Dissertations / Theses on the topic 'Script writer'

The concept of game development has traditionally not implemented the skills of professional writers to develop the scripts for a computer game. However, due to the growth in complexity and size of the computer game development process, as well as the growing teams of people involved in the development of computer games, the need to employ skilled writers has emerged in modern computer game development. It has, however, become clear that the role of the writer within the collaborative game development process is still ill-defined. And therefore, the writer who wishes to start writing for the games industry, is faced with a great deal of obstacles. It was therefore deemed necessary to develop a script development model for the creation of computer games that can assist the writer of a computer game by means of thorough guidance. The aim of this research project is therefore to develop such a model. The first step towards the establishment of a script development model, would be to determine the position of the writer in the collaborative game production communication process. In order to establish this, a communication model was developed for the communication process of the computer game development process, based on Roman Jakobson's communication model. After the position of the writer in the communication process was established, a game development model was developed to determine the position of the writer within the entire game development process. This was done so that the functions and responsibilities of the writer - within a greater collaborative development process - could be determined. This model was developed based on existing software development models, as well as two different models from the games industry that focus on different aspects within the game development process. With the position, functions and responsibilities of the writer determined, it was possible to postulate a script development model for the creation of computer games. This model was developed with an emphasis on the game context, creative strategies and analytical frameworks available to the writer. Furthermore guidelines were provided on the actual scripting of the computer game script, based on elements from drama theory. To test the script development model, a non-functional prototype (thin-slice) computer game script was developed based on the Fritz Deelman-series (Leon Rousseau). The script development model was used as guideline to establish whether the script development model could in future be used to develop a full-scale, implementable computer game script.
Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2008.

The humanities have for a long time been a collection of fields that have not gained from the advancements in computational power, as predicted by Moore´s law.  Fields like medicine, biology, physics, chemistry, geology and economics have all developed quantitative tools that take advantage of the exponential increase of processing power over time.  Recent advances in computerized pattern recognition, in combination with a rapid digitization of historical document collections around the world, is about to change this. The first part of this dissertation focuses on constructing a full system for finding handwritten words in historical manuscripts. A novel segmentation algorithm is presented, capable of finding and separating text lines in pre-modern manuscripts.  Text recognition is performed by translating the image data of the text lines into sequences of numbers, called features. Commonly used features are analysed and evaluated on manuscript sources from the Uppsala University library Carolina Rediviva and the US Library of Congress.  Decoding the text in the vast number of photographed manuscripts from our libraries makes computational linguistics and social network analysis directly applicable to historical sources. Hence, text recognition is considered a key technology for the future of computerized research methods in the humanities. The second part of this thesis addresses digital palaeography, using a computers superior capacity for endlessly performing measurements on ink stroke shapes. Objective criteria of character shapes only partly catches what a palaeographer use for assessing similarity. The palaeographer often gets a feel for the scribe's style.  This is, however, hard to quantify.  A method for identifying the scribal hands of a pre-modern copy of the revelations of saint Bridget of Sweden, using semi-supervised learning, is presented.  Methods for production year estimation are presented and evaluated on a collection with close to 11000 medieval charters.  The production dates are estimated using a Gaussian process, where the uncertainty is inferred together with the most likely production year. In summary, this dissertation presents several novel methods related to image analysis and machine learning. In combination with recent advances of the field, they enable efficient computational analysis of very large collections of historical documents.
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Script training is a technique that allows persons with acquired speech and language disorders, such as nonfluent aphasia, to have islands of fluent speech during which they can speak about a topic without pausing or having word-finding errors. Scripts relevant to specific functional situations are written and practiced until memorized. Script training delivered verbally has been effective with clients with aphasia but the role of written cues in the training has not been explored. Therefore the purpose of this study was to compare the effectiveness of script training taught verbally, or verbally with a written script, in persons with aphasia. Three adults, one with Broca’s aphasia and apraxia of speech (AOS), one with Broca’s aphasia, and one with Anomic aphasia were recruited for this study. Participants selected three topics for script training and with the clinician’s help wrote a script and a script prompt for each topic. Scripts were trained one sentence or phrase at a time until 95% repetition accuracy was achieved, then training began for the next script. The effects of two training procedures, verbal only and verbal + written script, were evaluated with a multiple baseline design across training procedures, the order of which was counterbalanced across participants. Maintenance data were collected after each script was mastered and after the study ended. Results revealed that 3 persons with aphasia (PWA) demonstrated mastery of 2-3 scripts each using V+W script training methods, but only 1 participant maintained script accuracy at 16 weeks post-study. More research is needed to explore the role of written and verbal cues on script mastery and generalization.

This thesis, comprised of a stage play and exegesis, asks whether the Mike Leigh Method, commonly used by Auteur directors could be adapted to benefit a playwright during the redrafting and development process. I seek to answer this question by examining differing methodologies of drama creation and charting my process as I work to redraft my character driven stage play Deceased Estate through the adaptation and application of the Mike Leigh Method. I contend that Leigh’s method affords a set of honed and proven guidelines that can help the playwright get to the heart of the character driven drama and offer an adapted method template that can be used and furthered by other Playwrights wishing to develop their work in this manner.

The automatic recognition of hand-written text has been a goal for over thirty five years. The highly ambiguous nature of cursive writing (with high variability between not only different writers, but even between different samples from the same writer), means that systems based only on visual information are prone to errors. It is suggested that the application of linguistic knowledge to the recognition task may improve recognition accuracy. If a low-level (pattern recognition based) recogniser produces a candidate lattice (i.e. a directed graph giving a number of alternatives at each word position in a sentence), then linguistic knowledge can be used to find the 'best' path through the lattice. There are many forms of linguistic knowledge that may be used to this end. This thesis looks specifically at the use of collocation as a source of linguistic knowledge. Collocation describes the statistical tendency of certain words to co-occur in a language, within a defined range. It is suggested that this tendency may be exploited to aid automatic text recognition. The construction and use of a post-processing system incorporating collocational knowledge is described, as are a number of experiments designed to test the effectiveness of collocation as an aid to text recognition. The results of these experiments suggest that collocational statistics may be a useful form of knowledge for this application and that further research may produce a system of real practical use.

The Golden Door is a new musical created in answer to the question "how does one write a musical?" This short work is based on immigration through Ellis Island in the 1920s. The script focuses on three young adults immigrating from Sweden in 1922, exploring the reasons why each might choose to leave their homeland and attempt a new life in a completely foreign land. The script also details historical information such as how long the crossing was and the reception that awaited them in the "promised land", juxtaposing promises and actuality. The script and score examines themes such as bravery, homesickness and loss, and the perception of Americana and its processes dating back to a romanticized time. This document details the writing process, justification of the document, and historical research to support it, as well as the performance text itself (including both script and score).

This thesis examines the importance of sartorial detail in fiction by German women writers of the nineteenth century. Using a methodology based on Judith Butler’s gender theory, it examines how femininity is perceived and presented and argues that clothes are essential to female characterisation and both the perpetuation and breakdown of gender stereotypes. Based on extensive research into the history of dress including historical studies, fashion journals and conduct books, the thesis indicates how clothes were scripted for bourgeois women in nineteenth-century Germany. Women were expected both to observe the expensive dictates of fashion and to prove themselves morally superior. Arranged chronologically, this thesis analyses how this paradox is approached by female authors. It concludes that the revolutionary spirit of the 1840s was evident in the ways in which Louise Aston (1814-1871) and Fanny Lewald (1811-1889) portrayed dress, although both rely on sartorial traditions. ‘Natural’ beauty is at the centre of their characterisation, but the ‘natural’ is shown, not necessarily consciously on the part of the authors, to be an achievement. This is also true in the didactic works of Eugenie Marlitt (1825-1887) who surrounds her ‘natural’ protagonists with women who mis-perform their gender by dressing ostentatiously. Progressive writers at the end of the century are more direct in their treatment of the dress paradox. Such authors as Hedwig Dohm (1831-1919) and Frieda von Bülow (1857-1909), create heroines who feel vulnerable and awkward because of the pressure to be sexually attractive. This thesis concludes that dress is used in different ways to show how the dictates of fashion correspond to the dictates of patriarchal society; how sartorial details literally and metaphorically shape women; and how female writers accentuated the way dress functions as a means of oppression or attempted to overlook dress as a way of emphasising other feminine attributes.

Although many children become literate within an environment in which different language systems exist, there is still little research on what children know about different writing systems and how they understand and develop them when they are learning more than one alongside each other. Based on sociocultural theory and the concept of emergent literacy, which assume children as active language users in social processes, this research explores how Korean preschool children aged six make use of literacy knowledge and skills, and how they understand two different scripts, the Korean alphabet Hangul and the Roman alphabet used for English, in a foreign language context. 10 Korean EFL preschool children took part in peer teaching sessions, in 5 pairs, with each pair having a tutor child, aged 6, and a pupil, aged, 5. The tutor children taught literacy in both Hangul and English to the tutee children, and they led each teaching session in their own ways as active participants by using their own materials brought from their classrooms or homes as a teaching resource. The tutor children’s communicative interactions around reading and writing, written explanations presented on the paper, their behaviours, comments and responses during the peer teaching were observed and analyzed focusing on the meaning of what each child said, acted and wrote. The findings showed that the children were able to use their literacy knowledge and skills whilst engaged in literacy activities, and those knowledge and skills were shown in both two languages, at different levels: context, texts, sentences, words, syllables, morphemes, and sounds-letters. The findings also showed that they were able not only to find out key orthographic principles which characterise each writing system but also to seek the similarities and differences between two languages from different points of views: shape of letters (block shaped vs. linear), language units (syllables vs. letters), and sound-letter relationship (shallow orthography vs. deep orthography). The findings of this study suggest that young children are able to look for key concepts from different scripts from an early age, with the use of their literacy knowledge and skills in each script as active language learners.

This thesis investigates the transition of the Arabic script from written to printed form and the influence that this process had on the evolution of Arabic typeforms. This study aims to acknowledge and interrogate the factors that influenced the typographic shaping of the script in response to typemaking and typesetting technology, and the cultural environment in which these developments took place. The historical scope of the research covers the pre-industrial production of Arabic founts, focusing on letterpress printing and types for hand composition, beginning with the first Arabic movable types in Italy in 1514. The thesis covers developments to 1924, when the Biilaq printing house in Cairo produced the first typographically composed Qur'an to be approved by a Muslim authority. The Biilaq edition marked what could be arguably considered the highpoint of composing Arabic with foundry type and its typeface supplied the model for the development a hot-metal fount, formally bridging hand-set and mechanical technologies for the typesetting of the Qur'an. The research investigates the relationship between the manuscript models and the typographic representation of the Arabic script; and outlines significant developments in Arabic typographic history with selected case studies, chosen to high¬light various aspects of the design and manufacturing processes, as well as discuss approaches of different type-makers and printers. This study draws on primary sources that have not been examined as a set before, employing a methodology of visual documentation that supports detailed comparative analysis. This approach enables a focus on the critical assessment and qualitative appraisal of the Arabic types according to specific parameters. The research aims to shed light on the reasons for the discontinuity between manuscript and print forms, and reveal relationships between the visual forms of letters and the skills, knowledge and resources available to the people involved in the type-making process. It also aims to trace the establishment of typographic conventions for the Arabic script that either originated or departed from manuscript practice. In conclusion, this research extends and deepens the historical narrative of Arabic type history, and provides a valuable source for scholars, students and practitioners in the field.

In this study I have met three authors in a dialogue seminar on their literary work. The discussion, starting from texts by Lacan and Socrates, revolved around the dichotomy of personal and private, and how to benefit from personal material in one’s literary work. The three authors reflected on the writer Karl Ove Knausgård and the photographer Sally Mann, who both are working with their own immediate family as a motif. In Knausgård, you can find a strong and self-dissecting writer persona as a medium of creating recognition in the readers mind. In Sally Mann the metaphorical dimensions of this family motifs transforms them to images of much more general relevance than their private settings. On the subject of truth and story I also reflect on the different approaches that the authors Primo Levi, Viktor Frankl and Imre Kertész have on their experiences of the Holocaust. Finally the importance and relevance of metaphors as a way of getting a touch of one’s own private material is starting to be investigated.
I det här arbetet har jag samlat tre författare i olika genrer till ett dialogseminarium om sin arbetsprocess. Samtalet, som utgick från texter av Lacan och Sokrates, kretsade mycket kring författarens arbetsvillkor och de olika metoder som författarna använder sig av för att hitta sin frihet i förhållande till dem. I samtalet blev det uppenbart hur beroende alla författarna är av en förstående medarbetare. Okunskap och felläsning från en dramaturg eller redaktör kan bokstavligt talat bli förödande.    Dialogmötet kom att kretsa kring frågeställningar om hur man skiljer privat och personligt. Vi diskuterade författaren Karl Ove Knausgård och fotografen Sally Mann, som båda jobbar med sin egen familj som motiv. Genom att Knausgård använder sig själv som en roll visar han på en möjlighet att närma sig ett eget material. Hos Sally Mann är det istället de metaforiska dimensionerna i de vardagliga motiven som gör sig tydliga.    Också i Imre Kertész skildring av förintelsen förvandlas den till något större: en metafor för hur ödet och slumpen kan påverka våra liv. Hans berättelse blir på det sättet mindre beroende av vad som är sant, än skildringarna av två andra överlevare från Auschwitz: Primo Levi och Viktor Frankl. Vilket inte betyder att de andras texter saknar metaforisk styrka.    Avslutningsvis går uppsatsen in på författarnas sätt att använda metaforen som ett verktyg för att berätta. Metaforen är alltid en bild av någonting annat, den skapar en fördjupning och oförväntad igenkänning hos läsaren. Den ger också möjligheter för konstnären/författaren att berätta saker som hen inte kan säga på andra sätt.  Metaforen uppstår genom igenkänning i skapandet. Man kan välja att gå med den, eller aktivt gå emot den för att fördjupa textens eller filmens metaforiska dimension.    En viktig aspekt för yrkeskunnande inom konsten och författarskap är att aldrig ligga före i sitt arbete genom att oroa sig för vad omgivningen ska tycka och tänka. Då finns det en risk att man blir en feg konstnär, vilket är förödande för ens skapande.

Orientador: Sergio Ferreira do Amaral
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-14T08:40:11Z (GMT). No. of bitstreams: 1 Turrini_CristianeDegrecci_M.pdf: 2791051 bytes, checksum: a7487a7e11c189fef2028b2d011b6c96 (MD5) Previous issue date: 2009
Resumo: Esta pesquisa discute a produção de vídeo digital na sala de aula enfocando a criação de roteiro pelos estudantes, em trabalho desenvolvido com auxílio da professora. A pesquisa está baseada no processo de escrita dos estudantes, na apropriação dos conhecimentos sobre os gêneros e num maior domínio sobre linguagem, seguindo as propostas dos PCN de Língua Portuguesa. Trata-se de um Estudo de caso com uma abordagem qualitativa de análise de dados, ambientado em uma escola municipal de Campinas, em salas de terceiras e quartas séries. O trabalho se desenvolveu em duas fases. A primeira é o início do projeto, momento em que se explora questões relativas ao ensino de Língua Portuguesa, levantando bibliografia sobre o trabalho com gêneros, sobre os PCN e roteiro, resultando na construção de uma tabela, composta por diretrizes dos PCN, que são usados na análise dos roteiros. A segunda fase relata a maneira como os gêneros são explorados no projeto desenvolvido pela classe e como a produção escrita é conduzida, resultando nos roteiros. Apresenta também o detalhamento das diretrizes e a análise propriamente dita da tabela.
Abstract: This research discusses the digital video production in the classroom, the focus is on the students script creation with the teacher's aid.The research is based on the students writing process, the appropriation of knowledge about the genders and a greater mastery of language, following the proposals of the Portuguese Language Curriculum - PCN. This is a case study with a qualitative approach to data analysis, set in a municipal school in Campinas, in classrooms of third and fourth grades. The work was developed in two times. The first is the project beginning, at which explores issues relating to the teaching of Portuguese language, literature on working with gender, on the PCN and the script, resulting in a data table, comprising the PCN guidelines, which are used in the analysis of the roadmaps. The second time relates to how the genres are explored in the project in the class and how written production is conducted, resulting in the roadmaps. It also presents the details of the guidelines and actual examination in data table.
Mestrado
Ciencias Sociais na Educação
Mestre em Educação

Éclairer la variabilité du traitement médiatique des événements politiques survenus en Égypte en 2011 et 2013 constitue notre objectif de recherche. À cette fin, nous étudions deux moments discursifs déterminés dans cinq quotidiens nationaux de la presse française (Le Monde, Le Figaro, Libération, La Croix, L’Humanité) et un échantillon de la presse égyptienne arabophone (Al-Ahram, Al-Masry Al-Youm) et francophone (Al-Ahram Hebdo). Notre thèse s’attache à la construction du sens social des événements par les discours journalistiques, en tenant compte des territoires de diffusion et des représentations en vigueur dans les deux sociétés. Nous visons à dégager des stratégies discursives à partir d’une analyse sémiolinguistique du discours faisant toute sa place à l’énonciation scripto-visuelle de la presse.Considérant que les Unes, les titres ainsi que les éditoriaux sont trois « zones » textuelles privilégiées pour observer ces stratégies et l’orientation idéologique et politique propre à chaque organe de presse, nous cherchons à montrer que le récit médiatique et la désignation des acteurs et des événements politiques se nourrissent de l’influence des contextes socio-politique et illustrent les prises de position des journaux. Nous constatons un traitement différencié des deux moments discursifs (déséquilibre quantitatif entre 2011 et 2013, approbation du soulèvement populaire de 2011 qui se trouve mythifié tandis qu’en 2013 se manifestent perplexité et ambiguïté), ainsi que des contrastes très marqués des acteurs mis en avant aussi bien que de leurs désignants selon les journaux
Our research objective is to shed light on the variability of the media coverage of political events in Egypt in 2011 and 2013. To this end, we study two discursive moments identified in five national dailies of the French press (Le Monde, Le Figaro, Libération, La Croix, L'Humanité) and a sample of the Arabic-speaking (Al-Ahram, Al-Masry Al-Youm) and French-speaking (Al-Ahram Hebdo) Egyptian press. Our thesis focuses on the construction of the social meaning of events through journalistic discourse, taking into account the territories of diffusion and representations of force in both societies. We aim to identify discursive strategies based on a semiolinguistic analysis of the discourse, giving full importance to the scripto-visual enunciation of the press. Considering that the headlines, titles and editorials are three privileged textual "zones" to observe these strategies and the ideological and political orientation specific to each media organization, we seek to show that the media narrative and the designation of political actors and events are informed by the influence of socio-political contexts and illustrate the positions taken by the newspapers. We note a differentiated treatment of the two discursive moments (quantitative imbalance between 2011 and 2013, approval of the 2011 popular uprising, which is mythified, but perplexity in 2013), and also very marked contrasts between the actors put forward as well as their representatives according to the newspapers

La tesi ha lo scopo di individuare le coordinate fondamentali delle dinamiche di trasformazione che la città di Milano conobbe tra il VI ed il XII secolo dal punto di vista topografico, insediativo e monumentale. Attraverso l'analisi combinata di fonti scritte ed evidenze materiali vengono sistematicamente esaminati i quattro principali elementi caratterizzanti il fenomeno urbano in età medioevale: la topografia delle difese, la topografia cristiana, la topografia del potere e la topografia dell'insediamento.
The thesis aims to identify the fundamental coordinates of the transformation dynamics that the city of Milan underwent between the Sixth and the Twelfth Centuries from a topographical, settlement and monumental point of view. Through the combined analysis of written sources and material evidences, the four main elements characterizing the urban phenomenon in the Middle Ages are systematically examined: the topography of the defenses, the Christian topography, the topography of power and the topography of the settlement.

Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.

La tesi fornisce uno studio empirico relativo agli elementi linguistici caratterizzanti il parlato faccia-a-faccia e il parlato filmico americano, due domini conversazionali solitamente detti differire in termini di spontaneità, essendo il primo generalmente descritto come la quintessenza del linguaggio parlato (in quanto totalmente spontaneo) e il secondo come non-spontaneo (essendo scritto-per-essere-parlato) e, quindi, non adatto a rappresentare l'uso generale della conversazione. Entrambe le analisi (i.e. quella multi-dimensionale, che offre una panoramica generale dei due domini presi in considerazione, e quella più specifica relativa al comportamento linguistico dell’espressione you know) basate su esempi autentici tratti da corpora dimostrano che, nonostante quanto venga generalmente descritto dalla letteratura a riguardo, conversazione faccia-a-faccia e conversazione filmica hanno molti tratti in comune e confutano l’idea che il linguaggio filmico non possa essere rappresentativo dell'uso generale della conversazione.
The present dissertation examines empirically the linguistic features characterizing American face-to-face and movie conversation, two domains which are usually claimed to differ especially in terms of spontaneity. Natural conversation is, indeed, considered the quintessence of the spoken language for it is totally spontaneous, whereas movie conversation is usually described as non-spontaneous, being artificially written-to-be spoken and, thus, not likely to represent the general usage of conversation. In spite of what is generally maintained by the literature, both the Multi-Dimensional analysis and the micro-analysis of the functions of you know based on authentic data retrieved from corpora show that the two conversational domains do not differ to a great extent and thus confutes the claim that movie language has “a very limited value” in that it does not reflect natural conversation and, consequently, is “not likely to be representative of the general usage of conversation”.

The specialised literature has suggested the intermediate position of television dialogue and subtitling along the continuum from spoken to written language (e.g. Díaz-Cintas 2003; Quaglio 2009; Forchini 2012). This dissertation adopts a corpus-driven methodology to tackle this issue from a descriptive, contrastive point of view. It reports on results of the analysis of the Corpus of Police Procedurals (CoPP), a corpus containing the transcribed dialogue (EN) and the DVD subtitling (ES) of fifteen episodes of three contemporary police procedurals, namely Dexter (Showtime, 2006), The Mentalist (Warner Bros, 2008), and Castle (ABC, 2009). A selection of syntactic and lexical features typically attributed to either poles of the continuum have been scrutinized from a quantitative and a qualitative approach. The statistical basis of the quantitative study allows identification of patterns of behaviour (i.e. norms) on the dialogue creators’ and the subtitlers’ part. Qualitative lexical analysis adapts the corpus pattern analysis (CPA) methodology proposed by Hanks (esp. 2004, 2013a), to date used for lexicographic purposes only, for the study of lexical exploitation, i.e. creativity, in this type of texts.
La bibliografía especializada ha sugerido la posición del diálogo televisivo y del subtitulado como géneros intermedios en el continuo oralidad-escritura (p. ej. Díaz-Cintas 2003, Quaglio 2009; Forchini 2012). Esta tesis adopta la metodología corpus-driven (‘dirigida por el corpus’) para abordar esta cuestión desde un punto de vista descriptivo y contrastivo, a partir del análisis del Corpus of Police Procedurals (CoPP), un corpus compilado para los propósitos de esta investigación que contiene, alineados, el diálogo (EN) y el subtitulado para DVD (ES) de quince capítulos de tres series de ficción policíaca procesal contemporáneas: Dexter (Showtime, 2006), El mentalista (Warner Bros, 2008) y Castle (ABC, 2009). Una selección de rasgos sintácticos y léxicos prototípicamente atribuidos a ambos polos del continuo han sido examinados tanto cuantitativa como cualitativamente. La base estadística de los análisis cuantitativos llevados a cabo revela patrones de comportamiento (normas) en los creadores del diálogo ficcional y en sus traductores. El análisis cualitativo del léxico adapta la metodología lexicográfica de análisis de patrones de corpus (CPA) propuesta por Hanks (esp. 2004, 2013a) para el estudio de la explotación léxica (creatividad) en este tipo de textos.

碩士
國立政治大學
傳播學院傳播碩士學位學程
106
Revolved around the story of Benjamin with his friends and family, “Brizo Town” depicts the life of a group of Fresh Off the Boat high school students who long for a sense of belonging. While facing challenges and conflicts, the students supported each other and grew through their pursuit of friendship, love, and purpose. The life of a FOB entails difficulties and struggles, the story of “Brizo Town” hopes to give consolations and directions to those who may have become lost in their own similar journeys.

The aim of this research was to determine how Gestalt Therapy could be utilised to re-write life script. Transactional Analysis terminology was translated into Gestalt Therapy, especially the terms life script, life position and re-writing in the literature study. Gestalt Therapy concepts of importance for the research were also discussed in the literature study. An empirical study was conducted, involving one respondent, for whom Gestalt Therapy sessions were provided with the aim of determining how life script could be re-written through such intervention. Gestalt Therapy concepts and life script concepts were identified during the therapy process. A re-written life script was formulated by the researcher corresponding with the level of functioning of the respondent during therapy and in relation to the respondent's life position. The researcher deducts from the entire study, but especially from the empirical study that life script can be re-written by means of utilising Gestalt Therapy.
Social Work
M. Diac. (Play Therapy)

碩士
國立政治大學
傳播學院傳播碩士學位學程
107
“ The Ending Commences ” tells the story of a common woman Wang Ying and her family from the beginning of the 1966s in China, which reflects their bumpy life and destiny under the huge change of times, and the evolving family relationship between the family. The author hopes to explore the relationship between the changes of the times and the fate of individuals and family through the presentation of the destiny of the individual and the family. She also hopes that those who are in the predicament of the times can find some resonance, comfort, or answers to the future from the story.

碩士
朝陽科技大學
設計研究所
94
Writing is being used as the tool of a kind of communication to appear in the society of mankind, the dissemination toward mankind''s thought and culture provides important source of the medium; Chirography is the vision medium material for the actual experience of the written communication function; Calligraphy is another art expression form derived from learning method of writing. This research is according to the writing evolution process to study about the relationship between writing material, writing technique and writing development which derived the reason and process, and from the user attitude to comprehend the feedback effects of writing, chirography and calligraphy. The results indicated that: （1） Chinese writing vision calligraphy style evolution of and characteristic as the communication media, （2）Writing (carves) the material, writing (carves)the technology to create the writing substantialization(calligraphy style)the influence, （3） Handwritten form calligraphy, printing calligraphy style and computer typeface function of change, （4） Written, hand-written calligraphy style calligraphy artistic process, （5）Chinese writing, outside calligraphy territory influence and significance of the dissemination, （6） The Chinese writing, the calligraphy utilization goal affects causes and effects of the vein of calligraphy study education, （7） Significance transformation of the Chinese writing, the calligraphy education plebification

碩士
國立臺灣海洋大學
應用英語研究所
100
Recent years have seen dramatic proliferation of studies dealing with plagiarism issue. Researchers of English as a Foreign Language (EFL) writing have proposed that EFL writers, mostly in Asia, may readily plagiarize owing to unfamiliarity with Western academic writing style and insufficient language proficiency. Nevertheless, empirical research to forge links among EFL learners’ information use and factors for academic misconduct in Taiwanese academia is scant. This research probes Taiwanese undergraduates’ information use when summarizing articles in English and their reasons for plagiarism. This study involved summary writing task, survey concerning reasons for various types of source use, and semi-structured interview. Triangulation was adopted for data analysis. Four intact Freshman English classes with 103 students participated. Results are presented as follows: 1) To summarize articles, students’ information use included copying verbatim, copying key sentences, writing personal reactions to said article, paraphrasing in their own language, plus minor modifications: e.g., changing synonyms and/or grammatical structure, adding conjunctions between copied sentences, altering sentence sequence. 2) Factors in textual borrowing consist of English proficiency (language difficulty, lack of English writing confidence, being an EFL learner), understanding of authorship, misunderstanding of summary writing and plagiarism, insufficient plagiarism instruction, peer influence, viewing imitation as a learning process, and constraints of required number of words and time. 3) After plagiarism instruction, quantitatively, upon comparison with pre-test written works, students in the experimental group self-reported the amount of their copied language significantly decreasing. Qualitative textual analysis affirmed this improvement: they understood summary writing, plagiarism issues and plagiarism avoidance through such training. This study may explain the dynamic relationship among authentic information use, and its underlying reasons, while lending English writing instructors better understanding of how students’ beliefs toward plagiarism relate to summary writing. Finally, pedagogical and theoretical recommendations are presented.

碩士
國立臺東大學
華語文學系
95
The majority of Taiwanese Chinese character use the Chinese character by taking advantage of the sound, taking advantage of the meaning and the original form, but there are not any standard. In Taiwan, the peh-ōe-jī (Roman alphabet in Church) has been used for more than 150 years, but there are still quite few people using it. Nowadays Han-Romanization mixed script is the most popular way in writing Taiwanese, The purpose of this thesis is to investigate the raitio of Romanization in Han-lo mixed texts. The findings of this study can be summarized as follows: 1. According to the frequency of syllable using, Roman alphabet and Han-Romanization mixed script have occupied 27.49 %. 2. According to the classification of content words, function words, the function words occupy 83.08 %. 3. According to the use of Roman alphabet: That “Chinese character does not have the same mode of writing” is the most, it occupied 38.21 %. And then the phenomena of “The Taiwanese China Chinese character is not interlinked”, “The Chinese character strokes are too many”, “The Chinese character is hard to pronounce”, “The comparison Chinese character has more than two above views”, “The pronoun”, “In a disyllabic word, because a syllable uses Roman alphabet, another syllable also needs to use Roman alphabet”, “The Chinese character cannot hit in the computer”, “onomatopoetic”, “affix”, “combination tone character”, “loan word” and so on.

碩士
淡江大學
日本研究所碩士班
94
As many countries in the word , double suicide keeps being described and praised during 2000 years of Japan history. Especially , in the Genroku age , it was spread out as contagion , and to be used as a topic of “kawaraban” which is similarly like the newspaper, “ukiyo zoushi” and drama. Today , the well know script “Sonezaki Shinju” and “Shinju ten no Amijima “ of Chikamatsu Monzaemon is the inheritance in this age. According to these two scripts which is adopted the double suicide, I find there is a big change about double suicide’s description of Chikamatsu Monzaemon. Therefore , this essay is reseached by the articles of Chikamatsu Monzaemon. , which was according to the double suicide of crzizen. The reference book is “sinnpenn nihonn kotenbunngaku zennsyu Chikamatsu Monzaemon2” which published by Shogakukan. There are two purposes of this essay’s research , focus on the double suicide`s scripts which written by Chikamatsu Monzaemon。1. How did the writer describe the topic of double suicide`s scripts？ 2. This article exhibt Chikamatsu Monzaemon’s view and how he gaze at the death. There are five chapters in this whole essay, besides intro and conclusion, about two , three ,and four are the main parts of this essay. In chapter two , it describes the background of double suicide`s scripts in Chikamatsu Monzaemon ‘s article in the age, and also analyzes how the other ‘s articles describe double suicide in the same age. Chapter three , by comparing the two articles “Sonezaki no Akebono” of ukiyo zoushi’s “Shinju Daikan” and“keiseihuryusugihai”, to clarify the presentability of “Sonezaki Shinju”. And I regard the presentability of initial writing in “Sonezaki Shinju”, in chapter three , as the standard in chapter four . About the other ten writings are categorized into three periods , first , second and third period , there is more discussing of different double suicide characterization of these three periods. Finally in the conclusion, there are four characteristics induced about the double suicide`s scripts which written by Chikamatsu Monzaemon。Each of them is : 1. female image 2. negative money value 3. family ethics 4. gazing at death.

The following thesis focuses on the topic of the system of writing "Comenia Script", used by the pupils of the third grade of basic schools. The thesis consists - as usual - of two parts: a theoretical one and a practical one. The theoretical part deals with the school tuition of writing, the differences in the teaching of analytic- synthetic and genetic method, and forming of the individual handwriting. A substantial part focuses on the central theme, the Comenia Script (the circumstances of its origin, its shape characteristics, the course of its experimental testing, and current researches). The next chapter concerns itself with the scales designated for assessment of the writing (Matějček, Zelinková, Veverková). In the practical part we introduce the assessing scale of Jana Veverková (2011), adapted by us. By the means of this scale we were assessing the written expressions of ninety pupils using Comenia Script. At the same time, the pupils were taught by the analytic-synthetic or genetic method of reading and writing tuition, therefore we were able to compare the results also from the point of view of both methods. The aim of this thesis is to describe the typical written expression of a pupil using the Comenia Script and also adapting the Veverková assessment scale (2011), so that it convenes for...

碩士
國立中正大學
台灣文學所
97
Reading a script written in a source language and broadcasting in a target language will be referred to as the “switching process.” This phenomenon has existed in Taiwanese news reporting for a long time. Mandarin education has been mandatory since the Kuomintang (KMT) came to power and Mandarin is now the national language of Taiwan. As the dominant language in education instruction is Mandarin, it is currently the main language used formally by most Taiwanese. Moreover, many of the news reporters that were born in the particularly Mandarin dominant decade between 1970 and 1980 are greatly influenced by it. Because of a lack of ability to fluently engage in the switching process, it is natural for news reporters to often report a news release in broken Taiwanese. Inappropriate use of the switching process creates misinterpretation of the report’s intended meaning. Therefore, it is very easy and common to recognize a reporter whose Taiwanese news reporting is highly influenced by Mandarin due to inaccurate translation from Mandarin to Taiwanese. As a former news reporter who participated in Taiwanese news reports, I attempt through my research to offer positive suggestions in producing accurate Taiwanese news broadcasts.

The aim of this thesis is to introduce the popular puppet theatre called Opera dei Pupi, which was developed mainly in Sicily in the second half of the 19th century. The first part desrcibes literary influences that nourished this tradition, from which puppeteers derived topics for their repertoire. These stories were primarily about the French king Charlemagne and his knights and were called paladins. I am trying to map the form of an adaptation of this topic for Opera dei Pupi needs and the way of connection with oral tradition. Furthermore I am going to mention the secondary repertoire of the theatre for example farce. Next chapter focuses on a formal side of the Opera dei Pupi including puppeteer's personality, his work and activities, structure of the theatre itself, characteristics of puppets and handling them. Furthermore this section also describes a specific concept of everyday's performances "to be continued" and how were these performaces organized in practice. The analytical part focuses on a process of putting plot on a scene, which includes both improvisation and fixed rules approach. The principal theme of this part is the so-called copione, which are the puppeteer's own handwritten notes, on which the show was based. This section also includes numerous excerpts not only from copione but also...

A escrita é uma competência desenvolvida desde muito cedo nas crianças tornando-se indispensável para a realização das suas tarefas quotidianas. Assim, a escrita é essencial no desenvolvimento educacional da criança, porque é transversal a todas as áreas disciplinares. Deste modo é relevante que as crianças compreendam a importância da escrita e das suas regras associadas. No decorrer desta aprendizagem o professor tem um papel essencial na forma como as desenvolve. A disponibilização de materiais de apoio à escrita, bem como de materiais que permitam aos alunos pensar sobre o seu trabalho e superar as dificuldades pode ser uma via a explorar. Esta investigação centra-se na realização de produções escritas através do trabalho em grupo. Para isto recorri à pesquisa de alguns dos tipos de texto, nomeadamente a narrativa, a poesia, a notícia e a banda desenhada e seguidamente, utilizei guiões orientadores para apoiar os alunos na construção textual com recurso ao feedback como instrumento de orientação para a superação das dificuldades. Esta intervenção teve como área dominante o português, mais propriamente a vertente da escrita. Este trabalho tem como objetivo compreender se o uso dos guiões de trabalho e o feedback foram uteis para as crianças nas suas produções escritas. Também se tentou perceber se o papel do trabalho de grupo neste processo. A metodologia seguida segue uma perspetiva qualitativa, sendo os dados recolhidos através da observação, inquérito por questionário e análise documental. Após a análise dos dados disponíveis pode verificar-se que a utilização de guiões permite aos alunos realizarem um texto bem estruturado e o feedback escrito possibilita que os textos sejam melhorados autonomamente.
Writing is a competence developed from an early age in children, becoming indispensable for the performance of their daily routines. Writing is then essential in the educational development of the child, being transversal to all disciplines. It is then crucial that kids understand the relevance of writing and the rules associated with it. In the course of learning, the professor has a crucial role on how they are developed. The availability of writing support materials, as well as materials that allow the students to think about their work and how to overcome difficulties may be a path to explore. This investigation focus on the implementation of written productions through teamwork. To do so, I’ve resorted to the search of some types of texts, namely narrative, poetry, news and comic books, and after this I used guiding scripts to support students in the textual construction using feedback as an instrument of orientation for overcoming difficulties. This intervention had, as a dominant area, the Portuguese language, more properly, the writing. This project has the objective of understanding if the use of work scripts and feedback is useful for children in their writing skills. Also, the effect of teamwork in this process was studied. The methodology followed, uses a qualitative perspective, gathering the data through observation, the use of questionnaires and document analysis. After the analysis of the available data it can be concluded that the use of scripts allows the students to produce a well structured text and the written feedback allows for a autonomous improvement.

Tato diplomová práce je rozdělena na teoretickou a praktickou část a zabývá se výskytem polovětných konstrukcí tvořených některým z neosobních slovesných tvarů ve španělském jazyce a volbou jejich ekvivalentů při překladu do češtiny. Cílem této práce je poskytnout přehled vlastností, zvláštností a dalších poznatků o polovětných konstrukcích ze španělsky a česky psaných zdrojů. Široké spektrum gramatik, publikací a skript, včetně dvoujazyčného elektronického korpusu literárních děl, přináší nejen velké množství informací o těchto konstrukcích, ale také rozbor volených jazykových prostředků při překladu z jednoho jazyka do druhého a vyhodnocení získaných údajů.

Cette thèse entend proposer une analyse originale du phénomène connu mais polémique que constitue l’introduction de la notion d’auteur dans la littérature de langue française au Moyen Âge. Il s’agira d’essayer de contribuer à repenser la signification poétique, culturelle et historique de ce moment particulier où l’auteur – c’est-à-dire l’attribution d’un texte ou d’une série de textes à un nom propre donné – s’est imposé pour la première fois comme un critère structurant et primordial dans la production et surtout la transmission des textes de langue française dans les manuscrits médiévaux. Usant du concept foucaldien de fonction-auteur, des théories de la réception et du paratexte, ainsi que de la « Nouvelle Codicologie », l’approche déployée ici aborde l’auteur en tant que construction textuelle et éditoriale signifiante au sein d’un corpus de recueils littéraires de langue d’oïl où la volonté de construire des figures d’auteurs par les éditeurs de ces ouvrages est à la fois claire et indiscutable. Partie à l’origine d’un examen systématique de la tradition manuscrite d’environ 320 noms de poètes de langue d’oïl actifs entre 1100 et 1340, l’analyse se concentre principalement sur 25 manuscrits contenant des collections auctoriales dédiées à 17 poètes, dont le nom est associé avec insistance à une série de textes copiés les uns à la suite des autres. Parmi ces auteurs, on trouve les célèbres Chrétien de Troyes, Rutebeuf et Adam de la Halle, mais aussi Philippe de Thaon, frère Angier, Guillaume le clerc de Normandie, Pierre de Beauvais, Philippe de Remi, Gautier le Leu, Jacques de Baisieux, Geoffroi de Paris, Jean de l’Escurel, Baudouin de Condé, Jean de Condé, Watriquet de Couvin et Nicole Bozon. La présente analyse tente de nuancer et de dépasser la lecture répandue selon laquelle ces manuscrits à collections auctoriales individuelles constitueraient, de concert avec les fameuses biographies de troubadours et les chansonniers de trouvères, souvent présentés comme leurs « ancêtres », les débuts balbutiants d’une vaste épopée de l’avènement de l’« auteur moderne », annonciateur tout à la fois d’une « subjectivité littéraire », d’une « esthétique autobiographique » et d’un contrôle accru des auteurs historiques, réels, sur la transmission manuscrite de leurs propres œuvres. Tout en offrant une mise à jour contextuelle et matérielle – données originales à l’appui – concernant la dimension collaborative de la genèse de ces recueils et le caractère modulaire de leur transmission, on montrera qu’ils sont le fruit d’un dialogue nourri avec le modèle livresque latin et pluriséculaire de l’auctor – qui est à la fois un auteur, un garant de la vérité (auctoritas) et un ambassadeur prestigieux de la grammaire –, ainsi qu’avec l’antique exemple d’œuvres dites « biobibliographiques », qui décrivent la vie et l’œuvre d’auteurs illustres et exemplaires, comme le fait le De viris illustribus de saint Jérôme. Les manuscrits étudiés usent à répétition de ce modèle ancestral de la biobibliographie (« la vie et l’œuvre ») pour mettre en scène un face-à-face entre auteurs de langue d’oïl et auctores. Or cette mise en regard s’avère d’autant plus intéressante que, contrairement à ce qu’on observe pour les troubadours, considérés très tôt comme de nouveaux auctores illustres en langue vulgaire, dignes de cautionner l’excellence de la poésie et de la grammaire d’oc, elle ne prend pas uniquement, en français, la forme d’une imitation ou d’une adaptation de modèles anciens. En fait, l’analogie avec les auctores donne lieu à des exercices savants, autoréflexifs et parfois ironiques sur la fabrique éditoriale, poétique et épistémologique du type d’auteur et d’auctoritas qui peuvent (ou non) être bâtis dans des recueils en langue d’oïl, idiome qui était encore dépourvu à l’époque (1100-1340) de véritable grammaire, et où fleurissaient en revanche les genres littéraires de divertissement comme le roman, où l’on explorait la porosité des frontières entre le vrai et le faux, entre le bien et le mal. Plus qu’un pas pris dans la direction d’un sacre inéluctable, l’« invention de l’auteur français » à laquelle procèdent les recueils étudiés est un geste pétri des incertitudes et des interrogations de ceux qui le posaient, et qui en mesuraient la profonde vanité au regard de Dieu et de la mort.
This thesis aims to provide an original analysis on an often studied yet controversial issue: the introduction of the notion of authorship in French language medieval literature. The objective here is to reconsider the poetic, cultural, and historical signification of the particular moment when the author – understood here as the attribution of a text or of a series of texts to a proper noun – first became an essential structuring criteria in the production, and more importantly, in the transmission of French-language texts through medieval manuscripts. Using Michel Foucault’s concept of fonction-auteur, theories of reception and of the paratext, as well as New Codicology, this thesis will consider the author as a signifying textual and editorial construction within several literary collections written in langue d’oïl, in which the editors clearly and undeniably sought to construct figures of the author. Based on the systematic examination of the manuscript tradition of approximately 320 names of langue d’oïl poets, who were active between 1100 and 1340, this analysis will focus primarily on 25 manuscripts containing authorial collections dedicated to 17 poets, whose names are strongly associated with a series of texts that are copied one after the other. Among these authors are the famous Chrétien de Troyes, Rutebeuf and Adam de la Halle, as well as Philippe de Thaon, frère Angier, Guillaume le clerc de Normandie, Pierre de Beauvais, Philippe de Remi, Gautier le Leu, Jacques de Baisieux, Geoffroi de Paris, Jean de l’Escurel, Baudouin de Condé, Jean de Condé, Watriquet de Couvin and Nicole Bozon. This thesis attempts to question and ultimately discard the common conception according to which the manuscripts containing individual authorial collections constituted – along with the famous biographies of the troubadours and the chansonniers of the trouvères, often considered as their « ancestors » – the timid beginnings of the rise of the « modern author », himself a prequel to « literary subjectivity », « autobiographical aesthetics » and an ever stronger control exerted by actual empirical authors over the manuscript transmission of their own works. While offering contextual and material updates – supported by original data – regarding the collaborative process that went into the creation of these collections, as well as the modular aspect of their reception, this thesis will show that these collections were formed through a rich dialogue with the centuries-old latin model of the auctor – who is at once an author, a guardian of truth (auctoritas) and a prestigious ambassador of grammar –, as well as with the antique tradition of « biobibliographical » texts, dealing with the life and works of famous and exemplary authors, such as De viris illustribus, by saint Jerome. The manuscripts studied here repeatedly used this ancient model of biobibliography (« the life and works ») in order to stage a competition between authors writing in langue d’oïl and auctores. This confrontation is particularly interesting when one considers that – contrary to what may be observed in the case of the troubadours, who were quickly seen as the new illustrious vernacular auctores, worthy of vouching for the excellency of langue d’oc poetry and grammar – , we are not simply dealing here with a form of imitation or adaptation in French of ancient models. In fact, the analogy with auctores allows for autoreflexive and sometimes ironic learned exercises, dealing with the editorial, poetic and epistemological creation of the type of author and auctoritas in manuscript collections in langue d’oïl, an idiom which at the time (1100-1340) lacked a true grammar, yet was used in various literary genres meant for entertainment, such as romance, which explored the evanescent barriers between truth and lies, good and evil. Rather than a small step in the long path towards an inevitable coronation, the « invention of the French author » undertaken by these collections constitutes an action that reflects all the uncertainty and interrogations of those who undertook it, while being fully convinced of its utter vanity in the eyes of God and death.