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Brodeur, Patrice C. "Contemporary Muslim approaches to the study of religion : a comparative analysis of three Egyptian authors." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59375.
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Despite significant differences in the why, how and what of their interpretations of religious, our three authors (Muhammad Abu Zahrah, 'Abd-Allah Diraz and Ahmad Shalabi) understand religions, and in Diraz's case the religious phenomenon in general, through categories specific to an Islamic worldview. Their use of Western scientific methods to apprehend the study of religion is not systematic. It varies from Abu Zahrah's limited use to Shalabi's exuberant use, both being highly subservient to polemical intentions. Only Diraz shows familiarity and appreciation for scientific methods, without however subscribing to the epistemology of science which underlies them. The resulting relationship between the scientific study of religion and the Islamic study of religion, as epitomized in the fusion of my own commitments to the former and my authors' commitments to the latter, proves ultimately irreconcilable. Our respective epistemologies remain answerable to different centres of authority; the subjective self in the first instance and the objectified God, Allah, in the second.
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Kenny, Amy. "Domestic relations in Shakespeare." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/42121/.
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This thesis investigates how the size, structure and function of the family presented in Shakespeare's plays relates to an early modern understanding of the importance and function of the family. By examining domestic manuals, pamphlets, treatises and diaries from the early modern period, I establish what was considered normative domestic behaviour at the time and analyse Shakespeare's plays through these contemporary attitudes, specifically their treatment of privacy, household structure and medical beliefs surrounding reproduction and gynaecology. This thesis seeks to focus on the way in which people's positions in the family change over time, from infancy to adulthood, and how these relationships are represented in Shakespeare's plays. Beginning with marriage, where the family is first formed; I examine Othello and Macbeth, and show how the marriages in these plays, while tragic, are cherished and valued. Succession was integral to the legacy and sustainability of a family, which is the topic of the next chapter, in which I explore the notions of how children are conceived and raised in Richard III and The Winter's Tale. The transition from childhood into adulthood was fraught with change in both housing and legal circumstances, and this struggle in adolescence is clearly depicted in Romeo and Juliet, which comprises the third chapter. Aside from the familial relationships of husband and wife and parent and child, the most influential relationships were those of siblings, which I investigate in a number of plays in the fourth chapter. Finally, I focus on the traditional and complicated nuclear families in The Merry Wives of Windsor, Hamlet and Coriolanus, and analyse how the family is highlighted and valued in each of these plays. The thesis concludes that throughout Shakespeare's work, the family is privileged over war, nobility and absolute patriarchal control, emphasising that it is vital to understanding and analysing Shakespeare's plays.
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Nathanson, Shelby. "Bite Me: Sadomasochistic Gender Relations in Contemporary Vampire Literature." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1629.
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While the term sadomasochism might conjure cursory images of whips, chains, and leather-clad fetishists, this thesis delves deeper into sadomasochistic theory to analyze dynamics of power and powerlessness represented by a chosen sample of literary relationships. Using two contemporary works of vampire literature—Anne Rice's novel Interview with the Vampire and Stephenie Meyer's Twilight series—I examine how power is structured by and between male and female characters (and vampires and humans), and particularly emphasize the patriarchal messages these works' regressive sexual politics engender. Psychoanalysis and feminist theory are employed to support my overarching argument following the gendered dynamics of male sadism and female masochism (and vampire sadism and human masochism), as this dyad reflects men's and women's "normalized" roles of power and powerlessness, respectively, in today's society. Sadomasochistic relationships as depicted in this literature are created through mutual contracts or, what I refer to as, sociocultural sadomasochism to reflect the gendered power imbalances inherent in patriarchy. By concluding with readers' responses to these franchises, this thesis further attempts to determine why such unequal and oppressive relationships are desirable. Since vampires as Gothic figures embody what specific cultures dread yet desire, this literature possesses frightening implications—gender roles are conservative and masculinity is privileged in fiction and, by extension, in twenty-first-century American culture.<br>B.A.<br>Bachelors<br>English<br>Arts and Humanities
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McCaffrey, Molly Ann. "Heaven and Earth a collection of short stories /." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?ucin1116245589.
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Thesis (Ph. D.)--University of Cincinnati, 2005.<br>Committee/Advisors: Brock Clarke, James Schiff, Michael Griffith. Title from electronic thesis title page (viewed May 20, 2008). Keywords: Short stories; Fiction; American; Women authors; Class; Race; Interpersonal relations; Man-woman relationships. Includes abstract. Includes bibliographical references.
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Wascher, Susan. "CONFORM : a context for electronic layout - relating content to form for authors and designers." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/78062.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Bibliography: leaves 115-118.<br>by Susan Wascher.<br>M.S.V.S.
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Khatib, Michael. "The examination of certain theories of human perfection in relation to their authors' valuation of human materiality." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26129.pdf.
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Naudin, Hermine. "La relation auteur-éditeur dans le contrat d'édition littéraire." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM1040.
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La démocratisation de l’écrit dans notre société culturelle moderne a fait que tout un chacun peut se revendiquer auteur. La reconnaissance n’est plus désormais à rechercher à travers la traditionnelle publication chez un éditeur mais à travers l’immatérialité des outils d’auto-édition offerts en ligne. D’une part, avec la phase de désintermédiation qui se joue entre les différents acteurs du secteur littéraire, l’écrivain se passe d’une maison d’édition. L’éditeur disparaît. D’autre part, l’auteur, personnage romantique et emblématique sur lequel le droit d’auteur a été forgé, s’efface progressivement du paysage juridique. Avec l’effacement du mythe est emportée la vision propriétaire des droits d’auteur, au profit de l’utilisateur. L’auteur disparaît. Les nouvelles pratiques de cette société connectée bouleversent le droit et sa capacité d’adaptation. Pourtant le contrat d’édition littéraire, socle de la relation auteur-éditeur, existe bel et bien et constitue le sujet de cette étude. Modèle dominant des contrats d’auteur, l’ambition de cette recherche est d’arriver à saisir à travers cette relation la nature du contrat d’édition et le jeu des nouveaux équilibres posés par l'ère numérique (réforme du Code de propriété intellectuelle), mais aussi de saisir les mutations à la lisière du droit d’auteur qui redéfinissent la possession dans l’ère immatérielle avec les modèles alternatifs du contrat d’édition littéraire (licences libres et creative commons). Les moyens d'y répondre emprunteront à l'analyse juridique mais aussi dans une juste mesure à l'internormativité, qui permettra d'observer le droit avec les yeux du sociologue, de l'économiste et de l'historien<br>The liberalization of writing in our contemporary cultural society has made it so anyone can now aim for the title of author. The recognition of one’s work is now sought, not through the traditional means of publishing, with the assistance of a professional publisher, but through immaterial processes of self- online publishing. On one hand, thanks to these new means, the author is able to cut the intermediation of the publishing field and to avoid using a professional publishing company. On the other hand, the author, romantic and emblematic character upon whom author’s rights have been forged is fading away from the legal landscape. With the decay of the myth, the ownership conception of author’s rights is taken away by those of the user. The author is fading away. The new customs of our over connected society are dramatically changing law and its ability to adapt. Although, publishing contracts are still a part of the process and are the subject at the heart of this study. The French intellectual property code was able to grant this contract access to the dematerialized world by incorporating the paradigm shift. Main model of publishing contracts, its ambivalent nature is due to the merging of both civil and intellectual property law that can be applied to it. This study aims to capture the true nature of the publishing contract figure, through the relations established between authors and publishers, including their new balance, and also to grasp a full understanding of the mutations surrounding the authors’ rights and that redefine ownership in a now immaterial era through the new alternative means of self-publishing (free licenses and creative commons)
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Gildea, Kevin Carleton University Dissertation English. "A study of the changing relation between the individual and the community in a stream of selected English Canadian authors." Ottawa, 1987.
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Kenderian, Nanor. "Prison to prison : the prison novels of Hagop Oshagan and Armenian penological literature." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:2352bc99-62be-4d32-8d44-f0453fb9ea48.
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The prison novels (Haji Murat, Haji Abdullah and Süleyman Effendi) of Western Armenian writer Hagop Oshagan (1883-1948) articulate two unprecedented sociocultural critiques of Armenian experience. Like much of Oshagan's works, these novels, comprising the cycle Haryur Mék Tarvan [101 Years' Imprisonment] (1933), have scarcely been studied. The task of this study is to reveal the nature of Oshagan's critique, and to revise two chief Armenian literary critical trends: that of either de-contextualizing or instrumentalizing these novels' nationalist preoccupations; that is, either overlooking their contextual relevance as responses to contemporaneous nationalist dogmas, or distorting them to seem ideologically sympathetic. Oshagan's novels rather deploy the prison trope to foreground and question the aesthetic and ideological influence of late 19<sup>th</sup> century Armenian nationalist-revolutionary movements. They moreover undermine the persisting paradigm borne of nationalist-revolutionary rhetoric that collectively represents Armenians and Turks as victims and victimizers respectively. The present study reads Oshagan in the wider context of Armenian penological literature, and locates his engagement with nationalist-revolutionary ideology as an overtly critical, rather than sympathetic project. It provides an unprecedented appraisal of such political movements' primarily negative impact upon late 19<sup>th</sup> and early 20<sup>th</sup> century Western Armenian literature, a tradition that has presented 'Armenianness' through an almost exclusive narrative of subjection. This literary historical background allows Oshagan's singularity to appear. He is the first to recognize the prison trope as the preferred nationalist-revolutionary literary convention, a trope he then reconfigures in order to formulate an alternative, a literary mode of nationalism - namely, mystic nationalism - informed by his readings of Dostoevsky's novels. Oshagan imagines and articulates anew the Armenian-Turk relationship in terms that complicate, subvert and transcend the normative master/slave model instituted by nationalist-revolutionary rhetoric. In the process, he elaborates a conception of these movements as inadvertently complicit in the discursive - and, ultimately, also political - (self)-subjection of Armenians culminating as experiences of absolute subjection. After Oshagan, this study constitutes the first comprehensive analysis of literary renderings of both Armenian-Turk relations and nationalist-revolutionary ideology.
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Olsson, John Gabriel. "Towards the modelling of forensic authorship methods in the light of aspects of idiolect, text, author and genre relations." Thesis, University of South Wales, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509113.
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Currently, some prominent forensic linguists rely on notions of the idiolect to undertake forensic authorship comparisons. The first project questions the validity of this doctrine, firstly by examining how authorship and its subsidiary activity of attribution, based on concepts such as style and individual distinctiveness, came into existence. The writings and casework of several forensic linguists are quoted from: it is seen that the notion of distinctiveness has been embraced by these practitioners to the neglect of a balanced observation of variation. A mobile phone corpus was built in order to evaluate the degree of variation in this form of written language. It was found, as expected, that variation is the norm and not the exception - contrary to the claims of some forensic linguists. The second project studies the nature of variability in genre and non genre text, examining factors which can contribute to author or textual variation, including aspects of register and context. An experiment into genre variation is carried out in order to discover the sources and causes of variation. The experiment shows that variation is not author based, but is genre dependent, related mainly to questions of time and tropic factors. The final project outlines an approach to the authorship of mobile phone texts and provides a sample method of authorship comparison based on the notion of range of variation, a concept modified from sociolinguistics. Because all forensic work is carried out within the context of legal requirements and evidence rules these are placed at the heart of the approach and methodology. The research programme reported here demonstrates the importance of a principled, variable-based, selection procedure for test features and the need for an understanding of variation, and it highlights the inadequacy of the notion of the idiolect (as this concept is interpreted by some forensic linguists) for forensic authorship comparison. It underlines the importance of the sociolinguistic observation that style is more usually a property of context and text than it is of the author
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Amborg, Jens. "Can the Author of ’Can the Subaltern Speak’ Act? : Spivaks essä i relation till ’French theory’ i USA." Thesis, Uppsala universitet, Institutionen för idé- och lärdomshistoria, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-276452.
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The purpose of this bachelor thesis is to analyze some aspects of the historical surroundings in which Gayatri Chakravorty Spivak wrote her famous essay ”Can the Subaltern Speak?”. From a historical perspective, inspired by Quentin Skinner, I examine how Spivak in a context of French theory in U.S. academy criticized Michel Foucault and defended Jacques Derrida. In the first part of my analysis I relate Spivak’s essay to the ”Foucault and Derrida debate” of the sixties and seventies. I argue that many aspects of Derrida’s early critique of Foucault, and many of the themes of that debate in general, was rhetorically repeated by Spivak in ”Can the Subaltern Speak?”. In the second part of my analysis, I discuss how Foucault and Derrida in the context of U.S. academy were, rather than empirical persons, turned into common nouns well incorporated into the academic language. In this context, where Spivak appeared, I analyze how the ”notions” Foucault and Derrida was disputed. I argue that Spivak, during several years before she wrote ”Can the Subaltern Speak?”, had been trying to refute anglophone marxist and postcolonial intellectuals who criticized Derrida. These critics, including Terry Eagleton, Perry Anderson and Edward Said, had been blaming Derrida for being unhistorical, politically evasive and merely textualistic. My argument is that Spivak sought to defend Derrida towards these critics in ”Can the Subaltern Speak?”. In this context, her aim was to emphasize the efficiency of Derrida’s deconstruction as a political tool for marxist, feminist and Third world intellectuals.
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Varley, Paul C. "An analysis of rhythm systems in the United States their development and frequency of use by teachers, students, and authors; and relation to perceived learning preferences /." Diss., St. Louis, Mo. : University of Missouri--St. Louis, 2005. http://etd.umsl.edu/r881.
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Household, Sarah C. "Negociating the nation: time, history and national identities in Scott's medieval novels." Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210995.
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This thesis examines the relationships between different nations and cultures in Ivanhoe, The Talisman, Quentin Durward, Anne of Geierstein and Count Robert of Paris using Post-colonial theory. An analysis of Scott’s conception of society in general shows that 18th century Scottish historiography is fundamental to his vision of the world because it forms the basis of his systematization of history, social development and interaction between communities. It also profoundly influences his imagery and descriptions, as well as providing him with a range of stereotypes that he manipulates so skilfully that his great dependence upon them is occulted. Contemporary ideas and his own attitude to the Union of Scotland and England lead him to conceive of nation formation in terms of descent and hybridity. In part, he sees the nation as a community of blood. Yet, his acceptance of the Union means that he also considers it to be a body of different ethnic elements that live together. His use of the 18th century metaphor of family to figure the nation allows him to incorporate heredity and miscegenation into his analysis of national development through father-daughter couples. The father represents traditional culture, and the daughter, the nation’s present and future; her marriage to a foreigner signifying that people of differing descent can cross the nation’s porous borders. Religion is the final frontier: Christian nations cannot absorb non-Christians. Scott sees dominance and subordination as a complex part of human relationships. Apparently-subordinate subjects possess occulted power because their support of the hegemonic is often essential if the latter is to maintain its superiority. While his conception of society in patriarchal terms means that his female characters cannot offer violence to men, he shows that passive resistance is very effective. Through mimicry, the subordinate threatens the power and identity of the dominant. Power is not only conceived of in political terms. In Ivanhoe, Scott reveals the importance of moral stature which allows Rebecca to dominate the work although she is at the bottom of the political and racial hierarchy that structures English society. Scott’s conception of time is fundamental to the manner in which he conceives of the nation. Historical cultural forms are physicalised through chronotopes. Politically subordinate cultures base their actions in the present on pedagogic time, while the dominant ignore their past and live only in the present and the future. He also expresses dominant-subordinate relationships through speed, with time moving quickly for the powerful and slowly for the weak. Time, whether in the form of history, the characters’ perception of it or speed amalgamates all the various elements of Scott’s conception of nationhood into a seamless whole.<p><p>Cette thèse analyse par le biais la théorie post-coloniale les relations internationales dans Ivanhoe, Quentin Durward, Anne of Geierstein et Count Robert of Paris. Les théories historiques élaborées en Écosse au XVIIIème siècle sont fondamentales dans la vision scottienne parce qu’elles forment la base de la systematisation de l’histoire, du développement sociale et, par conséquent, des relations entre les différentes communités. Ces théories influencent profondement les images qu’il utilise et la façon dont il décrit les caractères et les scènes. De plus, elles lui fournissent une gamme de stéréotypes qu’il manipule très adroitement. Sa conception de la manière dont se forment les nations vient des idées contemporaines et de sa propre expérience de l’union politique de l’Angleterre et de l’Écosse. Il considère la nation comme une communauté fondée sur l’ascendance par le sang mais aussi comme un groupe d’ethnies différentes qui vivent ensemble. Sa description de la nation emprunte à la métaphore de la famille courante au XVIIIième. Celle-ci lui permet d’inclure dans son analyse l’héridité et la mixité au moyen des couples formés par un père et sa fille. Le père représente la culture traditionelle, et la fille, le présent et le futur national. Son marriage avec un étranger signifie que les gens d’ascendance différente peuvent traverser les frontières perméables d’une nation. La religion est la frontière ultime: les nations chrétiennes ne peuvent absorber de non-chrétiens. Scott considère que la domination et la sujetion forment une partie complexe des relations humaines. Les sujets qui paraissent subordonnés possèdent en fait un pouvoir occulte, le dominant ayant besoin de leur soutien pour maintenir sa position. Bien que sa conception patriarcale de la société fasse que les caractères feminins ne manifestent pas d’agression envers les hommes, il montre que la résistance passive est très efficace. En imitant le sujet dominant, le sujet subordonné menace le pouvoir et l’identité de ce dernier. Le pouvoir ne s’exprime pas seulement dans la politique. Rebecca dans Ivanhoe revèle l’importance que revêtent le caractère et la moralité. Bien qu’elle soit au bas de la hiérarchie structurante de la société anglaise, elle domine le roman. <p>La conception que Scott se fait du temps est fondamentale à celle de la nation et de la culture. Au moyen du chronotope, les cultures historiques prennent des formes physiques. Les cultures qui sont subordonnées politiquement basent leur action au présent sur le “temps pédagogique”. Au contraire, le dominant rejette son passé et ne vit qu’au présent et au futur. Les relations entre le pouvoir dominant et le subordonné s’expriment aussi par la vitesse: le temps passe vite pour les puissants, mais lentement pour les faibles. En définitive, tous les éléments de la conception scottienne de la nation sont liés au temps, qu’il s’agisse de l’histoire, de perception par les caractères, ou de la vitesse.<p><br>Doctorat en philosophie et lettres, Orientation langue et littérature<br>info:eu-repo/semantics/nonPublished
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Denby, Michelle. "The feminist postmodern fantastic : sexed, gendered, and sexual identities." Thesis, University of Northampton, 2001. http://nectar.northampton.ac.uk/2967/.
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The thesis investigates a diverse range of feminist postmodern philosophy, distinguished by its varying rearticulation of the relationship between modernism and postmodernism and feminism’s own position vis-à-vis that debate. Drawing on postmodernism’s primary tenet that substantive, binary identity categories comprise discursive, performative constructs, feminist postmodernism theorises a range of strategies for their subversive re-performance. This is realised in the mobilisation of parodic, “failed” repetitions and identities embodied, for instance, by transsexual, transgender, and transvestite personae. Hence the reformulation of postmodern versions of agency, resistance, and choice. In the second instance, the thesis examines the combination of feminist postmodern philosophy with the narrative techniques of postmodernism and its sister genre, the fantastic mode. As a heterogeneous, open-ended, self-reflexive form, the “postmodern fantastic” challenges conventional realism and its correlative sovereign subject. The postmodern fantastic is redeployed by feminist practitioners, whose inscription of both textual and topographical re-performance, such as is manifest in the cyborg and the grotesque, represent the literary counterparts of feminist postmodern agency. The above provide critical contexts for a reading of four late-twentieth-century women writers, focusing in particular on their intervention in the modernism/postmodemism debate and their deployment of the feminist postmodern fantastic as a means of destabilising sexed, gendered, and sexual identity. The selected authors Hélène Cixous, Monique Wittig, Jeanette Winterson, and Angela Carter represent distinct and diverse, culturally specific, literary and feminist traditions, reformulating the relationship between modernism and postmodernism in different ways and with varying degrees of success. They coalesce, however, in their contribution to the feminist postmodern fantastic. It is the general purpose of the thesis to demonstrate how this particular mode embodies one of feminist postmodernism’s most powerful means of literary and ideological critique
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Browne, A. S. "We have a great high priest : an examination of the relation between Christ and the faithful in the thought of the author to the Hebrews." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.233009.
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There is a tradition of interpretation, testimony to the influence of Kasemann's study of Hebrews which suggests that the finished work of Christ in the past is the guarantee of certain salvation for his faithful in the future. The relation between them is presented in terms of their following him to heaven. However, this does not allow that the emphasis on the completed aspect of Christ's work and the future element in the believers' salvation are connected with the occasional nature of Hebrews as a letter written to those tempted to abandon their Christian commitment. In fact the work of Christ is completed and yet continuing, salvation for the faithful both present and yet future. An analysis of major themes indicates that the relation between Christ and the believers is not future and indirect but rather present and direct. As <i>rest</i> for the people of God is both present and future, so <i>faith</i> has an 'invisible' aspect which is the foundation for its 'future' aspect. It is 'by faith' that the readers look to Jesus whose ministry ensures their present access to God 'in fulness of faith'. Integral to his understanding of <i>sin</i> and to his presentation of the <i>sacrifice</i> of Christ is the author's emphasis on the new covenant, under which sin is the deliberate rejection of its mediator, the Son of God who by his death has destroyed the power of death and lives for ever as High Priest, introducing his faithful into the presence of the living God. The relation of Christ to his faithful is present and direct, and indeed he is presented as one in whom they are included. A study focused particularly on 2:9; 3:14 and 10:10 reveals that integral to the epistle's central argument that Christ, who offered the only real sacrifice, is the only real priest is an estimate of him as not only absolutely alive but also as more than individual, as 'the inclusive Christ'.
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Phiri, Aretha Myrah Muterakuvanthu. "Toni Morrison and the literary canon whiteness, blackness, and the construction of racial identity." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002255.
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Toni Morrison, in Playing in the Dark, observes the pervasive silence that surrounds race in nineteenth-century canonical literature. Observing the ways in which the “Africanist” African-American presence pervades this literature, Morrison has called for an investigation of the ways in which whiteness operates in American canonical literature. This thesis takes up that challenge. In the first section, from Chapters One through Three, I explore how whiteness operates through the representation of the African-American figure in the works of three eminent nineteenth-century American writers, Harriet Beecher Stowe, Walt Whitman, and Mark Twain. The texts studied in this regard are: Uncle Tom’s Cabin, Leaves of Grass, and Adventures of Huckleberry Finn. This section is not concerned with whether these texts constitute racist literature but with the ways in which the study of race, particularly whiteness, reveals the contradictions and insecurities that attend (white American) identity. As such, Morrison’s own fiction, written in response to white historical representations of African-Americans also deserves attention. The second section of this thesis focuses on Morrison’s attempt to produce an authentically “black” literature. Here I look at two of Morrison’s least studied but arguably most contentious novels particularly because of what they reveal of Morrison’s complex position on race. In Chapter Four I focus on Tar Baby and argue that this novel reveals Morrison’s somewhat essentialist position on blackness and racial, cultural, and gendered identity, particularly as this pertains to responsibilities she places on the black woman as culture-bearer. In Chapter Five I argue that Paradise, while taking a particularly challenging position on blackness, reveals Morrison’s evolving position on race, particularly her concern with the destructive nature of internalized racism. This thesis concludes that while racial identities have very real material consequences, whiteness and blackness are ideological and social constructs which, because of their constructedness, are fallible and perpetually under revision.
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Bengtzén, Cathleen. "Bloggen som marknadsföringskanal och varumärkesbyggare - En studie ur bloggskribenternas perspektiv i relation till företagens." Thesis, Malmö högskola, Fakulteten för teknik och samhälle (TS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20562.
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Syftet med uppsatsen var att ta reda på vilka bloggstrategier några av Sveriges framstående bloggskribenter använt/använder för att nå framgång med sin blogg, hur de skapat sig ett framgångsrikt personligt varumärke via bloggen, samt vad de tror motiverar företag att använda deras blogg som marknadsföringskanal. Bloggskribenternas syn kompletteras med två företags perspektiv på fenomenet, dels ett företag som arbetar som annonsförmedlare mellan företag och bloggare, dels ett modeföretag som har god vana av denna marknadsföringskanal. För få frågeställningarna besvarade har en kvalitativ studie genomförts med hjälp av en webbenkät med totalt elva respondenter. Resultatet visade att bloggskribenterna själva anser att de inte använder några utstuderade bloggstrategier för att nå framgång. Vidare visade resultatet att skapandet av ett personligt varumärke via en blogg möjliggörs av en utav bloggaren utmärkande personlighet och bloggstrategier. I sin tur motiveras företagen att använda bloggen som marknadsföringskanal främst av tre orsaker – bloggens totala räckvidd, möjligheten till ökad målgruppsträff och bloggskribentens trovärdighet gentemot läsarna. Företagen är ute efter en marknadsföringskanal där de lättare når sin målgrupp via viral marknadsföring från en ur läsarnas perspektiv trovärdig person. För att bloggaren ska lyckas behålla sin trovärdighet gentemot läsarna måste denne sälja in företagens produkter på ett förtroendeingivande sätt. Alla bloggskribenter har inte en utmärkande personlighet, ett starkt personligt varumärke, fungerande bloggstrategier och talangen samt finessen att marknadsföra produkter vilket leder till att enbart en minoritet når framgång med sin blogg.<br>The purpose of this paper was to find out which blog strategies some of Sweden's leading blog writers used / are using to achieve success with their blog, how they created a successful personal brand through their blog, and what they think motivates companies to use their blog as a marketing channel. Blog writers view is complemented by two corporate perspective on the phenomenon, one company working as an advertising intermediary between companies and blog authors, and one fashion company that have good experience of this marketing channel. To get the questions answered a qualitative study was used, with the help of a web survey eleven respondents participated. The results showed that the blog writers themselves believe that they are not using any special blog strategies for reaching success. Furthermore, results showed that the creation of a personal brand through a blog is made possible by the bloggers’ distinctive personality and blog strategies. Corporations are motivated to use the blog as a marketing channel for three main reasons- the blogs overall range, the possibility of increased target hit and the blog writer's credibility towards the readers. Corporations are looking for a marketing channel where they easier reach their main audience through viral marketing from a, out of the readers' perspective, trustworthy person. For the blogger to retain credibility towards the readers, they must sell the products in trustworthy manner. All blog writers do not have a distinctive personality, a strong personal brand, functioning blog strategies and the talent and finesse to market products, which results in a minority of bloggers reaching success with their blog.
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Setterwall, Klingert Amanda. "De inte alltför främmande : Författarideal, relationer och litterära system i fem svenska filmer." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-414868.
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Den här uppsatsen ingår i det forskningsfält som undersöker hur konstnärer skildras i fiktion. Specifikt handlar den om författarroller på film, ett område som beforskats i såväl Tyskland som den anglosaxiska världen (kända exempel är Kirsten Netzows Schriftstellerfilme(2005) samt antologin The Writer on Film (2013)) men knappt alls i Sverige. Den kretsar därför kring svensk film, samtidigt som den anknyter till det internationella fältet. Undersökningen baseras på kunskap om genrer i svensk film samt litteratursociologiska perspektiv. I det senare skiljer den sig från det mesta inom området, inte minst i ambitionen att undersöka sociala och professionella sammanhang kring författarroller på film. Efter inledande breda kapitel om historia och ideal kring författarroller följer undersökningens djupanalyser, vilka fokuserar på filmer inom det spann som kallas relationsfilm. Detta begrepp spänner över en stor del av svensk filmhistoria som kännetecknas av fokus på romantik, familje- och vänskapsrelationer och dessas spänningar, problem och utveckling. Som fallstudier har valts fem relationsfilmer från olika perioder i svensk filmhistoria: Thomas Graals bästa film (1917),En Kärleksnatt vid Öresund (1931),Vi tre debutera (1953),Känd från TV(2001) samt Kärlek Deluxe (2014).Samtliga dessa filmer har författare i bärande roller och skildrar samtidigt i någon mening händelser inom litteratursamhället, inte minst förlagsbranschen. Materialet undersöks utifrån fem perspektiv, baserade i kunskap från befintlig forskning: Omgivningar; Genrer, modus och troper; Drivkraft och processer; Relationer samtIdeal och sensmoral. I undersökningen diskuteras relationsfilmens konventioner såväl i relation till myter och traditioner kring författares kärleksliv som i anslutning till professionella relationer. Bland annat diskuteras tendensen att skildra litteratursamhället som en tudelad värld byggd på – till exempel - konkurrens mellan olika genrer, ”högt och lågt”, eller dolt och offentligt. En av flera centrala slutsatser är att författarfilmer generellt möjliggör en extra dimension av berättande inom berättelsen, ofta i form av en bok som produceras under handlingens gång, och som förstärker och speglar filmhandlingen. I just relationsfilmer blir detta ett ytterligare lager av den identifikation med författarpositionen som åskådaren bjuds in till. Författarna i dessa filmer är, sammantaget, vardagliga gestalter med allmänmänskliga problem och egenskaper, men ges samtidigt – genom myter om yrket, berättandekonventioner kring kreativitet och skildringar av branschrelationer - fler dimensioner som gör dem till attraktiva protagonister i breda filmgenrer. Uppsatsens titel syftar på just denna balans mellan spänning och vardaglighet, som Anders Marklund kallat ”inte alltför främmande”. Efter analyskapitlen och diskussionen följer också en skiss till en historik - utan minsta anspråk på fullständighet - över författare i svensk film.<br>This thesis connects to the research field studying how artists are portrayed in fiction. Specifically, it deals with representations of writers and authorship in film, an area explored both in Germany and in the English speaking world (notable examples are Kirsten NetzowsSchriftstellerfilmefrom 2005 and the anthology The Writer on Filmfrom 2013) but hardly at all in Sweden. This thesis evolves around Swedish film, while also connecting to the international field. The study is based in knowledge of genres in Swedish film in general as well as in literature sociology. In terms of the latter it differs from many contributions to the area, especially in the ambition to look at the social and professional contexts around the figure of the writer in film. The initial broad chapters on writer history and myths are followed by five film studies, focusing on one film each within the genre known as ”relationship film” (relationsfilm): films focused on the tensions, problems and developments of romantic relationships as well as those of family and friendship. (The concept itself encompasses a large part of Swedish film history). The five chosen case studies are relationship films from different eras of Swedish film history: Thomas Graals bästa film (1917),En Kärleksnatt vid Öresund (1931),Vi tre debutera (1953),Känd från TV(2001) and Kärlek Deluxe (2014).The films all feature writers as main or central characters while also depicting events within the world of literature, particularly the publishing industry. The analysis departs in five perspectives, based in existing research on the area: Environments (Omgivningar); Genres, modes and tropes(Genrer, modus och troper); Incentives and processes (Drivkraft och processer); Relations (Relationer) and Ideals and message (Ideal och sensmoral). The analysis discusses the conventions of relationship films in connection to myths surrounding the love lives of writers as well as to professional relationships in the book trade. One example is the tendency to depict the world of literature as a divided, dual world built on competition between things like different genres, ”highbrow and lowbrow” material or public versus hidden aspects of the creative process. One conclusion is that writer films in general enables an additional dimension of storytelling within the frame narrative, often in the shape of a book produced during the course of the film, which mirrors and strengthens the message and moral of the story. In relationship films in particular, this can serve to create an extra layer to the identification with the writer position into which the spectator is invited. Writers in these movies are, in general, everyday figures with common, relatable problems and characteristics, but at the same time – through myths about the profession and narrative conventions surrounding creativity - given additional dimensions which make them attractive as protagonists in popular film genres.The title of the thesis, which can roughly be translated as ”No total strangers”, is a paraphrase of the concept ”Inte alltför främmande” (”Not too strange”) by the Swedish movie and literature scholar Anders Marklund. It refers to a central feature of relationship films: the balance between making the central characters relatable and common, and at the same time interesting enough to provide some escapism. In this thesis, it refers to this balance in relation to fictional writers (and others in the book trade) in particular. In addition to the chapters of analysis and the discussion, I have also included a first draft – without any claims of completeness - for a history of writers in Swedish film.
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Dyson, Jessica. "Staging legal authority : ideas of law in Caroline drama." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/366.
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This thesis seeks to place drama of the Caroline commercial theatre in its contemporary political and legal context; particularly, it addresses the ways in which the struggle for supremacy between the royal prerogative, common law and local custom is constructed and negotiated in plays of the period. It argues that as the reign of Charles I progresses, the divine right and absolute power of the monarchy on stage begins to lose its authority, as playwrights, particularly Massinger and Brome, present a decline from divinity into the presentation of an arbitrary man who seeks to impose and increase his authority by enforcing obedience to selfish and wilful actions and demands. This decline from divinity, I argue, allows for the rise of a competing legitimate legal authority in the form of common law. Engaging with the contemporary discourse of custom, reason and law which pervades legal tracts of the period such as Coke’s Institutes and Reports and Davies’ ‘Preface Dedicatory’ to Le Primer Report des Cases & Matters en Ley resolues & adiudges en les Courts del Roy en Ireland, drama by Brome, Jonson, Massinger and Shirley presents arbitrary absolutism as madness, and adherence to customary common law as reason which restores order. In this climate, the drama suggests, royal manipulation of the law for personal ends, of which Charles I was often accused, destabilises law and legal authority. This destabilisation of legal authority is examined in a broader context in plays set in areas outwith London, geographically distant from central authority. The thesis places these plays in the context of Charles I’s attempts to centralise local law enforcement through such publications as the Book of Orders. When maintaining order in the provinces came into conflict with central legislation, the local officials exercised what Keith Wrightson describes as ‘two concepts of order’, turning a blind eye to certain activities when strict enforcement of law would create rather than dissolve local tensions. In both attempting to insist on unity between the centre and the provinces through tighter control of local officials, and dividing the centre from the provinces in the dissolution of Parliament, Charles’s government was, the plays suggest, in danger not only of destabilising and decentralising legal authority but of fragmenting it. This thesis argues that drama provides a medium whereby the politico-legal debates of the period may be presented to, and debated by, a wider audience than the more technical contemporary legal arguments, and, during Charles I’s personal rule, the theatre became a public forum for debate when Parliament was unavailable.
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Boulanger, Grégoire. "Au seuil de l'Etoile de la Rédemption : être en relation avec la pensée nouvelle de Franz Rosenzweig." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC015/document.
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Le but premier de notre travail est de restituer la complexité des relations qui existent entre Franz Rosenzweig, son œuvre "l'Étoile de la Rédemption", et son lectorat. L'"Étoile de la Rédemption" est connue pour être un livre difficile, dont le langage est aussi conceptuel que littéraire. Mais la véritable difficulté de la pensée de Rosenzweig dans l'"Étoile" est d'arriver à garder liées une dimension dialogale qui participe d'une existence vivante à travers la correspondance que Rosenzweig a écrite à destination de ses amis et la dimension textuelle qui tend à se constituer comme un monde en tant que tel – un livre est toujours quelque chose qui se suffit à lui-même. Pouvons-nous être satisfaits par l'idée que l'"Étoile" est seulement une transition entre deux états : entre un point de vue philosophique - où ne se trouve nul espoir – et un point de vue révélé – où existe uniquement l'espoir ? L'"Étoile" est plus qu'une simple transition. Rosenzweig parle aussi d'un seuil et d'un porche. Avec ces deux termes, une tension se trouve au sein de l'"Étoile" entre une vie révélée qui se dévoile à l'intérieur même de celle-ci et une vie révélée qui ne peut commencer qu'au-delà de celle-ci. Auteur, œuvre et lecteurs auront un rôle important à jouer important pour élucider ce problème<br>The entire point of our work is to give back the complexity of the relations between Franz Rosenzweig, his work, The "Star of Redemption", and his readership. The "Star of Redemption" is known as a difficult book, whose language is as many conceptual as literary. But the very difficulty of the Rosenzweig's thought in The "Star" is to keep in bound the dialogical dimension,which is participating to a lively existence through the letters he wrote to his friends -, and the textual dimension, which tend to be a world in itself - a book is something that is self-sufficient. Can we be satisfied by the idea that The Star is only a transition between two states: between a philosophical point of view – where is no hope – and a revealed one – where is hope and orientation? The Star is more as simply a transition. Rosenzweig speaks also of a Threshold and a Gate. With these two terms a tension inhabits The "Star" between a revealed life which begins inside the book and a revealed life which begins outside the book. Author, work and readership will have a significant role to play in this problem
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Shi, Xiaoxiang. "Towards a relational theory of copyright law." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41761/1/Xiaoxiang_Shi_Thesis.pdf.
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This research provides a systematic and theoretical analysis of the digital challenges to the established exclusive regime of the economic rights enjoyed by authors (and related rightholders) under the law of copyright. Accordingly, this research has developed a relational theory of authorship and a relational approach to copyright, contending that the regulatory emphasis of copyright law should focus on the facilitation of the dynamic relations between the culture, the creators, the future creators, the users and the public, rather than the allocation of resources in a static world. In this networked digital world, the creative works and contents have become increasingly vital for people to engage in creativity and cultural innovation, and for the evolution of the economy. Hence, it is argued that today copyright owners, as content holders, have certain obligations to make their works accessible and available to the public under fair conditions. This research sets forward a number of recommendations for the reform of the current copyright system.
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Rimm, Anna-Maria. "Elsa Fougt, Kungl. boktryckare : Aktör i det litterära systemet ca 1780-1810." Doctoral thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-108077.
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Elsa Fougt (1744–1826), a woman entrepreneur, was one of the leading figures in the late eighteenth-century Swedish book trade. Her main enterprise was the printing house Kongl. Tryckeriet (the Royal Printing House), which was responsible for printing and publishing the official documents of the Swedish realm. Besides her office as Royal Printer, she also ran a publishing house, two bookshops and a type foundry, as well as being the editor of the Swedish newspaper Stockholms Weckoblad. The dissertation analyzes Fougt's different enterprises and her position in the book trade between 1780 and 1810, from the perspectives of sociology of literature and gender history. It consists of five independent articles, preceded by an introductory chapter which summarizes the articles and discusses their main findings. The first two articles explore the office of the Royal Printer during the whole eighteenth century, while the third article concerns Elsa Fougt’s position as Royal Printer. The fourth article is a study of Fougt's publishing house, and the fifth and final article focuses on her international bookshop, where, among other things, she sold clandestine books imported from the STN in Switzerland. Fougt's successful career was made possible by a number of favourable circumstances, the most important being her family background and network. Her father Peter Momma held the office of Royal Printer, and Elsa Fougt and her husband Henric inherited his position when he died. When Henric passed away in 1782, Elsa – as a widow – was legally allowed to take up the office of Royal Printer independently. The fact that Elsa Fougt was a woman does not seem to have particularly affected her role as Royal Printer. In comparison with her predecessors, her position as Royal Printer appears to have been rather strong. She was a shrewd businesswoman who successfully negotiated with the authorities for higher financial compensation. Her office was obviously of greater importance than her gender. Being both a publisher, a printer, and a bookseller, Fougt handled most of the functions of the book trade, although she distinguished between these different functions. Furthermore, rather than just being an intermediary of books, she also took part in the creation of them, for example by initiating texts and editing manuscripts. In the book trade of her time, Fougt can be seen as both a traditionalist – holding the inherited office of Royal Printer – and an innovator, representing a more modern literary system with increased specialization.
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Nojonen, Matti. "Guanxi : the Chinese third arm /." Helsinki : Helsinki School of Economics, 2007. http://www.loc.gov/catdir/toc/fy0716/2007462330.html.
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Marty, Claire. "L’esthétique de la manipulation dans l’œuvre d’Albert Camus." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040163.
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La manipulation est présente au cœur de l’œuvre d’Albert Camus. Elle s’exerce tant au niveau des personnages qu’au niveau du lecteur. Jean-Baptiste Clamence, dans La Chute, est un personnage extrêmement manipulateur. A la fin de son discours, il énonce ce que furent ses techniques de manipulation. A la lumière de La Chute, on découvre une nouvelle facette de l’œuvre d’Albert Camus, celle de la manipulation.Il existe différents manipulateurs. Il y a ceux qui le font avec un immense plaisir ou ceux qui manipulent pour le bien d’autrui. La manipulation s’exerce parfois au service d’un autre manipulateur. Des événements historiques peuvent être générateurs de manipulation en mettant ces personnages en action.Les personnages manipulés réagissent aussi de différentes manières. On peut dissocier les inconscients des conscients non consentants qui se battent pour s’en libérer. Il existe aussi des personnages conscients de leur manipulation et consentants de l’être.A l’adresse du lecteur, Albert Camus utilise différentes techniques comme le jeu sur les duos, les références à la Bible ou à ses différents écrits. Albert Camus met en place un processus nécessaire de compréhension qui rend le jugement impossible. La Chute apparaît comme le mode d’emploi de la manipulation. A travers les techniques de Jean-Baptiste Clamence, on découvre donc celles d’Albert Camus. Le premier Homme est d’ailleurs la seule œuvre exempte de manipulation et marque un tournant dans l’œuvre d’Albert Camus<br>Manipulation is present in Albert Camus’s work. It acts at the level of both the characters and the reader. Jean-Baptiste Clamence, from The Fall, is an extremely manipulative character. At the end of his speech, he lists and describes his manipulation techniques. The Fall reveals a new aspect of Albert Camus’s work : manipulation.There are several kinds of manipulator: those who find personal pleasure in such behaviours, and those who act for the good of others. Manipulation may sometimes benefit another manipulator. Historical events may generate manipulation; they activate Camus’s characters.Manipulated characters also react in different ways. Some are unaware, others may be aware but are non-consenting and fight to free themselves, and other characters are aware of being manipulated and accept it.At the reader’s level, Albert Camus uses different techniques such as the play between duos, references to the Holy Bible or tho his own writings. Albert Camus creates an understanding which makes judgement impossible. The Fall almost resembles an instruction manual for manipulation. Through Jean-Baptiste Clamence’s techniques, we discover those of Camus himself. The First Man is the only one of Camus’s books that is free of manipulation, and in this respect represents a turning-point in his work
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Silva, Vilma Nunes da. "Os Brutos: tradi??o liter?ria e a mem?ria cultural do Serid?" Universidade Federal do Rio Grande do Norte, 2005. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16217.
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Previous issue date: 2005-12-20<br>Partindo do princ?pio de que a for?a centralizadora do discurso do narrador sob o universo romanesco encontra-se regido por nuan?as s?cio-ideol?gicas que fazem parte do mundo psicol?gico do autor, procede-se uma leitura cr?tica de Os Brutos (1938), romance de estr?ia do escritor Jos? Bezerra Gomes. O trabalho mencionado visa a tecer algumas considera??es em torno do ponto de vista do narrador, enfocando a encena??o do EU no cen?rio art?stico-liter?rio e sua interfer?ncia no modo de narra??o da citada obra. O procedimento metodol?gico adotado foi a pesquisa bibliogr?fica, e como aporte te?rico recorreu-se ? cr?tica especializada que trata da tem?tica em quest?o. Ao final percebeu-se que o discurso do narrador possui um car?ter ambivalente, o qual permite que o interlocutor presente n?o assuma uma perspectiva fixa diante do que narra
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Scali, Junior Dirceu Antonio. "A relação vida-obra, na criação, em Guimarães Rosa a partir de um olhar merleaupontyano." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/15750.
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Previous issue date: 2008-09-24<br>The intention of this work is to look for to understand the relation author-workmanship from what if it could call originary creative gesture. For in such a way, it was initially looked to decide some questions concerning the relation personage and biography and, later, was carried through a biography of the mining writer João Guimarães Rosa, having tried to apprehend genesis of the phenomenon of the creation. To establish this analysis, some concepts developed for the French philosopher had been essential Maurice Merleau-Ponty, mainly the ones that in some way they send to the study of the work of art, as well as the referring questions to the research of this author on the language<br>A intenção desse trabalho é procurar entender a relação autor-obra a partir do que se poderia chamar de gesto criativo originário. Para tanto, procurou-se inicialmente resolver algumas questões acerca da relação personagem e biografia e, posteriormente, foi realizada uma biografia do escritor mineiro João Guimarães Rosa, tentando apreender a gênese do fenômeno da criação. Para estabelecer essa análise, foram essenciais alguns conceitos desenvolvidos pelo filósofo francês Maurice Merleau-Ponty, principalmente os que de alguma maneira remetem ao estudo da obra de arte, bem como às questões referentes à pesquisa desse autor sobre a linguagem
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Sonnerby, Per. "Contract-theoretic analyses of consultants and trade unions." Doctoral thesis, Stockholm : Economic Research Institute, Stockholm School of Economics (EFI), 2007. http://www2.hhs.se/efi/summary/734.htm.
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Peeters, Elodie. "La réception française et espagnole de la tétralogie havanaise de Leonardo Padura Fuentes." Thesis, Paris 10, 2020. http://faraway.parisnanterre.fr/login?url=http://bdr.parisnanterre.fr/theses/intranet/2020/2020PA100003/2020PA100003.pdf.
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Aujourd’hui, la théorie de la réception ne se résume plus simplement à trois éléments : l’auteur, le lecteur et le texte, mais à de multiples paramètres qui faussent la réception. Nous allons démontrer que Leonardo Padura est le représentant de cette nouvelle réception du XXIe siècle. Une réception liée à un partage de données, d’avis et à une surexposition de l’écrivain devenu « star ». Cette sacralisation de Leonardo Padura est due à la volonté de le façonner comme le Cubain par excellence, un écrivain honnête, travailleur et dénonciateur du régime comme le sont tous les écrivains de romans noirs. Cette vitrification rapide et précoce émise lors de la sortie des romans a influencé la réception des œuvres postérieures de Padura et contamine, encore aujourd’hui, les lecteurs de la tétralogie.C’est en nous appuyant sur le cycle des Quatre saisons de Leonardo Padura Fuentes, composé de quatre tomes : Pasado Perfecto, Vientos de cuaresma, Máscaras et Paisaje de otoño, que nous pourrons développer notre propos. Ces quatre tomes forment un tout, ils décrivent les quatre saisons d’une année, l’année 1989. Nous avons choisi ce corpus car il était censé être un ensemble homogène, une suite logique entre les romans. Notre intention est de prouver que la réception de la tétralogie de Leonardo Padura a été faussée depuis sa publication il y a plus de vingt-cinq ans, tout d’abord à cause de la publication des œuvres dans le désordre et ensuite par les articles des journalistes, des universitaires et des lecteurs lambda.L’exemple individuel de Padura constitue une nouvelle forme de réception et représente cette nouvelle génération d’auteurs. Nous verrons que celle-ci aura assurément un impact sur l’Histoire littéraire<br>Today, the theory of reception is no longer only three elements: the author, the reader and the text, but multiple parameters that distort reception. We will demonstrate that Leonardo Padura is the representative of this new reception of the 21st century. A reception related to a sharing of data, opinions and overexposure of the writer, one of Cuba’s most well-known author. This sacralization of Leonardo Padura is due to the desire to shape him as the ultimate Cuban: an honest writer, hardworking and denouncer of the regime as are all writers of detective novels. This rapid and early vitrification of the novels has influenced the reception of the later works of Padura and still contaminates the readers of the tetralogy.It is by relying on Leonardo Padura Fuentes' Four Seasons cycle, composed of four volumes: Pasado Perfecto, Vientos de cuaresma, Máscaras and Paisaje de otoño, that we will be able to expand on. These four volumes form a whole, they describe the four seasons of a year, the year 1989. We chose this corpus because it was supposed to be a homogeneous whole, a logical continuation between the novels. Our intention is to prove that the reception of Leonardo Padura's tetralogy has been distorted since its publication more than twenty-five years ago, first of all because of the publication of the works in the disorder and then by the articles written by journalists, academics and ordinary readers.The individual example of Padura is a new form of reception and represents this new generation of authors. We will see that it will certainly have an impact on the history of litterature<br>Hoy, la teoría de la recepción ya no se resume a los tres elementos: el autor, el lector y el texto, sino a varios parámetros que falsean la recepción. Vamos a demostrar que Leonardo Padura es el representante de esa nueva recepción del siglo XXI. Una recepción vinculada con un reparto de datos, de opiniones y con una sobreexposición del escritor convertido en una « celebridad ». Esa sacralización de Leonardo Padura es debida a la intención de formarlo como el cubano por excelencia, un escritor honesto, trabajador y denunciante del régimen como lo son todos los escritores de novela negra. Esa precoz inmortalización emitida durante la publicación de las novelas influyó en la recepción de las obras posteriores de Padura; marcando todavía hoy a los lectores de la tetralogía.Nos basamos sobre el ciclo de Las Cuatro estaciones de Leonardo Padura Fuentes, compuesto de cuatro tomos: Pasado Perfecto, Vientos de cuaresma, Máscaras y Paisaje de otoño, para poder desarrollar nuestro tema. Esos cuatro tomos forman una unidad, describen las cuatro estaciones de un año, el año 1989. Elegimos ésta recopilación porque se suponía que componía un conjunto homogéneo y una continuación lógica entre las novelas. Nuestra intención es mostrar que la recepción de la tetralogía de Leonardo Padura fue falseada desde su publicación hace más de veinticinco años. Primero, a causa del desorden de la publicación de las obras, segundo por los artículos de los periodistas, universitarios y de los lectores « comunes ».El ejemplo individual de Padura constituye una nueva forma de recepción y representa a esa nueva generación de escritores. Veremos que esa tendrá ciertamente un impacto sobre la Historia Literaria
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Lundegård, Karin. "Bränn mitt bref! : En poststrukturalistiskt inspirerad studie av författaren Marianne Lundegård-Hagbergs utträdande ur historien." Thesis, Stockholms universitet, Institutionen för etnologi, religionshistoria och genusvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77317.
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Abstract This thesis discusses and analyses a 19th century female author's vanishing from history. The study investigates social relationships as figured and described in the epistolary form, based on letters between the author herself and different members of her family. It also tries to identify the author's position and situation in her time and society according to important themes and motifs in her novels. The main purpose is not to reconstruct history, but rather to show the many complex histories that can also be described, apart from the simplified and generalized one. The aim of this study is to, from a post-structuralist perspective, analyze the position of author Marianne Lundegård-Hagberg, and her role as a performative, discursive person that history forgot.
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Cronin, Maurice. "From the image of the reader to the figure of the writer : a Pragmatic Approach to the Question of Aesthetics and Ideology in the Work of Flannery O'Connor." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA128.
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Cette thèse a pour but principal de renouveler l’étude de la question du rapport entre l’esthétique et l’idéologique dans l’oeuvre de Flannery O’Connor. Contrairement aux études antérieures menées sur cette question, elle sera abordée ici dans le cadre d’une théorie du discours littéraire, c’est-à-dire d’une théorie qui prend en compte les dimensions à la fois performatives et réflexives propres aux textes littéraires. Ce postulat théorique a des conséquences importantes pour l’étude du rapport entre les textes littéraires et les contextes sociaux, politiques, historiques et littéraires de leur mise en circulation et de leur réception. Il implique, notamment, que les ouvrages littéraires inscrivent et négocient dans leur texture même les conditions de leur mise en circulation et de leur réception, et ainsi, que la question de leur contexte doit être abordée en premier par l’étude de cette inscription et de cette négociation textuelles. Pour autant qu’elle tient pleinement compte de la logique médiate de cette inscription et de cette négociation—et notamment des effets médiateurs des figures du lecteur et de l’auteur, ainsi que du genre et du champ littéraire—l’approche pragmatique adoptée dans cette thèse permet non seulement de mener à bien cette étude, mais également de montrer sous un nouveau jour la complexité et la singularité de la signature littéraire de Flannery O’Connor<br>The principal aim of this dissertation is to provide a fresh approach to the vexed question of the relationship between the aesthetic and the ideological in the work of Flannery O’Connor. Unlike existing studies of this question in the critical literature, the approach adopted in this dissertation is based on the premise that it can best be treated in the context of a theory of literary discourse, one, in particular, that takes full consideration of the reflexive and performative dimensions of literary works. This theoretical assumption has considerable consequences for the study of the relationship between literary texts and the social, political, historical and literary contexts of their reception and circulation. In particular, it suggests that literary texts inscribe and negotiate the social and historical conditions of their circulation and reception, and that the question of their context should be approached first and foremost through the study of this textual inscription and negotiation. Insofar as it takes full consideration of the mediatory logic that such textual negotiation entails—in particular the mediating presence and effect of the figures of the reader and the author, the genre of the work, and the literary field—literary pragmatics will be seen to provide an approach which not only enables this study, but also reveals in a new light both the complexity and the singularity of Flannery O’Connor’s literary signature
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Falgas, Julien. "Raconter à l'ère numérique : auteurs et lecteurs héritiers de la bande dessinée face aux nouveaux dispositifs de publication." Thesis, Université de Lorraine, 2014. http://www.theses.fr/2014LORR0112/document.
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Considérant l’environnement numérique qui se caractérise par la convergencedes modes et des formes discursifs, à quels cadres les auteurs et les lecteurs héritiers de la bande dessinée se référent-ils et de quelle manière s’y réfèrent-ils ? Il s'agit de comprendre comment des auteurs confrontés à de nouveaux dispositifs de publication produisent le sens commun nécessaire à la création de récits numériques dont les lecteurs parviennent à partager les standards de transcription, tirent des routines d’usage pour leur interprétation, et jugent attrayante la sélection et la mise en forme des évènements racontés. Après avoir présenté lecontexte dans lequel ont émergé les premiers récits identifiés comme des « bandes dessinées numériques de création », l'étude porte sur l'analyse indexicale d'entretiens conduits auprès des auteurs et des lecteurs de deux de ces récits. L'analyse fait apparaître l'originalité des assemblages de cadres de références opérés par les auteurs et reconnus de leurs lecteurs. Cette étude montre ainsi l'importance des dynamiques de production de sens dans l'invention et l'adoption de nouvelles formes narratives. Le retour critique sur ce travail soulève plusieursquestions méthodologiques, notamment quant à la place du chercheur en tant qu'acteur engagé dans la production de sens, mais aussi quant à la prépondérance accordée au mot dans ce type d'étude, et enfin quant aux modalités d'entretien les plus favorables à la recherche et à l'élucidation des marques indexicales par lesquelles s'expriment les cadres de référence des acteurs<br>What are the frames to which authors inspired by the comics legacy refer inthe digital environment, characterized by the convergence of media and discursive forms ? How do they refer to such frames in order to make sense and to tell digital stories from which readers are able to share the standards of translation, find routines for their interpretation, and feel entertained by the selection and the arrangement of events ? After setting the context in which emerged the first accounts identified as « original digital comics », the study focuses on the indexical analysis of interviews with authors and readers of two such stories. The analysis reveals the originality of the frames arrangements made by the authors and recognized by their readers. This study shows the importance of sensemaking activities for the invention and adoption of new narrative forms. The critical review of this work raises several methodological issues, particularly regarding the place of the scientist as an actor engaged in the sensemaking activity, but also about the the importance given to words in this kind of researches, and finally about the appropriate interview methods in order to find and explain indexical marks leading to the actors' frames
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(9831512), Leonie Rowan. "Strategies of marginalisation and tactics of subversion: A study of some recent Australian women's writing." Thesis, 1994. https://figshare.com/articles/thesis/Strategies_of_marginalisation_and_tactics_of_subversion_A_study_of_some_recent_Australian_women_s_writing/13416824.
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This thesis is titled Strategies of Marginalisation and Tactics of Subversion: A Study of Some Recent Australian Women's Writing, and attempts to provide definitions of strategies and tactics which illustrate how both terms relate to, or operate within, specific literary narratives. I will conduct readings of six texts: Jessica Anderson's An Ordinary Lunacy and The Impersonators, Thea Astley's A Kindness Cup and Beachmasters, Drusilla Modjeska's Poppy and Ruby Langford's Don't Take Your Love to Town. Throughout, I will concern myself with five major points: readings of Astley's, Anderson's, Modjeska's and Langford's texts which focus on the politics of their narratives' practices of inclusion and exclusion; the distinction between narratives which reinscribe marginality and those which displace traditional and reductive notions of race and gender; the difficulty of speaking about either race or gender without participating in the construction or perpetuation of essentialising definitions of either; the problematic nature of accepting the inviolable distinction between centre and margin; and the ways in which so-called marginalised groups can, and do, 'speak for themselves', and thereby subvert or render meaningless mainstream definitions of their own lives, and the centre/margin opposition on which these definitions are predicated. In the first chapter I will introduce the theories that I intend to work with and discuss where the texts that I will be reading are located on a continuum of narrative styles. In Chapter Two I will analyse the ways in which reviewers and critics have tended to produce Astley, Anderson, Modjeska or Langford as either 'mainstream' or 'special interest' authors. In Chapters Three and Four I will outline my understanding of strategies of marginalisation, and detail the ways in which reductive definitions of gender are naturalised in both An Ordinary Lunacy and The Impersonators as a consequence of a lack, in each text, of any workable alternative to the extant hegemony. Then, in Chapters Five and Six I will focus on the ways in which Aboriginals and Pacific Islanders have been routinely positioned on the edge of dominant discourse, and discuss the ways in which A Kindness Cup and Beachmasters ultimately reinscribe the 'naturalised' separation of white from black by demonstrating the political and social incompetence of the indigenous peoples. In Chapter Seven I will foreground my understanding of tactics of subversion and discuss counternarratives which can be used to resist explanations that seek to construct various groups or individuals as 'victims'. In Chapters Eight and Nine I will then conduct readings of Modjeska's Poppy and Langford's Don't Take Your Love to Town in order to illustrate some of the diverse ways in which tactics of subversion can function in literary texts. I will conclude by re-stating the difference between narratives which silence and elide the voices of the 'other,' and narratives in which the 'other' speak for themselves.
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Pei-Chuan, Wu, and 吳佩娟. "A Studying on the Interactive Relation between Literature Editor and Author in Taiwan." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/09335222977691993449.
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Leisner, Keith David. ""Mutual relations of dialogue, parody, contestation" : writing Nabokov's life in the age of the author's death." Thesis, 2014. http://hdl.handle.net/2152/26372.
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In her introduction to a special issue of the South Central Review on literary biography published in 2006, Linda Leavell writes, "Many would trace the disdain for literary biography—in both senses of the word “literary”—back through Roland Barthes’s “death of the author” to the New Critics’ division of text from context all the way to T. S. Eliot’s theory of impersonality. Critical theory of the past century has generally deemed an author’s life, personality, and intentions irrelevant to the text" (1). Leavell’s explanation of how critical theory of the twentieth century came to shape the current scholarly attitude towards literary biography establishes the genre’s status in an era of literary theory that is commonly characterized by the diminishment of the author as the source of meaning in a text, an era in which we remain. This characterization, however, overlooks the different ways that the theorists of the era displaced the author as the dominant figure in literary studies. This paper demonstrates how these different ways, despite whatever damage they might have done to the status of literary biography, actually benefit the study of the genre. Additionally, this paper argues that they not only comprise one side of Vladimir Nabokov’s contradictory views on his own authorship, which makes him an ideal subject for the study of authority over biographical representation, but also gave rise to new methodologies of literary biography, which are the methodologies of Nabokov’s biographers themselves. As a result, this paper concludes, “an author’s life, personality, and intentions” in turn have assumed new relevancy in literary studies.<br>text
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Hsu, Pu-hui, and 徐溥徽. "Dialogic Relations Among the Author, the Reader,the Characters and the Text in John Fowles's The Magus." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/00977457843059995636.
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碩士<br>國立清華大學<br>外國語文學系<br>91<br>Regarded as a Bildungsroman, John Fowes's The Magus has been widely analyzed by different approaches including myth criticism, feminist criticism, psychological criticism, formalist criticism, and reader-response criticism. However, none of these researches does detailed analysis of the relation among the author, the reader, the characters and the text. They neither examine how the four parts communicate with one another and how they exercise their freedom in the processes of reading and writing, nor do they discuss the extent of the freedom the four roles are allowed to exercise. In order to cope with these undealt issues, this thesis focuses on the author’s “politics of seduction” and the reader’s response to it, and supplements the notion of "limited freedom" of the author, the reader, the characters and the text, in the framework of Iser’s reader-response theory and John Fowles’s idea of “limited freedom.”
There are three levels to investigate the dialogic relations among the author, the reader, the characters and the text. The first level is between Fowles and the reader, in which Fowles plays a role as a surrogate author who uses Conchis and Urfe as the “surrogate author” and the “surrogate reader” for the reader in an attempt not only to transmit his discourse but also hopes that the reader realizes the “politics of seduction” used by Conchis on Urfe and makes his response to Fowles’s strategy. Taking the hints from Fowles, watching and experiencing the adventures of the characters, the reader judges the characters’ behaviors and makes interpretation of the text. The second level, also the main part of this thesis, is between Conchis the surrogate author and Urfe the surrogate reader. Conchis employs such techniques of stories within stories, masques and the open-ending to attract Urfe to take part in the “godgame.” Being trapped into the godgame, while Urfe feels cheated and frustrated, he realizes his mistakes and decides to change to a person who can tell love from sex. The third level is between Fowles as the surrogate author and all the characters as the surrogate readers. Conchis, Alison, Julie, June and so on with another kind of politics of seduction offer either true or misleading information to Urfe in order to seduce him to be confused about “lie upon lie” and to see the “truth.” When they do so, they not only attract Urfe to take part in the godgame but also play the role as the surrogate reader when they figure out the implications each other and present one perspective of The Magus. In other words, all the characters are Fowles’s surrogate readers.
With the support of Iser’s theory of “implied reader,” “wandering viewpoint,” and “synthetizing activity,” the three kinds of interplay mentioned above illustrate that the author, the reader, the characters and the text all play active roles in the reading process. They have their own ways to express their discourses and ideas. Paradoxically, their voices influence and contend with one another, and their freedom is thus limited. In consequence, the author, the reader, the characters and the text, sharing limited freedom, are indispensable roles in reading and writing The Magus.
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Su, Qing-qui, and 蘇清旗. "The Relation between Death, the Author, and the Readers,Take Maurice Maeterlinck’s Three One-Act Plays as Examples." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/77540530377161598568.
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碩士<br>國立中正大學<br>外國文學所<br>94<br>Abstract
Through his one-act plays about death, Maurice Maeterlinck shows us the power relation between death, the author the readers, and the audience. The efforts to grasp the clear image of death made by the author seem to prove in vain all the time, and the will of the authors to express philosophical ideas through the play to the audiences faces more difficulties. The purpose of this thesis is to discuss the obstacles playwrights may encounter when they try to present the image of death on stage. Taking Maurice Maeterlinck as an example, we will discuss the approaches he used to depict the image of death, and to examine what effects such approaches may have on the audience and on the author himself. Finally, we will try to analyze the positions of the readers and the audience when they read or see the performance.
In the first chapter, we will investigate the discourse of death through several Hegelian philosophers, such as Hegel, Kojève, Sartre, and Lévinas to see that death is always outside the world of human beings. Any discourse about death is not death in itself, because it is always incomprehensible through language. In chapter two, we clarify the limits caused by the system of language, and find authors who are good at gazing at the readers and the audience are actually most tightly involved in the system of language. In chapter three, we will discuss Barthes’ theory of the death of the author to depict a web of language which is so firm that no one can escape. Finally, we will examine Maurice Maeterlinck’s theory of “Static Theatre” to see how he makes use of silence to gain more freedom for human beings to live within this web of language.
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GEYEROVÁ, Veronika. "The Conception of Time in Virginia Woolf´s Novels in Relation to the Narrative Techniques Used by the Author." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-354722.
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This diploma thesis focuses on Virginia Woolf's conception of time in relation to the narrative techniques the author uses in her novels. The aim of this diploma thesis is to analyse the conception of time characteristic of Woolf's prose but also to point out how closely related this conception of time is to the narrative techniques used by the author. To capture the development of Woolf's conception of time and narrative methods, the novels are analysed chronologically according to their dates of publication. Significant part of this thesis is also devoted to the philosophical, scientific and historical context in which the novels were written because the author's treatment of time and narrative techniques are directly inspired by philosophical and-scientific theories and socio-historical changes at the turn of the 20th century.
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Lyssa, Alison. "Performing Australia's black and white history: acts of danger in four Australian plays of the early 21 century." 2006. http://hdl.handle.net/1959.14/714.
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Submitted in fulfilment of the requirements for the degree of Masters in English in the Division of Humanities, Dept. of English, 2006.<br>Thesis (MA)--Macquarie University (Division of Humanities, Department of English), 2006.<br>Bibliography: p. 199-210.<br>Introduction -- Defiance and servility in Andrew Bovell's Holy day -- Writing a reconciled nation: Katherine Thomson's Wonderlands -- Transformation of trauma: Tammy Anderson's I don't wanna play house -- The rage inside the pain: Richard J. Frankland's Conversations with the dead -- Conclusion: towards an understanding of witness to the trauma of invasion.<br>In an Australia shaped by neo-conservative government and by searing contention, national and global, over what the past is, how it should be allowed to affect the present and who are authentic bearers of witness, this thesis compares testimony to Australia's black/white relations in two plays by white writers, Andrew Bovell's 'Holy day' (2001) and Katherne Thomson's 'Wonderlands' (2003), and two black writers, Tammy Anderson's 'I don't wanna play house' (2001) and Richard J. Frankland's 'Conversations witht the dead' (2002).<br>Mode of access: World Wide Web.<br>210 p. ill. 30 cm
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Farouk-Alli, Aslam. "A translation of Shaykh Muhammad Alghazālī’s study on bid’ah (heretical innovation) with an introduction on the author and his thought." Diss., 2010. http://hdl.handle.net/10500/4882.
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The boundaries of normative Islam are critically explored in this thesis, which presents a
translation of the most important aspects of a modern study on bid‘ah (heretical innovation), by
the late Egyptian Reformist Scholar, Shaykh Muhammad al-Ghazālī (1917 – 1996). The
translator’s introduction contextualizes the life and work of the author and also briefly locates
this particular study within the broader framework of classical and contemporary writings on the
subject of bid‘ah. Only the book’s introduction, first three chapters (constituting the theoretical
spine of the original work), and conclusion are translated. The first chapter is an introductory
excursus into Islamic law, necessary to enable the reader to grasp the legal debate on bid‘ah. The
second chapter casts a wider net, examining the influence of foreign elements upon Islamic
thought, while the third chapter deals specifically with the topic of bid‘ah. The short conclusion
reaffirms the importance of normative Islamic practice.<br>Religious Studies and Arabic<br>M.A. (Arabic)
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Milev, Jordan G. "Genetic programming use in structural modeling applied to the earnings-returns relation /." 2004. http://www.gbv.de/dms/zbw/546853102.pdf.
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Woitková, Karin. "Hodnocení zaměstnanců vybrané obce s rozšířenou působností jako faktor zvyšování motivace." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-307845.
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The present thesis addresses the issue of assessment of employees in an organization in the public administration. Assessment of employees is a key motivation factor in human resources management, and it is one of the tools to achieve the employees' productivity. At the same time the assessment helps increase the prestige of the authority and satisfaction of the citizens. The aim of the present thesis is to analyze the current state of the system of assessment in an organization in the public administration, to look for deficiencies in the system as they influence the motivation of employees, and to propose changes for improvement. The first part of the thesis presents the theoretical framework of performance management, the theory of work motivation, assessment, and the remuneration of employees. In the practical part of the thesis the municipal office in question is introduced, and the current situation of the employees assessment system is analyzed. This part also includes the results of the realized questionnaire. The final part brings recommendations which can help the organization to increase the efficiency of the employees assessment.