Dissertations / Theses: 'La Trilogie des dragons'

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Nadeau, Karine. "La trilogie des dragons : lecture d'un système riche, complexe et évolutif." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25423/25423.pdf.

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Walther, Jacquelyn. "The Dragons in your Dreams." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2815.

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What if every craving that you ever felt stayed with you forever? Suppose facades couldn’t exist, and what should only be the deepest, densest core of a desire was formed into a mass, a body. Its will matching yours in its physical presence. I make creatures that are embodiments of emotions. In this study I mainly focus on desires and inhibitions surrounding romance. I explore anatomical structures and how material make-up can directly reflect emotional character. In this exploration, the materiality of clay allows for a thorough manipulation of the composition of the creatures. In this I am also able to manipulate the material properties of clay to reflect states of existential discomfort, pushing the limits of material structure and stability. The final presentation of these creatures are as specimens of inhibitions, drawing in the viewer with empathy and repulsion as a fantastic other.

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3

Larocque, Marie-Claire. "Installation architectonique : trilogie "topophonique"." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1996. http://theses.uqac.ca.

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Lacroix, Constance. "Jane Barker et la Trilogie de Galesia : commentaire, annotation et traduction d'une trilogie jacobite." Phd thesis, Université de Valenciennes et du Hainaut-Cambresis, 2013. http://tel.archives-ouvertes.fr/tel-00838505.

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Ce travail a pour fin de mieux faire connaître l'oeuvre de la polygraphe jacobite Jane Barker en France, en offrant une première traduction littéraire ainsi qu'un commentaire d'un cycle de trois récits romanesques : The Amours of Bosvil and Galesia -- également connu sous le titre de Love Intrigues --, A Patch-Work Screen for the Ladies et The Lining of the Patch-Work Screen. Afin de rendre plussensible la spécificité de ces textes, la traduction s'efforce de retrouver une langueaussi proche que possible du français des contemporains de Jane Barker. Après unaperçu de la vie de Jane Barker (1652-1732), puis de sa fortune critique au XXesiècle, le commentaire prolonge le travail de contextualisation historique et idéologique ébauché dans l'appareil de notes parallèle (travail également pré-requispar la traduction) en étudiant successivement chacune des trois œuvres du corpus. A l'aide des hypotextes manuscrits de la trilogie, largement construite sur une oeuvre poétique antérieure vouée à une diffusion manuscrite, il s'attache à esquisser, dans la lignée des études critiques influencées par le nouvel historicisme, les résonances intellectuelles et les implications idéologiques, ainsi que les audaces esthétiques d'une oeuvre longtemps considérée comme alimentaire et comme dominée par la recherche d'une respectabilité propre à l'écrivain femme. Abandonnant l'image posthume de Jane Barker comme fille autoproclamée de la chaste Orinda, il souligne la pluralité du discours Barkerien - méditation, plaidoyer pro-Stuart et injonction, mais aussi interaction de codes romanesques en constitution et d'une idéologie subversive.

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Sharp, L. Kathryn, and Mary C. Myron. "Dragons Naturally Speaking with Young Children." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/4283.

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Höffgen, Thomas [Verfasser]. "Goethes Walpurgisnacht-Trilogie / Thomas Höffgen." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2015. http://d-nb.info/108045862X/34.

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7

Li, Zhou. "Multi-channel quantum dragons in rectangular nanotubes." Thesis, Mississippi State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1586984.

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Recently the theoretical discovery of single channel quantum dragons has been reported. Quantum dragons are a class of nanodevices that may have strong disorder but still permit energy-independent total quantum transmission of electrons. This thesis illustrates that multi-channel quantum dragons also exit in rectangular nanotubes and provide an approach to construct multi-channel quantum dragons in rectangular nanotubes. Rectangular nanotube multi-channel quantum dragons have been validated by matrix method based quantum transmission calculation. This work could pave the way for constructing multi-channel quantum dragons from more complex nanostructures such as single-walled zigzag carbon nanotubes and single-walled armchair carbon nanotubes.

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Donnelly, Keith. "Three Dragons Doomed: A Donald Youngblood Mystery." Digital Commons @ East Tennessee State University, 2014. http://amzn.com/0895876272.

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"Outside the small town of Saddle Boot, West Virginia, a bulldozer uncovers a long-buried body. Only four living people know it's that of drifter Johnny Cross. But Johnny Cross was not who he appeared to be. In the early-morning hours a few days later, in Mountain Center, Tennessee, a body is dumped in a downtown back alley, a young female dead less than twenty-four hours. Over the next few weeks, two more dead females turn up in East Tennessee. A serial killer with an unusual signature is on the loose. The only thing that connects these events is private investigator Donald Youngblood. Don knows the identities of the body in West Virginia and the dead women dumped in East Tennessee. He also knows the bodies are personal messages for him from a killer seeking revenge. A new and deadly game has begun. In this unique double sequel to Three Days Dead and Three Devils Dancing, Youngblood wrestles with two separate and distinct cases: finding the true identity of Johnny Cross and tracking down a serial killer who seems to be in a big hurry for a final showdown."--AMAZON
https://dc.etsu.edu/alumni_books/1004/thumbnail.jpg

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Aikio, J. (Jukka). "Misunderstandings during gameplay of Dungeons and Dragons." Master's thesis, University of Oulu, 2019. http://jultika.oulu.fi/Record/nbnfioulu-201904041427.

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Abstract. The goal of this study was to locate misunderstandings, their causes and ways of resolving them during the gameplay of Dungeons and Dragons, in hopes of discovering what causes misunderstandings that disrupt the game and make it less enjoyable for players. Along with a short history of the development of the game, key terminology, core of gameplay, and the three main aspects of gameplay were also introduced. Dungeons and Dragons was inspected as a game and a co-operatively constructed narrative, thus narrative theory was included in the theoretical framework of this study, in addition to theory of miscommunication. The study was conducted by analysing extracts of a video recording of a single gameplay session of Dungeons and Dragons. The extracts under analysis were categorised under one of the three aspects of gameplay (combat, exploration, social interaction). The extracts were then presented with an amount of context, after which the causes of misunderstandings present in the extract were analysed and discussed. Collective discussion of the extracts and linguistic elements that caused misunderstanding followed the analysis section. During the discussion, the extracts were comparatively discussed and related to the specific elements that seemed to cause misunderstanding. Finally, the results of the study were summarized in the concluding section of the study. Most of the misunderstandings that were present in the data occurred during the combat aspect of the game and were caused by, or closely related to rules of the game. Misunderstandings that occurred during exploration and social interaction were found to be less disruptive, as they could occasionally be tied to the surrounding narrative, which would arguably reduce their disruptiveness. The misunderstandings that occurred were most commonly resolved by negotiating an understanding between the communicants, or by way of repair. Because of the small sample size, generalizable ways to counteract or avoid misunderstandings were not discovered. Nevertheless, tentative speculation of ways to avoid misunderstandings was provided on occasions where possible. Further research of role-playing games might be directed towards the effects that a dungeon master’s actions have on a game. Alternatively, focus could be directed towards the functions that table-top role-playing games might have outside of entertainment, such as educational functions for example.Tiivistelmä. Tutkimuksen kohteena olivat väärinymmärrykset Dungeons and Dragons pöytäroolipelissä. Tutkimuksen tavoitteena oli paikallistaa mikä aiheuttaa väärinymmärryksiä, miten väärinymmärrykset ratkaistiin, sekä miten väärinymmärryksiä voidaan välttää, jotta peliä häiritsevien elementtien syyt saataisiin selville ja siten häiriötekijät voitaisiin minimoida. Pelin kehityshistoria sekä sen terminologia ja perusteet esiteltiin lyhyesti tutkimuksen yhteydessä. Perusteista tärkeimpinä mainittakoon pelin toimintaperiaate sekä sen kolme peruspilaria (taistelu, tutkinta, ja sosiaalinen kanssakäynti). Dungeons and Dragons -peliä analysoitiin yhteisesti luotuna narratiivina, minkä takia kommunikaatiovaikeuksien teorian lisäksi tutkimuksen viitekehykseen kuului myös narratiivintutkimus. Tutkimuksen aineistona toimivat otteet yhden kokonaisen pelisession videonauhoitteesta. Otteet lajiteltiin pelin kolmen peruspilarin mukaan, jonka jälkeen ne esitettiin lukijalle ja analysoitiin yksitellen, keskittyen väärinymmärrystä aiheuttaviin tekijöihin. Analyysia seuraavassa osiossa keskustelu keskittyi otteita yhdistäviin tekijöihin ja väärinymmärrystä aiheuttaviin elementteihin kollektiivisesti. Tutkimuksen päätteeksi analyysin ja keskustelun pohjalta esitettiin yhteenveto. Suurin osa väärinymmärryksistä tapahtui taistelujaksojen yhteydessä ja johtui säännöistä. Säännöistä johtuvat väärinymmärrykset haittasivat pelin etenemistä myös eniten, verrattuna väärinymmärryksiin pelin kahden muun aspektin aikana. Muiden peruspilarien aikana tapatuvat väärinymmärrykset sidottiin usein pelin narratiiviin, mikä vähensi niiden haittavaikutusta ainakin säännöistä johtuviin väärinymmärryksiin verrattuna. Väärinymmärrykset ratkaistiin useimmiten neuvottelemalla yhteisymmärrys keskusteluun osallistuvien osapuolien kesken. Yleistettäviä keinoja torjua ja välttää väärinymmärrystä ei kyetty johtamaan tutkimusmateriaalin rajatusta koosta johtuen. Siitä huolimatta muutamia hypoteettisia keinoja esiteltiin silloin kun niitä kyettiin johtamaan analysoitavista otteista. Pöytäroolipelien tutkimusta voitaisiin tulevaisuudessa suunnata kohti vaikutuksia, joita pelinjohtajan roolia täyttävällä pelaajalla ja hänen teoillaan on peliin kokonaisuudessaan. Tulevaisuudessa tutkimus voisi myös suuntautua pöytäroolipelien eri tarkoituksiin viihteen lisäksi, kuten esimerkiksi pöytäroolipeleihin opetustyökaluna.

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Strickland, Klaira. "Defining Fan Subcultures within Dungeons & Dragons." Thesis, Western Illinois University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10809137.

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First created in 1974, the largest table-top role-playing game (RPG) Dungeons & Dragons (D&D) started out as a war game where multiple players could join in and fight monsters. Grounded in fantasy conventions and as a way to explore fantasy genres, Dungeons & Dragons popularity continued through new editions and add-ons. In addition, Dungeons & Dragons legacy has lived on in the gaming world as the father of most RPGs and fantasy games with a large fan following across various editions and over multiple decades. The fan following is still evident today due to D&D's foundations in high fantasy. An exploration of the ways in which fantasy narrative plays a role in the fan culture of D&D is necessary to understand how the aspects of fantasy affect gameplay and how players view D&D. By conducting a study of Dungeons & Dragons players which focused on close game play, players' relationships to other fantasy genres, and how players interacted with game conventions, I explored the ways in which Dungeons & Dragons introduced players to fantasy and how they participated in a fandom. This paper will present the findings of the study as well as situate Dungeons & Dragons in relationship to other fantasy and gaming subcultures.

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11

Bashaw, Howard Eugene. "Musical composition, The silent dragons, with document." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/29331.

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The Silent Dragons is an 18-minute work for chamber ensemble and male chorus. The voice part has no literary or linguistic content, but uses phonemes for their sonic and expressive character. Compositional activity is organized into two essential layers; texture and drone. In its many forms, the textural layer persists throughout the entire composition and is perceived as the concurrence of two distinct continuums; the continuum of cumulative rhythmic effect in which the listener registers and interprets change in the total attack rhythm, and the continuum of textural transformation in which one perceives transitions from one overall textural condition to another. Both continuums arise from the consistent change in the structure of successive textural sonorities. Unlike texture, the drone lasts just one half the composition's overall length and is positioned temporally in the textural layer as a central segment. Both texture and drone are structured similarly in ternary form; the ternary form of the drone is contained within the ternary form of the textural layer. In this sense, and in the impression they make, texture and drone, respectively, provide the composition with primary and secondary forms of continuity. Each continuity has a strategic interim destination, an event, that activity 'must' proceed to and recede from; these destinations are, therefore, climatic in nature and are perceived as the two most significant events in the composition. Apart from sonority, texture and drone are distinguished primarily with reference to tonality; the textural layer is essentially non-tonal and is perceived, by and large, in terms of color and rhythm. The drone, however, is designed to induce a sense of tonality by means of heterophonic and linear relationships that conduce to perceptions of pitch emphasis and, ultimately, pitch centricity.
Arts, Faculty of
Music, School of
Graduate

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12

Schlömp, Tilman. "Gian Francesco Malipieros Musiktheorie-Trilogie L'Orfeide /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1999. http://catalogue.bnf.fr/ark:/12148/cb37046721h.

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13

Harpet, Cyrille. "Trilogie du déchet : corps, ville, indutrie." Lyon 3, 1997. http://www.theses.fr/1997LYO31018.

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Le dechet est analyse en tant que matiere produite par trois systemes differencies: le premier est celui du corps en tant que systeme de production de matieres organiques soumises a des schemes de perception-representation et livrees a certains rites et pratiques. La langue sert en outre de support notable quant aux modes de discrimination des matieres et permet de degager les types de rapport etablis sur le mode de la repulsion ou de la connivence a l'egard du corps et de ses productions. De la l'emergence d'un corps sans cesse soumis a la symbolisation dont la medecine, l'anthropologie, la psychopathologie et l'examen de diverses oeuvres litteraires permet de degager les principes ainsi que les lignes de convergence quant au processus de discrimination et d'abjection de l'excrementiel. Le second systeme investi est celui de la cite humaine a travers l'histoire, lequel nous porte a reinscrire le corps de tout individu au sein d'un corps social et de le connecter a l'ensemble des processus de proscription, de relegation, d'exclusion sur des plans essentiellement d'ordre urbanistique, social, economique et politique. La ville est aussi investie dans ses divers lieux et espaces detritiques que sont les egouts, decharges, depotoirs, bas-fonds, autant de foyers de la repudiation et de l'assimilation a l'infame. Enfin, dans un troisieme temps, les modes de traitement des dechets issus des activites de consommation et de production modernes font l'objet d'une veritable industrie specialisee et instrumentee des techniques les plus eprouvees, s'appuyant sur les donnees des sciences les plus poussees. Le dechet est situe au coeur meme d'un processus de maitrise des flux, de controle de son devenir. Sortant progressivement de sa seule valeur excrementielle pour acceder a un rang materiologique de plus en plus complexe du fait meme de l'etendue des possibilites techniques industrielles, le dechet invite a s'interroger sur les modes de determination, de statut, de conjuration et de traitement avec les enjeux nouveaux que sont la preservation de la sante publique, des milieux de vie et du devenir de l'homme confronte aux masses detritiques exponentielles
Garbage is considered as something obtained in three different ways. The first one from the body in terms of organic matter system involving perception-representation patterns and opened onto rituals and practices. Besides language is used as a specific propper as far as ways of discriminating organic elements. It enables us to find out the connections realized in terms of repulsion/attraction towards the body and its parts. It so brings forth the notion of a body all the time seen as a symbolization. For examples, in medecine, anthropology, psychopathology but also in literary works, one can find out principles as well as main converging lines expressed through those sciences in terms of discriminative process of excremential abjection. The second system is that of the city through history. It implies the reinscription of any man's body inside a social body and connects it to all the process involving proscription, exclusion (urbanistically, socially and politically speaking). The town is also involved through its different places and dump spaces as sewers, dumps, garbage, slums, considered as many centers of corruption. Thirdly, means of garbage treatment from consuming activities and industrial production appear as a real specialised activity sector dealing with far ahead techniques. In it, garbage is thought as something taken in the regulation of flow controls in the present and further on the line (just to know what will become of it materially speaking). Then, slowly leaving behind its excremential value to reach a more and more complex materiological level because of technological progress garbage must be thought for its own condition, identification, conjuration and treatment implying a new deal such as social health protection, environment and the future of man

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Givens, John Wagner. "Suing dragons? : taking the Chinese state to court." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:a016f84a-3df8-4df7-88bb-4475372022f0.

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This dissertation analyses the ability of Chinese lawyers to use administrative litigation to protect individuals and groups from an authoritarian state that frequently infringes on their rights. These plaintiffs fill administrative courts in China, opposing the overzealous tactics of police, challenging the expropriation of their land, and disputing the seizure and demolition of their homes. Empirically, it relies on several unique data sources in a mixed-methodological approach. Qualitative and small-n quantitative data from 126 interviews with a random sample of Chinese lawyers and 52 additional interviews are supplemented by documentary sources. These findings are then tested against official data and a large survey of Chinese lawyers. This research demonstrates that administrative litigation is part of a polycentric authoritarian system that helps the Chinese state to monitor its agents, allows limited political participation, and facilitates economic development (Chapter One). By giving ordinary Chinese a chance to hold their local governments accountable in court, administrative litigation represents a significant step towards rule of law, but its limited scope means that it has not been accompanied by dramatic liberalisation (Chapter Three). In part, this is because the most prolific and successful administrative litigators are politically embedded lawyers, insiders who challenge the state in court but eschew the most radical cases and tactics (Chapter Four). The tactics that allow politically embedded lawyers to successfully litigate administrative cases rely on and contribute to China’s polycentric authoritarianism by drawing in other state, quasi-state, and non-state actors (Chapter Five). Multinationals in China are largely failing to contribute to the development of China’s legal system because they readily accept preferential treatment from the Chinese state as an alternative to litigation (Chapter Six). While administrative litigation bolsters China’s polycentric authoritarianism in the short term, it offers tremendous potential for rationalisation, liberalisation, and even democratisation in the long term.

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Bret, Thierry. "Jules Vallès : la violence dans la trilogie /." Paris : l'Harmattan, 2007. http://catalogue.bnf.fr/ark:/12148/cb411386182.

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Das, Soumitro. "La Trilogie de Samuel Beckett : une étude." Paris 7, 1991. http://www.theses.fr/1991PA070047.

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Notre these se veut une interpretation de la trilogie de samuel beckett, une tentative de determiner le sens de l'oeuvre pour le sujet contemporain que nous sommes. Pour mener ce travail, nous avons choisi de nous situer a un lieu, familier et etrange, qu'est le sujet, puisque ce lieu nous offre l'acces a des disciplines differentes telles que l'anthropologie de la religion, la psychanalyse, etc. , et nous permet de faire une reference a la biographie de l'auteur. Nous avons ete amene, ainsi, a relier le texte a des influences primordiales comme le protestantisme, mais aussi de l'enraciner dans une formation subjective susceptible de nous livrer les ressorts psychologiques - dynamiques et economiques qui l'ont agencee de cette maniere specifique. La triologie est, pour nous, uneoeuvre qui decrit les brillantes peripeties et les aussi brillants impasses de la subjectivite parlante, au niveau le plus profond possible, celui de l'inconscient
This thesis is an interpretation of the trigoly of samuel beckett, an attempt to determine the meaning of the for a modern reader. To this end, we have chosen to place ourselves in a certain perspective, familiar and strange, which is that of the subject. This allows us to refer to disciplines such as the anthropology of religion, psychoanalysis, etc. , as well as the biography of the author. We have been able, thus, to relate the text to such primordial influences such as protestantism, but also to a subjective formation from which we could derive the psychological factors which have shaped the work in this fashion. The trilogy is, for us, a work which speaks of the speaking subject at the deepest level possible, that of the unconscious

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Uszynski, Edward T. "Past watchful dragons the postmodern apologetic of C.S. Lewis /." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Clements, Philip Jameson. "Dungeons & Discourse: Intersectional Identities in Dungeons & Dragons." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1573729920432102.

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Hauer, Johannes Gerhard. "Musik in der "rheintalischen Trilogie" von Robert Schneider /." kostenfrei, 2007. http://othes.univie.ac.at/186/.

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Bray, Annie J. "L'inscription de l'histoire dans la trilogie d'Hélène Brodeur." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ57091.pdf.

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Wichert, Michael Patrick. "Erzählte Fremdheitserfahrung Studien zu Alfred Döblins 'Amazonas'-Trilogie /." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB10547324.

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Dusová, Tereza. "Lars von Trier a jeho (nejen Americká) trilogie." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96895.

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The theses is dedicated to the film trilogies of Lars von Trier and the changes in his attitude towards the film-making. There is an obvious fascination with the visual aspect of the film and the visual expressivity in the beginning of his career. On the other end stands a fascination with the story and it´s charecters. Main chapters are on Trier´s conceptual attitude towards the film-making, the topics he´s interested in, the type of Trier´s main character, the way Trier works with the story, the filming methods he uses, and about his films in whole. The main part presents the incomplete American Trilogy: films Dogville and Manderlay.

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Illouz, Charles. "Les fils du lézard : trilogie matrimoniale en Mélanésie." Paris, EPHE, 1989. http://www.theses.fr/1989EPHE5006.

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L'analyse de la mythologie de Mare (iles loyauté) portant sur un corpus d'une centaine de récits, a permis a l'auteur d'observer la construction d'un vaste dispositif symbolique : les êtres du monde marin y sont opposés aux êtres du monde aérien et se trouvent impliqués dans une négociation de "chair" dont les êtres du monde rampant "mitoyen" offrent la médiation. C'est au travers de ces trois grandes catégories formant la base d'une véritable rhétorique mythologique qu'est appréhendée la place prise par les concepts de nom, d'enveloppe et de cannibalisme. Les mythes apparaissent alors comme autant de discours portant sur la quête matrimoniale et la stratégie des alliances
The analysis of the Mare mythology (Loyalty islands), supported by a body of a one hundred stories, has enabled the author to observe that there is a huge symbolic operation taking place: the sea world creatures are opposed to the air world creatures, and are involved in a sort of "flesh" negotiation whose creatures of the creeping world offer the go-between. It is through these three main categories which shape the basis of a real mythological rhetoric, that the place taken by the concepts of name, envelope, cannibalism is apprehended. The myths, then, seem to have many discourses focused on the matrimonial quest and the strategy of alliances

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Saleh, Nada. "Les didascalies dans la trilogie espagnole de Beaumarchais." Toulouse 2, 2003. http://www.theses.fr/2003TOU20035.

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Les didascalies sont souvent considérées comme une partie marginale du texte dramatique. La dialectique entre texte et représentation, autrement dit entre le pouvoir du dramaturge et celui du metteur en scène a toujours suscité une polémique assez intéressante. Les didascalies étant la partie du texte qui véhicule la mise en scène imaginée par l'auteur, l'objectif de cette recherche est de montrer, à travers l'exemple de Beaumarchais, que celles-ci revêtent une importance primordiale en fonction de l'époque, des conditions de la vie théâtrale, mais aussi des auteurs. Leur place et leur portée sont indéniables dans la trilogie espagnole du grand auteur dramatique du XVIIIe siècle. Elles sont le reflet du conflit de préséance entre le dramaturge, fondateur de la Société des Auteurs dramatiques, et les comédiens ou responsables de l'effectuation scénique avant l'invention de la mise en scène. L'étude du contexte historique et esthétique s'impose pour montrer les influences qu'a subies Beaumarchais et qui ont mené à l'introduction d'une écriture didascalique originale
Didascalies are often considered as a marginal part of the dramatic text. The dialectics between the text and representations, in other words, between the ability of the playwright and that of the producer, has always aroused a fairly interesting polemic. Didascalies, being that part of the text that conveys the staging imagined by the author, the object of this research is to show, through the example of Beaumarchais, that these might have a primordial importance regarding the period, the requisites of theatrical life and also the authors. Their place and their scope are undeniable in the Spanish Trilogy of this great author of the XVIIIth century. They are the reflection of the conflict of precedence between the dramatist, promoter of the Society of Dramatic Authors, and the comedians or responsibles of the scenic execution before the invention of staging. The study of the historical and aesthetic context is essential to show the influences that Beaumarchais had to come under and which have led to the introduction of a genuine didascalic writing

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Penet-Astbury, Helen. "La trilogie de Beckett au croisement des frontières." Paris 7, 2002. http://www.theses.fr/2002PA070015.

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La première trilogie de Beckett se situe à un moment charnière de son oeuvre. Elle marque à la fois ce qui aurait pu être le début de sa carrière d'écrivain francophone, mais ce qui est en fait le début de sa carrière d'écrivain bilingue. A la fois première oeuvre de langue française et première oeuvre auto-traduite, la trilogie occupe une place idéale pour aborder la problématique du croisement des frontières. S'il n'y a pas que la frontière entre l'anglais et le français qui est franchie ici, le choix d'une langue étrangère semble conditionner l'évolution intérieure de l'oeuvre et l'amener à se situer à d'autres frontières : une frontière psychique et une frontière linguistique (à l'intérieur de la première langue de composition, le français). Les personnages qui peuplent l'univers beckettien ne sont pas encore des être "finis". Leur psychisme est à une étape intermédiaire entre le vide qui précède la vie et la pleine vie psychique de l'individu. La première partie de la thèse est consacrée à une lecture de la trilogie à la lumière des travaux de Didier Anzieu sur cette frontière psychique, franchie, d'après lui, au moment de la constitution du Moi-peau. Cette lecture révèle la défaillance chez ces personnages des huit fonctions qu'il attribue à cette structure intermédiaire du psychisme. A l'instar du psychisme des narrateurs, le langage de la trilogie apparaît comme une étape intermédiaire du langage. .
Beckett's first prose trilogy comes at a critical point in his oeuvre. It marks both what might have been the start of a career as a French language writer, but what was actually the start of his career as a bilingual writer. Both first work in French and self-translated work, the trilogy is ideally placed to approach the issue of crossing of borders. If the border between English and French is not the only one crossed here, it seems that the subsequent evolution of the oeuvre depends on the choice of a foreign language and that this choice brings it to occupy other borderline situations : a psychological border, and a linguistic border (within the language of initial composition, French). The characters who inhabit the Beckettian universe are not "complete" beings yet. Their psyche is at an intermediate stage between the void which precedes life and full psychic life of an individual. .

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Kim, Dong-Yoon. "L'éthique d'Alexandre Dumas dans la trilogie des mousquetaires." Aix-Marseille 1, 1991. http://www.theses.fr/1991AIX10029.

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Notre recherche a pour but de jeter un jour nouveau, sur le plan ethique, dans la trilogie des mousquetaires d'alexandre dumas (les trois mousquetaires, vingt ans apres, le vicomte de bragelonne). Elle est essentiellement axee sur quatre points. Primo, montrer l'importance particuliere de la transhistoricite des valeurs morales qui se sont accreditees au cours des siecles. Secundo, definir comment les trois courants moraux (heroique chevaleresque, romantique) ont donne naissance a l'ethique des mousquetaires de dumas. Tertio, decrire la naissance, l'apogee, le declin du "quatuor" a propos duquel le mythique est indissociablement lie a l'ethique. Quarto, mettre enfin l'accent sur l'historicisation des personnages qui s'impregnent profressivement des elements ideologiques du dux-septieme et du dix-neuvieme siecles
This research is aimed at throwing new light, from the ethical point of view, on alexandre dumas' trilogy (the three musketeers, twenty years after, the viscount of bragelonne). It is based essentially on four points. Firstly, to show the special importance of the historical transfer of moral values acquired over the centuries. Secondly, to define how the three moral currents (heroic, chivalric, romantic) gave birth to the ethics of dumas' musketeers. Thirdly, to describe the birth, the apogee, the decline of the "quatuor", to which the myth is inevitably associated with the ethics. Fourthly, to place the accent on the history-making of the persons involved who gradually were impregnated with ideological elements ofg the seventeeth and nineteenth centuries

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Bret, Thierry. "La violence dans la Trilogie de Jules Vallès." Nice, 2006. http://www.theses.fr/2006NICE2007.

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Le romancier Jules Vallès (1832-1885) n’est pas un théoricien, et moins encore un théoricien de la violence. À la différence de ce qu’elle fut pour Blanqui ou pour Engels, la violence n’a pas été pour lui un moyen au service de fins économiques ou politiques. De sa « vie violente », pour parler comme Pasolini, il a fait un roman, entre remémoration et recréation. Pour Jacques Vingtras, double fictionnel de l'auteur dans L’Enfant (1879), Le Bachelier (1881) et L’Insurgé (1886), le problème n'est pas de réfléchir la violence, d'en examiner « à froid » les atteintes ou d'en rationaliser le recours, mais de la conjurer. Vingtras est un iconoclaste et une plume redoutée. À ce double titre, il est la cible de la violence d’État. Mémorialiste fictif, il témoigne à la fois des violences institutionnelles dont il fut la victime et des violences libératrices auxquelles il participa - passant du détachement ironique à l'adhésion lyrique. Vingtras a reçu la violence en héritage. Faisant valoir son droit d'inventaire, il s'est revendiqué fils de ses seules œuvres. Mais sa révolte individuelle a fini par s'absorber dans un mouvement insurrectionnel – la Commune de Paris. Porte-parole d'un peuple en Révolution, c'est alors au maelström des violences civiles qu'il lui a fallu faire face
The novelist Jules Vallès (1832-1885) is not a theorist, much less a theorist of violence. In contrast to what it was for a Blanqui or an Engels, violence was not, for Vallès, a means to a political or an economic end. Rather, out of what Pasolini would have called his "violent life", he made a novel that is part recollection, part re-creation. For Jacques Vingtras, the fictional double of the author in L'Enfant (1879), Le Bachelier (1881) and L'Insurgé (1886), the problem is not to reflect – nor, indeed, to reflect upon – violence, not to coldly examine its bloody aftermath or rationalize it as a recourse, but, rather, to conjure it up. Vingtras is an iconoclast and wields a wicked pen. For both of these reasons, he is the target of State violence. As a fictional chronicler, he bears witness to both the institutionalized violence of which he was a victim and the liberating acts of violence in which he participated – moving from ironic detachment to lyrical adherence. Vingtras received violence as his heritage. By exercising his right of inventory, he staked his claim as heir to his own works. But in the end, his individual revolt was absorbed into an insurrectional movement – the Paris Commune. As spokesman for a people in Revolution, it is finally the maelstrom of civil unrest that he was forced to confront

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Göthe, Cecilia. "Dealing with Dragons - parodi eller travesti på de klassiska sagorna?" Thesis, Stockholm University, Stockholm University, Stockholm University, Stockholm University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-26977.

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Uppsatsen är en närläsning av Patricia C. Wredes bok Dealing with Dragons och undersöker huruvida boken i fråga är en parodi eller travesti på de klassiska sagorna, t.ex. Törnrosa och Askungen. Jag tar också reda på om det går att läsa boken på olika sätt beroende på hur stor förkunskap man har om de gamla sagorna. Gérard Genette har skrivit boken Palimpsestes: La littérature au second degré, och jag har med hjälp av en svensk översättning använt mig av hans teorier om hypotext - hypertext, parodi, travesti och transformation. Jag tar även hjälp av Jack Zipes och hans bok The Brothers Grimm - From Enchanted Forests to the Modern World. Dessutom används Barbara Walls bok The Narrator's Voice - The Dilemma of Children's fiction för att reda ut begreppet dubbelt tilltal.

Uppsatsen är indelad i tre delar med tillhörande underrubriker: Inledning, analys och slutdiskussion. Under analysdelen tar jag upp Wredes sätt att använda sig av direkt och indirekt transformation samt om hänvisningarna till bl.a. Grimms sagor är inslag av parodi eller travesti. Metoden jag använder mig av är att visa och analysera utdrag ur boken som är direkt eller indirekt transformerade från sedan länge befintliga sagor eller legender.

Resultatet av analysen når sitt syfte och svarar på frågeställningen. Slutsatsen är att boken Dealing with Dragons till största delen är en parodi på kända sagor, men att inslagen av travesti är nödvändiga och behövs för den roliga och lite snälla tonen som boken tillhandahåller.

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Léda, Mansour. "Représentations du discours dans La Trilogie de Naguib Mahfouz." Phd thesis, Université de Nanterre - Paris X, 2010. http://tel.archives-ouvertes.fr/tel-00523991.

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Comment lire La Trilogie du Caire de Naguib Mahfouz ? Au-delà d'une lecture réaliste et comparative, et dépassant le fait proprement traductif, notre recherche est fondée sur une analyse linguistique du texte littéraire, qui vise moins à appliquer des modèles et des schémas qu'à mettre en avant la singularité du corpus. Le discours comme fait linguistique descriptible constitue donc notre objet d'étude. Pourquoi les personnages parlent-ils, et autant ? Quel est l'intérêt de l'acte de parler dans un monde diégétique caractérisé par la prudence de dire, d'autant que les personnages sont représentés comme soumis et obéissants ? Les formes de « discours rapporté » rendent compte d'une construction textuelle du personnage parlant ; le discours direct singularise les personnages, mais il constitue aussi la forme privilégiée d'une parole intérieure et intime. Ainsi, le discours fait place aux personnages jusqu'à l'émergence des formes verbales, exprimant une résistance à l'interlocuteur. Ces différents rapports se localisent dans la réplique ; néanmoins, le narrateur se concentre moins sur un aspect structurel interactionnel de l'échange que sur le rapport des personnages au discours des autres. Le discours représente ainsi une technique mobilisée au service du programme narratif : les personnages de La Trilogie se caractérisent par une obéissance qui se sait, puisque les signes d'une résistance y sont présents.

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Wenzeck-Örlü, Wera. "Zur Darstellung weiblicher Figuren in Karl Neumanns "Frank"–Trilogie." Thesis, Stockholms universitet, Avdelningen för tyska, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-63011.

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Engels, Benedikt. "Das lyrische Umfeld der "Danziger Trilogie" von Günter Grass." Würzburg Königshausen und Neumann, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2686733&prov=M&dok_var=1&dok_ext=htm.

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Engels, Benedikt. "Das lyrische Umfeld der "Danziger Trilogie" von Günter Grass." Würzburg Königshausen & Neumann, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2686733&prov=M&dokv̲ar=1&doke̲xt=htm.

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Moeller, Hans. "Differenz und Bewegung Untersuchungen zu Goethes "Trilogie der Leidenschaften /." Paderborn : Paderborn : FIT-Verl. ; Univ. Press, 1998. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=008340009&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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34

Mansour, Léda. "Représentations du discours dans La Trilogie de Naguib Mahfouz." Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100083.

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Comment lire La Trilogie du Caire de Naguib Mahfouz ? Au-delà d’une lecture réaliste et comparative, et dépassant le fait proprement traductif, notre recherche est fondée sur une analyse linguistique du texte littéraire, qui vise moins à appliquer des modèles et des schémas qu’à mettre en avant la singularité du corpus. Le discours comme fait linguistique descriptible constitue donc notre objet d’étude. Pourquoi les personnages parlent-ils, et autant ? Quel est l’intérêt de l’acte de parler dans un monde diégétique caractérisé par la prudence de dire, d’autant que les personnages sont représentés comme soumis et obéissants ?Les formes de « discours rapporté » rendent compte d’une construction textuelle du personnage parlant ; le discours direct singularise les personnages, mais il constitue aussi la forme privilégiée d’une parole intérieure et intime. Ainsi, le discours fait place aux personnages jusqu’à l’émergence des formes verbales, exprimant une résistance à l’interlocuteur. Ces différents rapports se localisent dans la réplique ; néanmoins, le narrateur se concentre moins sur un aspect structurel interactionnel de l’échange que sur le rapport des personnages au discours des autres.Le discours représente ainsi une technique mobilisée au service du programme narratif : les personnages de La Trilogie se caractérisent par une obéissance qui se sait, puisque les signes d’une résistance y sont présents
How should The Cairo Trilogy by Naguib Mahfouz be read?The approach chosen in this study goes beyond a realistic or comparative reading, and departs from strict translation issues.It is based on a linguistic analysis of the literary text, which does not aim primarily at applying models and schemes but rather at pointing out the singularity of the corpus. Speech as a describable linguistic fact therefore constitutes the subject of the study.Why do the characters speak and why do they speak so much? What is the point of the act of speaking in a diegetic world where speech is guarded and where the characters are described as submissive and compliant?The forms of “reported speech” reveal a textual construction of the speaking character ; direct speech individualizes the characters but is also the preferred form used to relate inner and intimate thoughts. Speech thus gives way to the characters, leading to the emergence of verbal forms that express resistance to the interlocutor. These relationships are embodied in the dialogue; nonetheless, the narrator focuses less on the interactional and structural aspect of the exchange than on the relationship of the characters to the speech of others.Speech thus constitutes a technique that serves the narrative programme : the characters of The Trilogy are identified by a conscious submissiveness, as the signs of resistance can be discerned

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Fontaine, Clarisse. "La trilogie de Rafael Chirbes ou l’histoire d’une génération." Thesis, Pau, 2017. http://www.theses.fr/2017PAUU1038/document.

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Le présent travail se consacre à l’étude de la trilogie de l’écrivain espagnol Rafael Chirbes (1949-2015), constitué de La larga marcha, La caída de Madrid et Los viejos amigos, et à travers laquelle l’auteur retrace l’histoire récente de l’Espagne, depuis la guerre civile jusqu’au retour d’un régime démocratique, en passant par le franquisme. L’étude narrative de chacun des trois romans couplée à une approche collective permettra d’observer comment l’histoire des personnages finit par retracer celle de l’Espagne et celle de la génération désenchantée de l’auteur lui-même
This work is dedicated to the study of the trilogy of the Spanish writer Rafael Chirbes (1949-2015), made uo of the Larga marcha, La caída de Madrid and Los viejos amigos, and through which the author recounts the recent history of Spain, since the civil war until the return of a democratic regime, via the Francoism period. The narrative study of each novels coupled with a collective approach will allow us to observe how the story of the characters ends up recounting Spain’s History as well as the story of the author’s disillusioned generation

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Duvezin-Caubet, Caroline. "Dragons à vapeur : vers une poétique de la fantasy néo-victorienne contemporaine." Thesis, Université Côte d'Azur (ComUE), 2017. http://www.theses.fr/2017AZUR2023/document.

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Au croisement de la fantasy, ce genre de l’imaginaire qui a reçu ses lettres de noblesse avec J.R.R. Tolkien et jouit aujourd’hui d’une immense popularité, et des romans néo-victoriens, ces réécritures contemporaines du canon historique et littéraire du XIXe siècle apparues dans les années 1960, la fantasy néo-victorienne exhibe ses dragons à vapeur. Tributaire de différents genres et sous-genres, il s’agit d’une littérature paradoxale, prise entre progrès et regret, spéculation et nostalgie. Le contexte victorien renvoie la fantasy à sa première naissance dans les années 1890, et plus largement à l’émergence de la paralittérature et des littératures de l’imaginaire (roman policier, fantastique, horreur, science-fiction), héritières du roman gothique du XVIIIe siècle. Il est nécessaire de décrypter l’arbre généalogique de l’imaginaire pour comprendre les genres hybrides contemporains, tels que la fantasy urbaine et le steampunk, qui représentent à eux deux une partie majeure de la fantasy néo-victorienne. Cette dimension génétique est mise au service d’une poétique autant que d’une politique : il importe justement de définir la valeur du préfixe néo- et de distinguer les moments où le néo-victorianisme penche vers le néo-conservatisme. Quel engagement pour la fantasy néo-victorienne, cette littérature du présent qui interroge et transforme le passé victorien ? Des voyages à dos de dragon à l’héritage de l’Empire britannique, des bas-fonds de Londres aux mondes parallèles de l’uchronie, des zombies aux fanfictions, la recherche d’une poétique nous amène à problématiser l’importance de la fiction dans notre vision du monde
Fantasy became an official genre of speculative fiction with J.R.R. Tolkien’s work, while the neo-Victorian novel emerged in the 1960s as a contemporary rewriting of the historical and literary canon of the nineteenth century: where the two meet, the steam dragons of neo-Victorian fantasy take flight. At the crossroads of several genres and sub-genres, it is a literature of paradoxes, caught between progress and regret, speculation and nostalgia. The Victorian era was the setting of fantasy’s first birth in the 1890s, and it also witnessed the appearance of several types of genre fiction and speculative fiction (the detective novel, the fantastic, horror and science-fiction) which grew out of the eighteenth-century Gothic novel. The family tree of speculative fiction needs to be laid out if one is to understand hybrid contemporary genres like urban fantasy and steampunk, which comprise most of neo-Victorian fantasy. The taxonomy itself serves to explore the poetical and political dimension: we strive to define the precise meaning of the prefix neo- and distinguish the moments when the neo-Victorian becomes neo-Conservative. What kind of commitment does neo-Victorian fantasy enact, as a type of literature anchored in the present, which interrogates and transforms the Victorian past? From travels on dragonback to the inheritance of the British Empire, from the depths of London to the parallel worlds of alternative history, from zombies to fanfictions, the search for a poetics leads us question the impact that fiction has on our worldview

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Lin-Greenberg, Erik. "Blue Helmeted Dragons : explaining China's participation in United Nations peace operations." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/53085.

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Thesis (S.M. and S.B.)--Massachusetts Institute of Technology, Dept. of Political Science, 2009.
Includes bibliographical references (p. 145-155).
China's personnel contributions to United Nations peace operations has significantly increased in the first decade of the twenty-first century, however little academic or policy attention has been given to examining patterns of Chinese participation. Most current literature examines China's voting behavior on peace operations in the UN Security Council. This thesis employs a research design that combines quantitative and qualitative approaches to assess the drivers behind China's personnel contributions to peace operations. Specifically, the thesis examines the factors that lead China to deploy large contingents of peace keepers to some missions and smaller numbers or none to others. The thesis posits that China's personnel contributions will be higher in peace operations taking place in states that have a high strategic value to China. That is, the peace operation host state is important to China because of the presence of natural resources, Chinese investment, diplomatic interests, or a variety of other factors. The thesis finds that China's participation in peace operations after 2000 is guided by a realist motivation that seeks to maximize access to commercial and diplomatic interests, with higher levels of participation in states with high strategic values. Prior to 2000, fewer Chinese personnel were deployed to peace operations, and the states where they were deployed often had little strategic value to China.
(cont.) These findings suggest that the calculus behind China's peace operations participation, and perhaps China's foreign policy, shifted from improving China's international image to supporting China's economic and diplomatic development. Understanding China's participation in peace operations is important as it may shed light on broader concepts in Chinese foreign and military policy. An enhanced understanding of the motivations guiding China's participation may provide academics and policymakers with deeper insight into Chinese foreign policy that may help shape future interaction with the People's Republic of China.
by Erik Lin-Greenberg.
S.M.and S.B.

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Patterson, David J. "Adversus paganos : disaster, dragons, and episcopal authority in Gregory of Tours." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44913.

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It is commonly assumed that, in the early Middle Ages, those phenomena which modern readers might recognize as “natural disasters” were instead interpreted as divine punishments resulting from human sin. The appropriate response to such phenomena thus involved individual and collective penance. This thesis investigates one particularly inscrutable account of a “natural disaster” recorded by Gregory of Tours in Book 10 of his Histories: a catastrophic flood of the Tiber River that was followed by an outbreak of pestilence at Rome. The flooding was accompanied by striking "signa" and ominous portents: the corpse of a dragon was washed downstream together with several serpents. The calamity not only destroyed church property but also claimed the life of Pope Pelagius II. I conclude that Gregory’s description of these events indeed confirms the notion that calamities readily construed by modern readers as natural disasters were seen in the late sixth century as divinely ordained punishments. Yet Gregory’s interpretation of the disasters befalling Rome is also quite complex; the dragon and serpents, I conclude, represent the pagan god Asclepius, and thus form part of a complex interpretive framework drawing upon pagan historiography and the works of Christian apologists. Through this interpretive framework, Gregory sought to reveal the immediate causes of Rome’s divine punishment, the logic behind Pelagius’ death, and the appropriate or ideal role of “the good bishop” or “good shepherd”—represented in this instance by Gregory the Great—in providing succor and ameliorating the effects of a punishment wrought by God.

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Kahler, Abigail. "Mother Of Dragons: White Feminist Imperialism In HBO's Game Of Thrones." W&M ScholarWorks, 2020. https://scholarworks.wm.edu/etd/1616444288.

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In 2019, Game of Thrones aired its final episode, The Iron Throne. This episode enjoyed enormous viewership, and culminated in the death of Daenerys Targaryen, a fan favorite, whose storyline saw her conquer diverse cultures and declare rulership over the continents of Essos and Westeros. Her character is unique for being one of the most famous female protagonists in the fantasy genre, as well as a builder of empires. As evidenced by the hundreds of children named both ‘Khaleesi’ and ‘Daenerys’ after her, she was a hero to many. However, much of her storyline was occupied with the subjugation of black and brown people- sometimes in the name of liberation, but always with the goal of validating Daenerys’s claim to rulership. This thesis aims to uncover the developments in the fantasy genre that led to the depiction of Daenerys Targaryen as a white conqueror of non-white subjects, and the ways that Game of Thrones valorized her attempts at leadership. Primarily using the work of Helen Young and Jamie Williamson, I will demonstrate the longstanding tradition of white imperialism established in the fantasy genre, and incorporate Anne McClintock’s framework of race and gender from her seminal work Imperial Leather to examine how Daenerys both subverts and upholds the expectations of imperialism as a matriarchal conqueror in Game of Thrones.

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Nelson, Janet Ann. "Here Be Dragons| How Global Business Executives Navigate Change and Paradox." Thesis, The George Washington University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10747735.

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Here Be Dragons: How Global Business Executives Navigate Change and Paradox Globalization has resulted in increased international trade, enhanced information flows, diasporas, and a greater dependence on the global economy, as well as dramatically changing the context in which leaders operate today. Studies show that there is a shortage of global leaders and that most organizations are concerned that this lack of global leadership skills may threaten corporate performance and continued business growth. The purpose of this qualitative study was to examine how senior executives in globally integrated business enterprises navigate change, as viewed through the lens of paradox theory. This exploratory study employed a basic qualitative design. Data were collected from 23 global executives, working for 20 unique global enterprises, in 12 different functions, across 18 different industries, through a preinterview participant qualifying profile, an in-depth semistructured interview, and follow-up verification.

The key findings of this study build on existing research and show that (1) executives who are global leaders are contextual leaders; (2) global leadership roles are inherently paradoxical because they balance both task complexities and relationship complexities; (3) for these global executives, change is continuous and contextual; (4) paradox is the process that global executives use to navigate continuous change; (5) global executives are savvy sensemakers; (6) the global leadership capabilities to navigate paradox can be learned, and global leaders are constant and agile learners; and (7) to navigate change, executives who are global leaders oscillate/balance constantly by navigating paradox + sensemaking + learning. The study concludes with implications for theory and practice, along with recommendations for further research.

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Huwyler-van, der Haegen Annette [Verfasser]. "Gončarovs drei Romane - eine Trilogie? / Annette Huwyler-van der Haegen." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 1991. http://d-nb.info/1165481901/34.

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Riboni-Edme, Marie-Noëlle Gille Pierre. "Ecrire la division Une lecture de la trilogie d'Agota Kristof /." Nancy : Université Nancy 2, 2004. http://cyberdoc.univ-nancy2.fr/htdocs/docs_ouvert/doc211/2004NAN21018.pdf.

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Brun, Philippe. "Édition critique de "La Trilogie de la pierre" d'Yvan Goll." Université Paris-Est Créteil Val de Marne (UPEC), 1989. http://www.theses.fr/1989PA120061.

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Ce travail presente la premiere edition critique de la trilogie de la pierre d'yvan goll d'apres les premieres edtions de 1947 et 1949 sous les titres rspectifs de: -le mythe de la roche percee -le chr triomphal de l'antimoine -l'elegie d'ihpetonga
Here isaa first edition of the stone trilogy by yvan goll and from the 1947 and 1949 first publications which are entitled as following -the broken rock myth -the antinom'ys triumphal armour -ihpetonga elegy

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Riboni-Edme, Marie-Noëlle. "Ecrire la division : une lecture de la trilogie d'Agota Kristof." Nancy 2, 2004. http://docnum.univ-lorraine.fr/prive/NANCY2/doc211/2004NAN21018.pdf.

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La trilogie d'Agota Kristof, dans une langue minimaliste mais par une structure narrative très complexe, met en scène la division mentale opérée par la fracture historique, à travers la guerre et le totalitarisme et toutes les formes d'exil qu'ils ont provoquées. Les conséquences de cette fracture sont multiples et atteignent profondément l'identité du narrateur ainsi que son rapport au monde et au langage. L'emboîtement d'une fiction dans une autre, et encore dans une troisième, crée une géologie dont chaque strate donne forme à l'un des aspects de la division. L'écriture fictionnelle permet de réunir et de structurer, dans leurs dimensions multiples, les éléments d'un univers très noir et éclaté, où se nouent les fils d'un paradoxe : celui que forge l'idéologie totalitaire en niant l'individu et sa parole. Par l'organisation narrative mise en œuvre, le lecteur éprouve ce paradoxe et il est amené à se construire activement une place
By using a minimal language but a very complex narrative structure, Agota Kristof's trilogy stages the mental division which is operated by the historical fracture through war and totalitarism, and all the kinds of exile the entailed. The consequences of this fracture are numerous, and deeply reach the narrator's identity as well as his relation to language and to the world. The fact that a fiction is tied up to another one - and then to a third one - creates some geology, each layer of which gives shape to one aspect of division. Through fiction writing, elements which are part of a very dark and shattered universe can be gathered and structured in their multiples dimensions, where a paradox is taking shape, and which comes from the totalitarian ideology by denying the individual and his world. Through the narrative organisation of the work, the reader actually feels this paradox and is induced to actively penetrate it

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Tesanovic, Biljana. "Cohérence formelle et dynamique dans la trilogie de Samuel Beckett." Paris 8, 1998. http://www.theses.fr/1998PA081502.

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Le discours critique sur l'oeuvre beckettienne n'est en realite que la redite du meta-discours de l'echec que l'uvre tient sur elle-meme par le biais de ses narrateurs. Ainsi, contrairement a ce qui est generalement admis sur la trilogie, c'est une construction parfaitement coherente et maitrisee, dont le pretendu echec, a travers ses nombreux travestissements, a pour fonction de creer une opposition qui donne au texte sa dynamique. Concu comme une structure ouverte, le corpus est tout d'abord ouvert sur la realite, celle de l'ecrivain samuel beckett. Un systeme de projection de narrateurs aux competences trans-textuelles, cree trois niveaux de signification des romans ; chaque niveau est un eloignement par rapport a la realite de l'auteur. La trilogie est aussi ouverte sur la fiction, puisque ses champs romanesques sont relies entre eux par trois programmes d'ecriture lances dans le molloy anglais, coincidant chacun avec l'un des romans. Ces programmes sont a considerer comme trois etapes d'un meme objectif scriptural et identitaire d'un narrateur commun. De plus, ils sont inclus dans un programme en principe infini, dont la trilogie ne serait a son tour qu'une etape. Au niveau identitaire, il existe deux programmes opposes, l'un effectif mais refuse, et l'autre desire mais considere comme inaccessible. Ils sont a l'origine d'une dynamique textuelle constamment renouvelee par une douloureuse quete de soi, a travers plusieurs hypostases du m-personnage. La dynamique textuelle est egalement creee par l'interdependance des niveaux de signification, particulierement dans malone meurt qui fonctionne comme un texte auto-analytique
The critical discourse surrounding beckett's opus is, in reality, no more than a repetition of the meta-discourse of "failure" that the work develops within itself by means of its narrators. Thus the trilogy, contrary to general opinion, is a perfectly controlled and coherent construction in which the so-called failure achieves, through the diversity of its forms, an oppositional function that gives the text its dynamic. Conceived as an open structure, the work is open to reality : that of the writer, samuel beckett. A system of projection of narrators, possessing trans-textual knowledge, creates three levels of novelistic discourse ; each level is situated at one further remove from the author's reality. The trilogy is also open to fiction since its novelistic spaces are inter-linked via three writing programmes, activated in the english molloy, each of which coincides with one of the novels in the trilogy. These programmes are to be considered as three stages of a single identatory and scriptual goal belonging to one common narrator. Furthermore, they are contained within a larger programme, infinite in principal, and of which the trilogy itself is, in turn, only a stage. On the identatory level, there are two programmes that exist in ___oppositipn : one actualised but rejected, the other desired but considered inaccessible. These are the source of a textual dynamic, that is constantly renewed by a painful quest for the self, through the several hypostases of the m-character. The textual dynamic is equally created by the interdependence of the levels of signification, particularly in malone dies, which functions as an auto-analytical text

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Huwyler-Van, der Haegen Annette [Verfasser]. "Gončarovs drei Romane - eine Trilogie? / Annette Huwyler-van der Haegen." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 1991. http://d-nb.info/1165481901/34.

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Sao, Calvin C. P. "God's battle with the dragon in Revelation 12." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.

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Brown, Michelle Lynn. "A theory of information technology cultures, magic dragons, wizards and archetypal patterns." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ39257.pdf.

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Wiersema, Klaas. "Delving into the Dragons Den the host galaxies of [gamma]-ray bursts." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2007. http://dare.uva.nl/document/50904.

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Harris, La Verne Abe. "Dancing with dragons: Social construction of technology during times of resource stress." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/290071.

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Today, struggles of higher education--technological change and organizational change--are like dragons--somewhat unpredictable, mystical, altering everyone and everything in its path. Managing technology and the restructuring of the organization is like dancing with dragons. Within the science and technology studies literature, scholars have developed sociotechnological perspectives that are useful for addressing the framing of technology during these fiscally-challenging times for universities. A close look at this literature reveals that Weibe Bijker and Robert J. Thomas have deemed technology worthy of sociological inquiry. These scholars believe that technical artifacts are not neutral, but constructed by older technologies, economic choice, politics, and social factors. This study examines social perceptions of technical artifacts during times of resource stress, specifically how it affects academic support technologists. It addresses the forces that drive and shape electrophotography processes and streaming media in an academic setting. I hope to contribute to the body of knowledge by evaluating electrophotography and streaming media as technical artifacts in higher education, identifying their adoption, implementation, and embeddedness in an organization. By exposing the deep relationship between a technical system and a social system, my intent is to create a link between the philosophy of technology as an intellectual construct and the social framing of a technical artifact.

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