Dissertations / Theses on the topic 'The Da Vinci code (Brown)'

The MA paper focuses on the problem of the genre of Dan Brown’s novel The Da Vinci Code. In the paper various concepts of the literary genre, especially the novel, in modern literary theory are presented and reviewed. All theories of the novel distinguish the following main genre constituents: plot, setting, character, thematic range, the narrator and point of view, intertextuality, and others. The analysis reveals that there are four subplots, apart from the main plot line; at some crucial moments, or in most dramatic scenes, the plotlines crisscross or merge. Robert Langdon and Sophie Neveu are the protagonists of the novel; the Teacher-Teabing and Silas are the villains; and the minor characters are: Bezu Fache, Bishop Aringarosa, and others. The protagonists and the villains are psychological characters. The novel deals with a number of problems: love and family – the main problem is Christ’s marriage of Mary Magdalene and their posterity; the problem has been supposedly hidden in Leonardo da Vinci’s works, especially the fresco “The Last Supper”; the theme of art, the conflict between science and religion, etc. The research discovers that there is a fusion of several generic forms in The Da Vinci Code. It also shows that the novel can be placed in traditional and most recent literary culture.
Šis Deno Brauno romanas gali būti priskirtas daugiau nei vienam šiuolaikinės populiarios literatūros žanrui. Žanro teorijų apžvalga parodė, kad pati literatūrinio žanro sąvoka yra neryškiai apibrėžta, tačiau visos teorijos identifikuoja kelis žanrą formuojančius elementus – siužeto struktūra, veiksmo vieta ir laikas, charakteriai, plėtojamos temos (problemos), intertekstualumas ir kiti. Deno Brauno Da Vinčio kodas turi keleto klasikinės ir šiuolaikinės populiarios literatūros žanrų bruožų ir pilnai arba iš dalies atitinka tų žanrų reikalavimus. Siužeto analizė parodė, kad romanas parašytas pagal tradicinio detektyvo, arba trilerio schemą: romanas prasideda nuo žmogžudystės po kurios seka nužudytojo kuratoriaus mįslių išnarpliojimas ir tikrų nusikaltelių nubaudimas. Charakterių analizė atskleidė klasikinio detektyvo charakterių sistemą: kelios aukos, žudikas-įrankis, nusikaltimų organizatorius, detektyvai, policija. Nuolat pakartojama mintis apie Jėzaus Kristaus ir Marijos Magdalietės santuoką, bei romantiški romano herojų Roberto ir Sofi jausmai vienas kitam suteikia Da Vinčio kodui meilės romano žanro bruožų. Valdžios troškimo tema atskleista per vyskupo Aringarosos ir paslaptingojo Mokytojo charakterius, suteikia romanui trilerio bruožų ir paslaptingumo. Meno tema ir mįslės susijusios su Leonardo da Vinčio kūriniais, o taip pat aiškinami simboliai ir minimos slaptos draugijos suteikia romanui detektyvo, simbologinės ir sąmokslo literatūros bruožų. Knygoje gausu... [toliau žr. visą tekstą]

This essay investigates why the Myth of the Holy Grail continue to occur within popular culture. Myths, tales and legends from ancient times have inspired authors throughout the centuries. The readers are not only served with a spectacular adventure, but the myths also contain messages with a moral and ethical guidance for us as beholders. This particular myth can be found within different media in our time and the essay will attempt to give some answers as to why the myth reappears in new forms over and over again. An analysis is performed by using the methodology of aesthetic reception within reception theory. The material chosen for the analysis is the work of art; The Da Vinci Code by author Dan Brown, where two different media forms will be represented, the novel and the film. The findings in the analysis revealed that the key to understanding the reasons for the occurrence of this medieval myth is the element of a quest that is present within the myth. This ingredient, where you embark on an adventure, will create feelings of excitement for the beholder. A second aspect found is that we as humans have an interest in our history. Therefore, myths and legends from our historical past will be naturally alluring for beholders and especially if they are linked to philosophical questions and ideas that can be applied to our modern society. The success that has followed The Da Vinci Code has its explanation in the fact that Brown has managed to make the myth of the Holy Grail more contemporary, the myth has then been rejuvenated. A suggestion for further research is to perform a study on beholders in focus group interviews in order to validate the findings in the analysis.

This essay investigates the characteristics of Robert Langdon and his female helpers in Dan Brown’s novels Angels and Demons, The Da Vinci Code, The Lost symbol and Inferno.  In each of these novels, the quests are always solved by a male-female team. This essay is therefore going to focus on the character of Robert Langdon and his female helpers with the perspective of the Monomyth by Joseph Campbell. The protagonist Robert Langdon is a Harvard University professor specialised in religious iconology and symbology, but in these four novels he is thrown into breath-taking adventures with dangerous situations, however, with the help of several females he always manages to survive. The aim of this essay is to show how Langdon and his female helpers have the characteristics of a contemporary hero and helper, with the perspective of Campbell’s the Monomyth. Keywords: Character Analysis, Robert Langdon, Hero, Female Helper, the Monomyth, Angels and Demons, The Da Vinci Code, The Lost Symbol, Inferno.

This essay deals with the translation into Swedish of the ing-form in the popular novel The Da Vinci Code. The reason for looking at the -ing form is that it is a grammatical structure which is difficult to render in Swedish since there is no exact equivalent, at least not one which is used in the same manner as the English. The aim is to find out how the translator has dealt with the ing-form and also to find out whether there are any instances where the context has been altered due to the manner in which the translation has been carried out.

Syftet med uppsatsen är att visa på likheten mellan Dan Browns The Da Vinci Code och sagans struktur, aktörer och handling, samt att påvisa romanens didaktiska möjligheter. Utifrån Vladimir Propps sagoteori och Northrop Fryes arketyper och historiska kategorisering samt ett studium av populärromanens likheter med sagan utifrån Ulla Lundqvists undersökning görs en strukturalistisk analys. Vidare har en mindre enkätundersökning gjorts för att skapa en uppfattning om hur en grupp elever på en gymnasieskolan uppfattat romanens didaktiska möjligheter. Resultatet visar att The Da Vinci Code innehåller sagans struktur, med endast några få avvikelser från den kronologiska ordningen, samt att romanens aktörer överrensstämmer med Propps teori och Fryes arketyper. Handlingen uppvisar tydliga inslag från sagan, och överrensstämmer med de sagoelement som Lundqvists undersökning visar, så som exempelvis dualism, magi, i överförd bemärkelse, och ett lyckligt slut. Den didaktiska undersökningen visar att eleverna uppfattar att romanen, trots kritiken kring dess fiktion, kan bidra till att ge kunskaper i ämnen som historia, religion och språk.

This thesis explores how both texts - The Da Vinci Code and The Mists of Avalon - write femininity onto the Holy Grail in seemingly problematic ways, and the way in which women's voices, through the feminization of the Grail, are often silenced.

Thesis (M.A.)--Georgia State University, 2007.
Title from file title page. Timothy Renick, committee chair; Christopher White, Kathryn McClymond, committee members. Electronic text (106 p.) : digital, PDF file. Description based on contents viewed Dec. 31, 2007. Includes bibliographical references (p. 96-100). Filmography: p. 94-95.

趙欣.
"2009年10月".
"2009 nian 10 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 186-193).
Abstracts and table of contents in Chinese and English.
Zhao Xin.
中文摘要 --- p.i
英文摘要 --- p.ii
前言 --- p.iv
目錄 --- p.v
Chapter 第一章 --- 導論 --- p.1
Chapter 1.1 --- 硏宄目的 --- p.1
Chapter 1.2 --- 語料選取 --- p.2
Chapter 1.2.1 --- 原文簡介 --- p.3
Chapter 1.2.2 --- 譯文簡介 --- p.5
Chapter 1.3 --- 研宄方法 --- p.8
Chapter 1.4 --- 翻譯中的重譯現象 --- p.10
Chapter 1.4.1 --- “重譯´ح的概念 --- p.10
Chapter 1.4.2 --- 已有的重譯現象 --- p.19
Chapter 1.5 --- 小結 --- p.27
Chapter 第二章 --- 分析框架 --- p.29
Chapter 2.1 --- 文本處理過程的五個層面 --- p.30
Chapter 2.1.1 --- 語音層 --- p.31
Chapter 2.1.2 --- 詞語層 --- p.31
Chapter 2.1.3 --- 句法層 --- p.32
Chapter 2.1.4 --- 語義層 --- p.38
Chapter 2.1.5 --- 概念整合層 --- p.40
Chapter 2.2 --- 重譯本之間的共性與多元性 --- p.41
Chapter 2.3 --- 重譯本之間的本土化與外族化傾向 --- p.42
Chapter 2.4 --- 重譯本的相對質量評估 --- p.45
Chapter 2.4.1 --- 豪斯（House 1977)的模式 --- p.46
Chapter 2.4.2 --- 萊斯（Reiss 1971 / 2000)的模式 --- p.50
Chapter 2.4.3 --- 國内的一些模式 --- p.51
Chapter 2.4.4 --- 翻譯過程與譯文質量評估 --- p.52
Chapter 2.5 --- 小結 --- p.55
Chapter 第三章 --- 雙語語料平行数據集 --- p.57
Chapter 3.1 --- 基本概念 --- p.57
Chapter 3.2 --- 文本切分單位 --- p.61
Chapter 3.3 --- 建立方法 --- p.65
Chapter 3.4 --- 数據集中文本句的對照關係 --- p.72
Chapter 3.5 --- 小結 --- p.79
Chapter 第四章 --- 重譯本翻譯策略的共性與多元性 --- p.81
Chapter 4.1 --- 朱譯本 --- p.82
Chapter 4.1.1 --- 語音層 --- p.82
Chapter 4.1.1.1 --- 人名 --- p.82
Chapter 4.1.1.2 --- 地名 --- p.84
Chapter 4.1.2 --- 詞語層 --- p.85
Chapter 4.1.3 --- 句法層 --- p.86
Chapter 4.1.4 --- 語義層 --- p.91
Chapter 4.1.4.1 --- 詞義 --- p.91
Chapter 4.1.4.2 --- 句義 --- p.93
Chapter 4.1.4.3 --- 篇章義 --- p.96
Chapter 4.1.5 --- 概念整合層 --- p.98
Chapter 4.2 --- 尤譯本 --- p.100
Chapter 4.2.1 --- 語音層 --- p.101
Chapter 4.2.1.1 --- 人名 --- p.101
Chapter 4.2.1.2 --- 地名 --- p.102
Chapter 4.2.2 --- 詞語層 --- p.104
Chapter 4.2.2.1 --- 成語 --- p.104
Chapter 4.2.2.2 --- 方言詞 --- p.105
Chapter 4.2.3 --- 句法層 --- p.106
Chapter 4.2.4 --- 語義層 --- p.111
Chapter 4.2.4.1 --- 詞義 --- p.111
Chapter 4.2.4.2 --- 句義 --- p.114
Chapter 4.2.4.3 --- 篇章義 --- p.116
Chapter 4.2.5 --- 概念整合層 --- p.117
Chapter 4.3 --- 重譯本翻譯策略的共性與多元性 --- p.120
Chapter 4.3.1 --- 數據對比 --- p.120
Chapter 4.3.1.1 --- 語音層 --- p.120
Chapter 4.3.1.2 --- 詞語層 --- p.122
Chapter 4.3.1.3 --- 句法層 --- p.123
Chapter 4.3.1.2 --- 語義層 --- p.125
Chapter 4.3.1.2 --- 概念整合層 --- p.129
Chapter 4.3.2 --- 共性體現 --- p.130
Chapter 4.3.2 --- 多元性體現 --- p.134
Chapter 4.4 --- 小結 --- p.138
Chapter 第五章 --- 重譯本的本土化與外族化傾向和質量評估 --- p.142
Chapter 5.1 --- 重譯本的本土化與外族化傾向 --- p.143
Chapter 5.1.1 --- 詞語層 --- p.143
Chapter 5.1.2 --- 句法層 --- p.145
Chapter 5.1.3 --- 概念整合層 --- p.146
Chapter 5.2 --- 重譯本的相對質量評估 --- p.150
Chapter 5.2.1 --- 語音層 --- p.151
Chapter 5.2.1.1 --- 人名 --- p.151
Chapter 5.2.1.2 --- 地名 --- p.153
Chapter 5.2.2 --- 詞語層 --- p.156
Chapter 5.2.3 --- 句法層 --- p.158
Chapter 5.2.4 --- 語義層 --- p.158
Chapter 5.2.5 --- 概念整合層 --- p.162
Chapter 5.2.6 --- 譯文質量比較結果 --- p.164
Chapter 5.3 --- 小結 --- p.165
Chapter 第六章 --- 結論 --- p.167
Chapter 6.1 --- 重譯本翻譯策略的共性與多元性 --- p.167
Chapter 6.2 --- 重譯本的本土化與外族化傾向 --- p.170
Chapter 6.3 --- 重譯本的相對質量評估 --- p.170
Chapter 6.4 --- 翻譯的認知過程 --- p.172
Chapter 6.5 --- 小結 --- p.178
英文目錄 --- p.181
參考文獻 --- p.186
附錄(及說明） --- p.194

The topic of this diploma thesis is the analysis of three novels (Il pendolo di Foucault and Numero zero by Umberto Eco and The Da Vinci Code by Dan Brown) with usage of triadic model of literature. The thesis is based mainly on the concept of triadic model published by Umberto Eco in his study Apocalittici e integrati. The usage of his model is made difficult by the fact that the specific characteristics of the middle literary plane are not defined. Therefore we supplement Eco's concept with several additional studies. We hypothesized that Il pendolo di Foucault, Numero zero and The Da Vinci Code belong to the high, middle and low literary planes respectively. The results of this diploma thesis support our hypothesis. However, it is clear that the classification of Numero zero into the middle literary plane can be a matter of the discussion, while the specific characteristics of this plane are not yet strictly defined. The confirmation or refutation of the above mentioned hypothesis was not the only aim of this study. Additional aim was to focus on the novel which could belong to the middle literary plane and through the comparison with other novels contribute to the delimination of this literary plane. To this end, we found that the novel classified into middle literary plane uses very similar...

碩士
世新大學
英語學研究所(含碩專班)
97
As a well-known truth, the author of The Da Vinci Code has claimed that the things described in the novel are included with facts at the beginning page of the novel. As a result, most critics focus on discovering the ambiguities and mistakes inside the novel, especially when the story accuses the Catholic Church, which is an important and basic element of western culture. But if we cross out the factor of accusing the Catholic Church, the phenomenon brought up by the novel is quite interesting because it reflects one general idea of our reading habit. That is, we all tend to distinguish fact from fiction. However, new types of novel writing, such as nonfiction-fiction and documentary realism, have broken the line between fact and fiction. In both writings, there is no difference between ‘literary truth’ and ‘literal truth.’ And in The Da Vinci Code, we can observe both features. As a result, the readers follow the story of the novel and check the sites presented in the novel. Therefore, I find it can be further discussed with Jean Baudrillard’s theory of simulation. Generally speaking, fictions are imitations to the empirical world. In other words, fiction is simulacra to the empirical world. The Da Vinci Code includes many factual references from different fields, and most of the time they are directly inserted into the novel in order to create a kind of feeling of truth-telling. However, the kind of feeling is only to hide the fact that the novel is not telling the truth. And the factual references about the artworks and architectures, which play important roles in solving the secret, are only simulations to the readers. This thesis tries to explain the situation and shift the focus onto pointing out the situation, which may be another reason why The Da Vinci Code can be so popular.

碩士
國立政治大學
英國語文研究所
95
Having been one of the most popular recent works of fiction, The Da Vinci Code has attracted readers throughout the world. Yet, many critics have commented that The Da Vinci code is a work full of historical mistakes. Almost no critic analyzes the reason for its success from a theoretical perspective. The novel enchants readers because it suggests the unexpected ways that the meaning of the sacred feminine has been repressed throughout history. As the reader decodes the clues that are hidden throughout the novel, an undiscovered history is suggested: the myth of the Holy Grail. In The Da Vinci Code, the Holy Grail stands for Mary Magdalene, who carried and conceived Jesus Christ’s child. In the novel Mary carries a significant symbolic meaning because she is portrayed as the wife of Jesus as well as the mother of His daughter. This stunning premise is responsible for making The Da Vinci Code not only popular, but also very controversial. Critics vary in their reaction to the ‘subversive’ ideas in The Da Vinci Code, but there are two predominant kinds of reaction to the novel. The first type reflects the view that The Da Vinci Code is a popular work that encourages feminine, independent thinking that works in opposition to conventional and social power. The second views it as a fictitious work fraught with historical inaccuracies. Generally speaking, both types mention the issues of power and resistance in The Da Vinci Code. This thesis consists of four chapters that focus respectively on the search for power, feminine resistance, and boundary crossing narrative techniques. Chapter one introduces how critics analyze their conventional elements. In the second chapter, I intend to employ Michael Foucault, Julia Kristeva, and Wolfgang Iser’s theories in an analysis of The Da Vinci Code. In the third chapter, I will employ textual evidence to support my theoretical analysis. In the conclusion of my thesis, I will claim that only through the dialectic oscillation between transgression and law can the individual escape the symbolic control and discover resistance. Furthermore, the narrative technique of boundary crossing is the key that has made the book a runaway success throughout the world and that also renders the reader eager to explore their own world further. Finally I reach the conclusion that The Da Vinci Code is not merely a work full of errors and conspiracies, but also a novel that exposes the violence, resistance and sense of loss in contemporary society.

碩士
輔仁大學
翻譯學研究所
94
This study examines the varying translation features and the language of Taiwanese Chinese and Mainland Chinese used in Taiwan’s and the Mainland’s translations of The Da Vinci Code. Chapter one gives a brief introduction of The Da Vinci Code and publication information regarding English and two Chinese editions (Taiwan and the Mainland). This chapter also covers the motivation of this study and a concise history of the Chinese language. Chapter two focuses on “omnipotent verbs” (meaning these verbs can almost be used in every sentence) used in Mainland China, especially “Gao”, “Jinxing”, “Qidao(zhe) . . . zuoyong” these three verbs. This chapter includes details of the usage, meanings and origins of these three verbs. Comparison of the examples used in the Mainland and Taiwan editions is also emphasized, so as to prove the “omnipotence” of these verbs. Chapter three describes different strategies adopted by Taiwan and the Mainland on translation of names of people and places. Many studies have shown that Taiwan and the Mainland have different styles and guidelines translating names of people and places. This chapter therefore uses examples found in The Da Vinci Code and its two Chinese editions to see if they follow the guidelines that have already been specified in other studies. Chapter four highlights on the translation of Christianity terms used in both Chinese editions. In regard to Chinese bibles, catholic bibles and protestant bibles are quite different, namely they use different terms to translate the same idea. The Da Vinci Code mainly talks about Catholicism, but there are many confusions and misusages in both Chinese editions. For that reason, this chapter points out mistakes made in both editions and gives a brief introduction of Chinese bible translation history. The last chapter summarizes all the other chapters, and states domesticating and foreignizing translation approaches applied in both editions. Other slight translation differences of the two Chinese editions such as composing and punctuation are also included in this chapter.

The question leading to this study is whether the facts and theories pertaining to the Bible and Jesus Story as presented by The Authors (H Schonfield, D Joyce, B Thiering, M Baigent, R Leigh, H Lincoln; M Starbird, and D Brown) could be verified by the Archaeology evidence. I have adopted a multidiscipline and holistic approach considering information gathered from all media sources to ascertain what theories, if any could replace the traditional Jesus Story of the New Testament. I considered whether the alternative theories or traditional theories were believable due to the evidence presented by Biblical Archaeology or by the techniques used by The Authors in presenting their facts. By using Thouless’ system of Straight and Crooked thinking I was able to ascertain that the theories used in the novels written by The Authors may have been persuasive, but lacked substance.
Biblical and Ancient Studies
M. Th. (Biblical Archaeology)