlinear steady-state thermodynamic model was coupled with linearized dynamic transfer functions to achieve a dynamic description of the NETL HyPer Fuel Cell Gas Turbine (FC/GT) power plant. Nonlinear dynamic models insure accuracy in modeling steady-state behavior over a wide range of operation, but such models are often complex and difficult to implement in real-time using conventional control systems equipment. Conversely, the linearized models provide the ability to predict transient behavior upon which dynamic control systems can be constructed, but are valid only about a narrow operating point. In systems with one or two state variables, it is relatively straightforward to construct controllers that use gain scheduling schemes. But the HyPer system contains many coupled state variables and high degrees of nonlinearity. A method called Real-Time Piecewise Linear Dynamic Modeling (RPLDM) has been implemented to provide both modeling accuracy and real-time performance for the HyPer system over a multi-dimensional hypersurface. Both the nonlinear and the linear constituent models were constructed based on experimental data collected in tests performed on the HyPer system. The models presently consider only the cathode circuit of the fuel cell and contain a recuperated gas turbine system equipped with an electric generator, a simulated fuel cell cathode and various bypass valves for thermal management and system control. The key variables of air temperature, air pressure and mass flow to the cathode of the fuel cell and the turbomachinery have been predicted to within 2% of measured values. This paper presents the modeling technique and comparisons of the model output with experimental data.
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Marino, Silvio C., and Estevam R. Hruschka Junior. "Automatic Identification of Equivalence of Concepts in Different Languages for Never-Ending Learning." In XV Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2018. http://dx.doi.org/10.5753/eniac.2018.4412.
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This paper describes the process of automatic identification of concepts in different languages using a base that relies on simple semantic and morphosyntactic characteristics like string similarity, difference in words amount and translation position on dictionary (when exists) and a neural network that has been used as a model of machine learning. All experiments use data that was obtained from a few categories of Read The Web (RTW) project and an endless learning computation system called NELL: Never-Ending Language Learning. The results were compared with dictionary and showed that the introduction of neural network brought a significant gain in the process of equivalence of concepts.
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Tsai, Alex, David Tucker, and Craig Groves. "Improved Controller Performance of Selected Hybrid SOFC-GT Plant Signals Based on Practical Control Schemes." In ASME Turbo Expo 2010: Power for Land, Sea, and Air. ASMEDC, 2010. http://dx.doi.org/10.1115/gt2010-22470.
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This paper compares and demonstrates the efficacy of implementing two practical Single Input Single Output (SISO) multi-loop control schemes on the dynamic performance of selected signals of a Solid Oxide Fuel Cell Gas Turbine (SOFC-GT) hybrid simulation facility. The hybrid plant, located at the U.S. Department of Energy National Energy Technology Laboratory (NETL) in Morgantown WV, is capable of simulating the interaction between a 350kW SOFC and a 120kW GT using a Hardware-in-the-Loop (HIL) configuration. Previous studies have shown that the thermal management of coal based SOFC-GT hybrid systems is accomplished by the careful control of the cathode air stream within the fuel cell (FC). A decoupled centralized and dynamic de-centralized control scheme is tested for one critical airflow bypass loop to regulate cathode FC airflow and modulation of turbine electric load to maintain synchronous turbine speed during system transients. Improvements to the studied multivariate architectures include: feed-forward (FF) control for disturbance rejection, anti-windup (AW) compensation for actuator saturation, gain scheduling for adaptive operation, bumpless transfer (BT) for manual to auto switching, and adequate filter design for the inclusion of derivative action. Controller gain tuning is accomplished by Skogestad’s Internal Model Control (SIMC) tuning rules derived from empirical First Order Plus Delay Time (FOPDT) Transfer Function {TF} models of the hybrid facility. Avoidance of strong Input-Output (IO) coupling interactions is achieved via Relative Gain Array (RGA), Niederlinski Index (NI), and Decomposed Relative Interaction Analysis (DRIA), following recent methodologies in PID control theory for multivariable processes.
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Saha, Pankaj, Peter Strakey, Donald Ferguson, and Arnab Roy. "Numerical Analysis of Detonability Assessment in a Natural Gas-Air Fueled Rotating Detonation Engine." In ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-11728.
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Abstract Rotating Detonation Engines (RDE) offer an alternative combustion strategy to replace conventional constant pressure combustion with a process that could produce a pressure gain without the use of a mechanical compressor. Recent numerical and experimental publications that consider air as the oxidizer have primarily focused on the ability of these annular combustors to sustain a stable continuous detonation wave when fueled by hydrogen. However, for this to be a viable consideration for the land-based power generation it is necessary to explore the ability to detonate natural gas and air within the confines of the annular geometry of an RDE. Previous studies on confined detonations have expressed the importance of permitting detonation cells to fully form within the combustor in order to achieve stability. This poses a challenge for natural gas–air fueled processes as their detonation cell size can be quite large even at moderate pressures. Despite the practical importance, only a few studies are available on natural gas detonations for air-breathing RDE applications. Moreover, the extreme thermodynamic condition (high temperature inside the combustor) allows limited accessibility inside the combustor for detailed experimental instrumentations, providing mostly single-point data. Recent experimental studies at the National Energy Technology Laboratory (NETL) have reported detonation failure at higher methane concentration in an air-breathing RDE fueled by natural gas-hydrogen fuel blends. This encourages to perform a detailed numerical investigation on the wave characteristics of detonation in a natural gas-air fueled RDE to understand the various aspects of instability associated with the natural gas-air detonation. This study is a numerical consideration of a methane-air fueled RDE with varying operating conditions to ascertain the ability to achieve a stable, continuous detonation wave. The simulations have been performed in a 2D unwrapped RDE geometry using the open-source CFD library “OpenFOAM” employing an unsteady pressure-based compressible reactive flow solver with a k–ε turbulence model in a structured rectangular grid system. Both reduced and detailed chemical kinetic models have been used to assess the effect of the chemistry on the detonation wave characteristics and the underlying flow features. A systematic grid sensitivity study has been conducted with various grid sizes to quantify the weakly stable overdriven detonation on a coarse mesh and oscillating features at fine mesh resolutions. The main focus of the current study is to investigate the effects of operating injection pressure on detonation wave characteristics of an air-breathing Rotating Detonation Engine (RDE) fueled with natural gas-hydrogen fuel blends. Wave speeds, peak pressures and temperatures, and dominant frequencies have been computed from the time histories. The flow structures were then visualized using 2D contours of temperature and species concentration.