Dissertations / Theses on the topic 'Love triangle'

This bachelor’s thesis aims to explain why the love triangle that appears in the dystopian Hunger Games trilogy by Suzanne Collins has a function within the work and so does not take away any of the feminist power that the protagonist of the book, Katniss Everdeen, possesses. The love triangle works to explore the themes of adolescent love, games and is a metaphor for the various societies in the book. In the theme of adolescent love, the internal motivators and the external motivators as to whom Katniss should pick differ. Sexuality is also explored through these characters. The theme of games is looked at though the male leads competing for the love of the protagonist, as well as the governments exploitation of the protagonist’s emotions to play to their advantage. Lastly, the male leads become representations of both the rebellion and the Capitol as well as representations of different types of members of the rebellion
Tämän työn tarkoitus on tutkia ja selittää Suzanne Collinssin Nälkäpeli (eng. The Hunger Games) trilogiassa kuvatun kolmiodraaman temaattista ja metaforista funktiota kirjailijan dystopisessa tekstissä. Narratiivi ei kyseenalaista päähenkilöä (Katniss Everdeen) feministisenä hahmona. Kuvattu kolmiodraama tukee tekstin temaattisia aspekteja, kuten nuoren henkilön rakkautta ja pelaamisen teemaa, sekä toimii metaforana yhteiskunnan eri osa-alueille. Katniss -hahmon sisäiset ja ulkoiset syyt parinvalintaan vaihtelevat ja kolmiodraamassa tutkitaan myös seksuaalisuutta. Peli -teema esiintyy mieshahmojen keskinäisessä kilpailussa, sekä siinä kuinka diktaattori hyväksikäyttää päähenkilön tunteita. Metaforana mieshahmot toimivat kapinoijien, heidän vaihtelevien identiteettiensä sekä diktatuurin kuvaajina

"Die schmale Brücke" ist eine Dreiecksgeschichte, die das Ringen zweier ungleicher Männer um eine junge Frau schildert. Der fleißige und solide Mittelschulrektor Peter Hansen, der unter der Kinderlosigkeit und Kälte seiner Frau leidet, trifft nach dem Ersten Weltkrieg seinen "Jugendfeind", den redegewandten, bei den Damen hoch beliebten Werner Hagemann wieder, welcher im Zug die Lehrerin Ursula Wüstenhagen kennengelernt hat, eine Kollegin Peter Hansens, in die dieser sich verliebt hat. In schwüler Gesprächsatmosphäre entwickelt sich eine Rivalität, die zunehmend bedrohliche Züge annimmt. Mordgedanken keimen auf. Schließlich fordert Peter Hansen, auf ein Gottesurteil hoffend, Werner Hagemann zu einem lebensgefährlichen Kräftemessen auf einer Brücke auf. Die Erzählung ist das einzige Werk von F. E. Peters, das im Lehrermilieu spielt. Verwoben mit der spannungsreichen Dreiecksbeziehung sind Themen der Frauenemanzipation und modernen Pädagogik sowie zahlreiche literarische Reminiszenzen an den "Zauberberg" oder auch an Goethe und Hölderlin, insbesondere in der zentralen Frage der "Schicksalswürdigkeit". Der ursprünglich von Peters gewählte Titel ("Der Schicksalswürdige") wurde auf Wunsch des Verlages in "Die schmale Brücke" geändert.

Cette étude met à l'épreuve l’hypothèse selon laquelle « pour qu’il y ait « histoire », roman, il faut qu’il y ait obstacle à la réalisation de [l’amor] » (Pierre Gallais). Les obstacles à la (re)constitution du couple amoureux reviennent avec récurrence dans les romans de couple de l’époque médiévale, aussi bien en Orient qu’en Occident, et méritent d’être mis en avant. Les interroger, c’est rappeler que la lecture de Floire et Blanchefleur nous invite, par moments, à le comparer à deux autres intrigues amoureuses : l’une persane (Varqe et Gulšāh), l’autre arabe ('Urwa et 'Afrā’). C’est essayer de découvrir ou redécouvrir les affinités thématiques et les relations de parenté entre ces textes. C’est rappeler que les amours heureuses n’ont pas d’histoire et qu’aimer conduit souvent à s’exposer aux autres, à l’opposition parentale et plus généralement à la société. C’est montrer que l’amour s’accroît avec la séparation et la souffrance. C’est tenter de mettre en relief le paradoxe sur lequel reposent ces romans : l’obstacle, qui à première vue semble inquiéter les couples en herbe et condamner leurs idylles, s’avère finalement un élément indispensable de l’intrigue amoureuse qui ne fait que célébrer l’intrépidité des jeunes amants. C’est montrer que dans ces textes, aucun des obstacles rencontrés ne finit par disjoindre les amants. Enfin, c’est montrer comment les conversions finales, aussi bien individuelles que collectives, finissent par conférer à ces textes une dimension civilisatrice, « une tendance orientalisante », voire « un « orientalisme » romanesque »
This study examines the hypothesis according to which “for there to be a “story”, a novel, there needs to be an obstacle hindering the realization of [love]” (Pierre Gallais). The obstacles of the lovers’ union reoccur in love stories from medieval times, as much in the Orient as in the Occident. These obstacles merit being brought to attention. To examine them is to recall that the reading of anonymous French idyll invites us, at times, to compare it to two amorous plots: one being Persian (Varqe and Gulšāh), the other Arabic ('Urwa and 'Afrā’). The thematic affinities between these related texts do not extinguish in any circumstance the originality of each novel. It should be noted that stories are not created from fortunate love and that to love often drives one to expose himself to others, parental opposition and to society. It shows love is only intensified with separation and suffering. It attempts to emphasize the paradox upon which these novels are based: the obstacle, which at first glance appears to worry the aspiring couples and condemn their idyll, decisively proves an indispensable element of the romantic plot which serves only to celebrate the intrepidity of young lovers. It is demonstrated in these texts that none of the obstacles encountered succeed in separating the lovers. Finally, it shows how individual and collective conversions finish by conferring a civilizing dimension to the texts, “an orientalizing tendency”, indeed “a Romanesque ‘Orientalism’”

O principal objetivo deste trabalho é realizar uma leitura atenta que demonstre a importância do ciúme para a tessitura narrativa nos romances de Italo Svevo: Una vita (1892), Senilità (1898) e La coscienza di Zeno (1923). A partir da ordem de publicação de cada obra, pretende-se desvelar as relações amorosas, desnudando o modo como o ciúme apresenta-se nas histórias vividas pelos personagens. As diversas teorias que discorrem sobre o ciúme, ainda que de modos diferentes, convergem em um ponto, ou seja, no caráter triplo desse sentimento que terá, portanto, o triângulo como a forma geométrica que melhor o representa. Todavia, o ciúme será analisado neste estudo, sobretudo, à luz da teoria do filósofo francês, René Girard. Este trabalho ainda trata de duas questões fundamentais na obra de Svevo, intrinsicamente ligadas ao ciúme: o ambiente triestino, onde se desenrolam as histórias e o caráter inapto de seus protagonistas.
The main goal of this work is to produce an attentive reading that demonstrates the importance of jealousy shaping the narrative web in Italo Svevo\'s novels: Una vita (1892), Senilità (1898) e La coscienza di Zeno (1923). Following the chronological order of each piece, the intent is to unveil the amorous relationships by uncovering the manner jealousy is presented in characters\' histories. The diverse theories lecturing on jealousy -though may diverge in some aspects- end up converging in one: the triple aspect of the feeling, the triangle for its geometrical shape that very well represents it. However, jealousy will be taken in this study, most of all, enlightened by the french philosopher theory of René Girard. Furthermore, this thesis also deals with two important matters of Svevo\'s work, intrinsically linked to jealousy: the Triestian enviroment, where main characters\' storyline and inaptitude flourish.

Ray Bradbury’s Fahrenheit 451 (1953) is one of the best-known science fiction dystopias, presenting a strictly controlled state maintained by book-burning ‘firemen’. People of the society have been turned into non-thinking masses, as books are banned, and technology and media are used to control their thought. The protagonist, Guy Montag, is a fireman, who goes through a transformation leading him to question the society and internalize humane values. In this thesis, I will examine the relationships between Montag and two female characters contributing to his transformation, namely Clarisse and Montag’s wife, Mildred, and compare these relationships and the two female characters. Love-triangle construction between the three characters is used to demonstrate the contrast between Clarisse and Mildred and their relationships to Montag, revealing the contrasts of life and death, meaningful and shallow relationship, and nature and technology. These contrasts foreground common dystopian elements in Fahrenheit 451: the fears of deindividualization and dehumanization, as well as critique towards consumer culture. Thus, Mildred and Clarisse are not only affecting Montag’s transformation, but have a function of representing the dystopian society of the novel
Ray Bradburyn Fahrenheit 451 (1953) on yksi tunnetuimpia ”science fiction” -dystopioita. Se esittelee tiukasti kontrolloidun yhteiskunnan, jota valvovat kirjoja polttavat ”palomiehet”. Yhteiskunnan asukkaat on muutettu ajatteluun kykenemättömiksi massoiksi kieltämällä kirjat ja käyttämällä teknologiaa ja mediaa ajatusten kontrolloimiseen. Päähenkilö Guy Montag on palomies, joka käy läpi yhteiskunnan kyseenalaistamiseen ja inhimillisten arvojen sisäistämiseen johtavan muutoksen. Tässä tutkielmassa tarkastelen Montag’n suhteita kahteen hänen muutokseensa vaikuttavaan naishenkilöön, jotka ovat Clarisse sekä Montag’n vaimo Mildred, ja vertaan näitä suhteita sekä naishenkilöitä toisiinsa. Mainittujen henkilöiden välistä kolmiodraama -rakennelmaa käytetään teoksessa havainnollistamaan Clarissen ja Mildred’n sekä heidän ja Montag’n välisten suhteiden luomaa kontrastia, paljastaen näin elämän ja kuoleman, merkityksellisen ja pinnallisen suhteen sekä luonnon ja teknologian väliset kontrastit. Nämä kontrastit puolestaan tuovat esiin tyypilliset dystopian elementit teoksessa Fahrenheit 451, toisin sanoen pelon yksilöllisyyden ja inhimillisyyden häviämisestä sekä kritiikin kulutuskulttuuria kohtaan. Näin ollen Mildred ja Clarisse eivät ainoastaan vaikuta Montag’n muutokseen, vaan he toimivat myös dystopisen yhteiskunnan piirteiden esiintuojina

Nights in The City Beautiful is a collection of confessional, free verse poems that explores sexual trauma, mental health, the exigencies of marriage, and the complexities of human desire. These interconnected poems are grounded with a braided narrative and tackle taboo themes. In Part 1: Monogamy, the reader journeys into the world of Vincent and Victoria, their profound love, and their anxiety disorders. In Part 2: Polyamory, Victoria gets caught in a love triangle when she meets her publishing coworker, Peter Langley. The book evokes the movement of Romanticism and first-and-second-generation Romantic poets such as William Blake and Lord Byron. Contemporary influences on this collection include Aaron Smith’s Primer, Stacey Waite’s Butch Geography, and Tracy K. Smith’s The Body's Question. Nights in The City Beautiful merges lyricism with narrative, the ethereal with the physical. It is a novella in verse that delves into the boundaries of sexuality, love, and intimacy.

Music Composition
D.M.A
The Age of Innocence is an opera based on the 1920 novel by Edith Wharton. Set in New York high society of the 1870's, it tells the story of Newland Archer, a young lawyer, his fiancée May Welland, and her cousin, the Countess Ellen Olenska, who has returned to her native New York in an aura of scandal, having left her husband, the dissolute Polish Count Olenski, in Europe. Although Archer and Ellen fall in love, he nevertheless follows the expectations of his family and marries the lovely but conventional May. For her part, while she sees a life with Archer as an escape from her loneliness, Ellen cannot allow herself to betray her cousin, insisting that she and Archer can love each other only if they remain apart. This love triangle is unique because of the social pressures placed upon Archer: he is a product of New York society, which has taught him to believe in the factitious idea of female innocence, as personified by May. Though he questions this and other conventions of his society, he is unable to bring himself to abandon the safety of these social norms that govern every aspect of proper behavior in New York. It is Archer's love for Ellen that prompts him to challenge these standards, pointing out New York's hypocrisy in welcoming May's cousin back to America while at the same time treating her as a pariah for abandoning her husband in Europe. None of their objections to Ellen is explicitly stated, however, for this is a world which has a morbid fear of "the unpleasant"--that is, anything that would disturb the calm surface of society's politesse and social grace. It comes as no surprise, then, that Archer's desire for Ellen (especially after he marries May), becomes a potential social nightmare for his family and all of New York, as they ruthlessly plot to drive the two apart, and send Ellen back to Europe. The main challenge in creating an opera out of this story, in addition to streamlining a lengthy and complex plot, was to delineate both in the libretto and the music the realms of the said and unsaid--that is, what the characters say in public, and what they say to themselves or to others that represents their innermost feelings. In the libretto, this was achieved by drawing upon Wharton's dialogue and narration in the novel in order to create these private and public utterances, in the form of recitatives, arias, duets, or ensemble pieces. The language of the libretto has been fashioned to serve these different musical forms, with dialogue from the novel employed in moments of recitative; and freely-metered verse, with a modest use of rhyme, for the "numbers" of the opera. The music, meanwhile, employs a system of codes to define the realms of the said and unsaid--motives, sonorities and key relationships that bring into focus the interactions of the characters, especially Archer, Ellen and May as their drama plays out under the ever-watchful eyes of New York society. The music has also been rendered to bring out the stresses and meter of the text, and heighten the import of the words as sung by a particular character. I have attempted in my opera to bring to life the timeless themes of Wharton's novel: unfulfilled love, the individual versus society, the potential corrupting influence of desire, and the moral choices that human beings face as they wrestle with these common issues. Opera, through the language of music, is one of the few art forms capable of fully realizing these themes in a dramatic context--in this sense, it is just as relevant to our time as it was to Wharton's, and therefore remains a viable medium for the twenty-first-century composer.
Temple University--Theses

Music Composition
D.M.A.
The Age of Innocence is an opera based on the 1920 novel by Edith Wharton. Set in New York high society of the 1870's, it tells the story of Newland Archer, a young lawyer, his fiancée May Welland, and her cousin, the Countess Ellen Olenska, who has returned to her native New York in an aura of scandal, having left her husband, the dissolute Polish Count Olenski, in Europe. Although Archer and Ellen fall in love, he nevertheless follows the expectations of his family and marries the lovely but conventional May. For her part, while she sees a life with Archer as an escape from her loneliness, Ellen cannot allow herself to betray her cousin, insisting that she and Archer can love each other only if they remain apart. This love triangle is unique because of the social pressures placed upon Archer: he is a product of New York society, which has taught him to believe in the factitious idea of female innocence, as personified by May. Though he questions this and other conventions of his society, he is unable to bring himself to abandon the safety of these social norms that govern every aspect of proper behavior in New York. It is Archer's love for Ellen that prompts him to challenge these standards, pointing out New York's hypocrisy in welcoming May's cousin back to America while at the same time treating her as a pariah for abandoning her husband in Europe. None of their objections to Ellen is explicitly stated, however, for this is a world which has a morbid fear of "the unpleasant"--that is, anything that would disturb the calm surface of society's politesse and social grace. It comes as no surprise, then, that Archer's desire for Ellen (especially after he marries May), becomes a potential social nightmare for his family and all of New York, as they ruthlessly plot to drive the two apart, and send Ellen back to Europe. The main challenge in creating an opera out of this story, in addition to streamlining a lengthy and complex plot, was to delineate both in the libretto and the music the realms of the said and unsaid--that is, what the characters say in public, and what they say to themselves or to others that represents their innermost feelings. In the libretto, this was achieved by drawing upon Wharton's dialogue and narration in the novel in order to create these private and public utterances, in the form of recitatives, arias, duets, or ensemble pieces. The language of the libretto has been fashioned to serve these different musical forms, with dialogue from the novel employed in moments of recitative; and freely-metered verse, with a modest use of rhyme, for the "numbers" of the opera. The music, meanwhile, employs a system of codes to define the realms of the said and unsaid--motives, sonorities and key relationships that bring into focus the interactions of the characters, especially Archer, Ellen and May as their drama plays out under the ever-watchful eyes of New York society. The music has also been rendered to bring out the stresses and meter of the text, and heighten the import of the words as sung by a particular character. I have attempted in my opera to bring to life the timeless themes of Wharton's novel: unfulfilled love, the individual versus society, the potential corrupting influence of desire, and the moral choices that human beings face as they wrestle with these common issues. Opera, through the language of music, is one of the few art forms capable of fully realizing these themes in a dramatic context--in this sense, it is just as relevant to our time as it was to Wharton's, and therefore remains a viable medium for the twenty-first-century composer.
Temple University--Theses

The Octoroon, by Dion Boucicault, is a play that Boucicault himself argued is “an effective intervention in the slavery debate, one designed to reveal the real cruelties of the slavery system” (Mullen 91). By calling The Octoroon an intervention, Boucicault intimated that his play could influence what was happening during the antebellum period of United States history by starting a dialog between opposing factions. While Boucicault did indeed contribute to this dialog, he is also known for not choosing a side. “‘Nothing in the world,’ protested the Times, ‘can be more harmless and non-committal than Mr. Boucicault’s play.’ It had in it ‘no demonstrations in favor of the down-trodden, no silly preachings of pious negroes, no buncombe of Southern patriots, no tedious harangues of Eastern philanthropists.’ The Octoroon was exactly what it had intended to be ‘a picture of life in Louisiana!’” (Kaplan 551). By simply writing a play that paints “a picture of life in Louisiana,” Boucicault was able to allow his work to present the complex issues that are the ingredients in this dramatic portrait.

碩士
世新大學
廣播電視電影學研究所(含碩專班)
105
This study analyzed the role image of love triangle in the primetime broadcast Taiwanese soap opera and focused on the female images of the love triangle text in the drama and the receiving motives, the types of pleasure and the way of interpretation of the viewers. This study is based on reception studies to analyze the images of characters and to deconstruct the contents of the text. Researcher recruited ten audience and conducted in-depth interviews to exploring the way of text interpretation of the viewers.Through different perspective of audiences, this study found the interaction between the audience and the media text. This study found that there's seven major motives of viewers to receive the local soap opera : " habits of fixed watching", "fantasy and vision for the era not being experienced", "plot of Good and evil will always be rewarded, and revenge ", "casting and acting ", " The whole family's sharing time ", " social miniature textbooks "," the trailer conform to viewer’s expectation ". This study also found five kinds of pleasures:" creative pleasure "," fantasy and escape pleasure " , "critical resistance pleasure", "pleasure of transference", "collective sharing pleasure". When exploring the interpretation of the audience, this study also found that audience adopted different way to interpret the three different text of triangular relationship. The audience will not blame only on the intruder or the betrayer, but also the legal spouse.

碩士
東吳大學
日本語文學系
99
Japanese literary giant Natsume Sōseki leaves behind many classical works. Among these works, Sanshiro, And Then, and The Gate, all completed in the later years of the Meiji period, are considered to be Sōseki’s first trilogy. Although these are three independent works, the backgrounds of the male protagonists are of similarity, and the three works all emphasize love triangles among male and female characters. After close examination of the three works, we find that the romances of the male protagonists, who are caught in love affairs, hardly come to satisfactory endings, whether these characters end up together with the women they love or not. Analyzing the first trilogy from the angle of romances has been a common way of studying these works. However, the love affairs between men and women are usually more complicated than the simple fact of loving or not. Inner psychological conditions such as personalities or thoughts, and outer situations such as personal identities, personal experiences, even historical background of the time, all of the above cab have influences on the development of romance. Therefore, this dissertation will explore two critical aspects, namely, the “inner psychological conditions” and the “outer situations” (including the social background of the Meiji period), to analyze the reason why romances of the male protagonists in Sōseki’s first trilogy don’t come to satisfactory endings. Moreover, a few more issues are of interest here: after the love triangles come to an end, how would the male protagonists lead their lives? Would their lives be dramatically changed? Even when they finally get together with the women they love, does this mean that they will have a bright future? Through our analysis, we see that the male protagonist who hasn’t enjoyed a successful relationship could still have good development in the future. On the contrary, male protagonists who cheat to gain a benefit in the relationship tend to feel guilty, thus undermining their ability to face their romance and their own lives with a positive attitude. In this way, we can see the characteristics and common grounds of the male protagonists faced with love triangles in Sōseki’s first trilogy.

Title of the thesis: The novel Thérèse Raquin by Émile Zola and its literary inspirations Keywords: naturalism, realism, love triangle, a female heroine, jealousy, murder, femme destructrice, Thérèse Raquin, Madeleine Férat, LʼAmoureuse comédie, Germinie Lacerteux, La Vénus de Gordes, Lʼassassinat du Pont-Rouge, Un mariage dʼamour, La Bête humaine, Émile Zola, frères de Goncourt, Charles Barbara, Adolphe Belot, Ernest Daudet Abstract: This thesis is mainly a literarily comparative study, analysing several literary works preceding and influencing Zola's novel Thérèse Raquin; namely in these works Zola had found the basic story for his next novel. The analysis of the following impact of the novel Thérèse Raquin on further Zola's work is also emphasised. The comparison of novels follows after the overall inclusion of Zola's works into the literary-historical context of his time. The aim of the work is first of all to reveal and make more familiar the Zola's fascination by the central theme and the main heroine of the novel Thérèse Raquin