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1
Ritchey, John Michael. "Elvis Plays Texas". PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1418.
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In the novel Elvis Plays Texas, which is my Thesis project to meet the requirements for a Master of Fine Arts in Creative Writing/Fiction, a little town in far, far West Texas and its people are having a very difficult time and facing what promises to be a bleak future—a long, long drought has exhausted their water supply, oil has peaked and turned down, “fracking” threatens their way of life, friends and family and neighbors are loading up and leaving town. Then, Elvis Presley shows up. It’s the 40th anniversary of the day he died, August 16, 1977, and he, spiritually though appearing in every way to be flesh and blood, is visiting those who’ve continued believing in him and to whom he had been particularly important during their younger lives. My own long history in that part of the country has played its considerable role in informing the setting, the tone, the atmosphere. These are the kinds of characters—strange birds all—I grew up with. The country is the southwestern desert, hot, dry, empty, big sky—the kind of neighborhood that lends itself to oddities like Elvis throwing a benefit concert to help them out of the economic ditch.
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Weiss, Katherine. "Water, Waste, and Words in Beckett’s Plays". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2251.
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Rine, Abigail. "Words incarnate : contemporary women’s fiction as religious revision". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1961.
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This thesis investigates the prevalence of religious themes in the work of several prominent contemporary women writers—Margaret Atwood, Michèle Roberts, Alice Walker and A.L. Kennedy. Relying on Luce Irigaray’s recent theorisations of the religious and its relationship to feminine subjectivity, this research considers the subversive potential of engaging with religious discourse through literature, and contributes to burgeoning criticism of feminist revisionary writing. The novels analysed in this thesis show, often in violent detail, that the way the religious dimension has been conceptualised and articulated enforces negative views of female sexuality, justifies violence against the body, alienates women from autonomous creative expression and paralyses the development of a subjectivity in the feminine. Rather than looking at women’s religious revision primarily as a means of asserting female authority, as previous studies have done, I argue that these writers, in addition to critiquing patriarchal religion, articulate ways of being and knowing that subvert the binary logic that dominates Western religious discourse. Chapter I contextualises this research in Luce Irigaray’s theories and outlines existing work on feminist revisionist literature. The remaining chapters offer close readings of key novels in light of these theories: Chapter II examines Atwood’s interrogation of oppositional logic in religious discourse through her novel The Handmaid’s Tale. Chapter III explores two novels by Roberts that expose the violence inherent in religious discourse and deconstruct the subjection of the (female) body to the (masculine) Word. Chapters IV and V analyse the fiction of Kennedy and Walker respectively, revealing how their novels confront the religious denigration of feminine sexuality and refigure the connection between eroticism and divinity. Evident in each of these fictional accounts is a forceful critique of religious discourse, as well as an attempt to more closely reconcile foundational religious oppositions between divinity and humanity, flesh and spirit, and body and Word.
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Flegal, Kathleen M. "Magic words the phonology of fantasy neologisms /". Fairfax, VA : George Mason University, 2008. http://hdl.handle.net/1920/3283.
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Thesis (M.A,)--George Mason University, 2008.Vita: p. 78. Thesis director: Steven Weinberger. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in English. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 73-77). Also issued in print.
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Armstrong, Patience. "Excerpts from After the Fire and Use Your Words". VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4227.
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After the Fire is a novel exploring a mother and daughter as they are faced with shifts in socioeconomic status and cultures in 1970s Los Angeles. Haunted by the mysterious death of her sister and her father’s abandonment the daughter tries to fit herself into her changing world by giving up her own aspirations to seek replacements for what she lost. The mother is catapulted into financial survival as she uncovers the secrets of her missing husband’s past and comes to terms with the role she played in a life that was a lie. Use Your Words is a collection of linked creative non-fiction essays that examines how things said, and not said, create belief systems and identities, and explores the roles we take on when we speak up and when we stay silent.
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Gonzalez, Stephanie. "A Thousand Words: Responses to Photographs". Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1168.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
English; Creative Writing
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Hayter, Irena Eneva. "Words fall apart : the politics of form in 1930s Japanese fiction". Thesis, SOAS, University of London, 2008. http://eprints.soas.ac.uk/29296/.
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This thesis presents an analysis of Japanese modernist texts from the 1930s, with an emphasis on the writings of Takami Jun (1907-1965), Ishikawa Jun (1899-1987) and Dazai Osamu (1909-1948). Rather than discuss these experiments within the problematic of influence and see them as secondary gestures imitating the techniques of Gide or Joyce, I attempt to show that Japanese modernist fiction is deeply implicated in its cultural, political and technological moment. 1 begin with a mapping of the historical and discursive forces behind the so-called cultural revival (bungei fukko) and the revolt against the epistemic regime of Westernized modernity: its soulless positivism, its logic of instrumentality which objectified nature and the historical teleologies which inevitably relegated Japan to a secondary place. I examine the works of Takami, Ishikawa and Dazai in this context, against close-ups of specific material and discursive developments. The transgressions and dislocations of linear narrative in Takami Jun's novel Should Auld Acquaintance Be Forgot (Kokyu wasureu beki, 1936) are read as radical deconstructions of the deeply ideological discourse of tenko (the official term for the political conversion of leftists) as a regeneration of the self, as the return to a natural organic Japaneseness. The narrative of Ishikawa Jun's Fugen (Fugen, 1936) is structured by dualistic tropes which can be seen as configurations of mediation and unity; I explore the meaning of these narrative strategies against the collapse of political mediation in the mid-1930s and the swell of fascist longings for oneness with the emperor. The marked reflexivity of the stories in Dazai Osamu's first published collection The Final Years (Bannen, 1936) is discussed in the context of the profound anxieties generated by the accelerated logic of cultural reproduction and the technologically altered texture of experience. I argue that in their shared emphasis on discursive mediation and the materiality of language, the texts of Takami, Ishikawa and Dazai become figures of resistance to a nativism which strove for immediate authenticity and abandoned representation for the metaphysics of timeless Japaneseness.
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Abdelmohcine, Ahmed. "Dying in other words : the writing subject in Virginia Woolf's fiction". Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297477.
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This thesis examines Virginia Woolf's fiction in light of structuralist and psychoanalytic theories of the subject, with particular reference to the works of Barthes, Bakhtin, Lacan, Kristeva, and Cixous. The orientation of my reading 'bridges' the gap between biographical and text-centred approaches to her fiction. Woolfs novels as the trace of a practice in which the subject is set in a continuous process of enunciation, is constantly questioned, 'put on trial', 'put to death', in pursuit of the 'new': new articulation of the subject with the writing of each novel, experimentation with new modes of writing the subject, with new formal decisions and enunciative strategies, and with a new writing of death and characterisation. The thesis attempts to provide a reading of 'death', not simply as a personal obsession for Woolf and as a thematic construct, but as a writing process which involves the writer's own 'death' in the text. Chapter one explores The Voyage Out, a novel which marks Woolf's laborious entree to the literary world. Woolf's aggressivity offers a cul-de-sac narrative solution with the death of twenty-four-year-old Rachel Vinrace; a formal decision which illustrates the subject's initial difficulties with narrative. Chapter two deals with Mrs Dal/oway, another novelistic attempt to write into the text a 'violent' death, with Septimus's suicide. The chapter pays close attention to the sequence of Septimus Smith's narrative appearances, characterisation, and his aggressivity. Chapter three explores the autobiographical claims of To the Lighthouse in terms of the factual and fictional representation of the mother. Through the artist-in-process Lily Briscoe, Woolf tries to construct a modernist outlook in writing about her own childhood and family. Chapter four examines the unfamiliar formal strategies Woolf experimented with in writing The Waves, using speaking voices as characters and working towards a kind of narrative 'murder' of the conventional omniscient narrator. Chapter five provides an intertextual reading of Woolf's 'Anon', the carnivalesque character of La Trobe's pageant, Kristeva's 'semiotic' language, and the heteroglossia which composes the enunciation of Between the Acts.
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Weiss, Katherine. "The Plays of Samuel Beckett". Digital Commons @ East Tennessee State University, 2013. http://amzn.com/140814557X.
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Beckett remains one of the most important writers of the twentieth century whose radical experimentations in form and content won him the Nobel Prize for Literature in 1969. This Critical Companion encompasses his plays for the stage, radio and television, and will be indispensable to students of his work.
Challenging and at times perplexing, Beckett's work is represented on almost every literature, theatre and Irish studies curriculum in universities in North America, Europe and Australia. Katherine Weiss' admirably clear study of his work provides the perfect companion, illuminating each play and Beckett's vision, and investigating his experiments with the body, voice and technology. It includes in-depth studies of the major works Waiting for Godot, Endgame and Krapp's Last Tape, and as with other volumes in Methuen Drama's Critical Companions series it features too a series of essays by other scholars and practitioners offering different critical perspectives on Beckett in performance that will inform students' own critical thinking. Together with a series of resources including a chronology and a list of further reading, this is ideal for all students and readers of Beckett's work.https://dc.etsu.edu/etsu_books/1072/thumbnail.jpg
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Gazaille, Brian. "Wasteful Words: Visions and Failures of Literary Efficiency in American Fiction, 1885-1910". Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20435.
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This dissertation examines how writers helped scientists and engineers transform “efficiency” from a mathematical tool for assessing machine performance to an organizing principle for society. Historians and literary critics have helpfully sketched this transformation. They have paid particular attention to manifestations of Taylorism and Fordism in modernism, especially in the “kinetic” poetics of Ezra Pound, William Carlos Williams, and John Dos Passos. But while scholars have illustrated how modernism pushed efficiency into contexts like labor and politics, they have only begun to consider efficiency’s role in Gilded Age fiction, particularly in the works of utopian thinkers—such as Edward Bellamy and Charlotte Perkins Gilman—and technological cynics—including Mark Twain, Edith Wharton, Frank Norris, and María Amparo Ruiz de Burton. I argue that efficiency was a decidedly aesthetic concern in the novels of the Gilded Age, an idea so exciting and anxiety producing that writers felt compelled to scrutinize it in terms of literary form. Indeed, the writers examined in this dissertation developed nuanced rhetorical and narratological programs to explore efficiency’s conceptual possibilities outside the factory, specifically in the domestic sphere, the pastoral places of California, and the writer’s study. Moreover, these writers struggled to make sense of efficiency’s conceptual expansion. Thus, their novels reflect the difficulties of realizing different kinds of social efficiency. The texts I analyze either try but fail to represent the promises of a machine-made society, or they use self-destructive literary forms that call attention to the wastes of industrial capitalism. By attending to the poetics and competing definitions of efficiency advanced by these writers, my dissertation explores how Americans adapted traditional literary structures to promote or challenge the idea of technological progress.
This dissertation includes previously published material.
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Taylor, Jennifer Hilda. "The N400 ERP semantic vs. evaluative incongruities /". To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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Whicker, Jules. "Fiction, deceit and morality in the plays of Juan Ruiz de Alarcón, 1580-1639". Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:50276c64-555f-4584-9956-74a0ef3407b0.
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Alarcón was writing at a time when Spaniards increasingly came to perceive Spain as a nation in decline, and to seek the remedy for their country's malaise in a whole series of economic, political, social, and, in particular, moral reforms. One consequence of this was to intensify the debate concerning effect of the theatre on the moral values of the young, another was to stimulate a renewed interest in the art of war and the martial virtues which were held to have been the source of earlier glories, and yet another was to impel political philosophers and theologians alike to consider anew how the necessities of government in this uncertain political and economic climate might be reconciled with the ethical principles promoted by the Catholic Church. This study contends that both the style and the content of his plays show Alarcón to have been both well-informed and keenly interested in such matters, and indicate that, whilst he concurs with many contemporary moralists in identifying the source of the national malaise as a self-indulgent obsession with sensual pleasure and social posturing, and in suggesting that the cure lies in an adoption of a moral code based upon stoic self-discipline and other such virtues, he makes it clear that the implementation of these virtues in the complex situations encountered in everyday life depends to a large extent upon the prudent use of deception. Thus, in his work, Alarcón presents two principal forms of deception: the lies, slanders, illusions, and acts of imposture of those who seek the illicit gratification of their worldly desires; and the cautious equivocation, concealments, disguises, and stratagems of those who know that appearances deceive and who seek to ensure the reputation, integrity and safety of their compatriots and co-religionists. I also maintain that this is a distinction which applies to the comedia as much as to the world which it portrays, and that Alarcón is critical of the indecorous actions and the ornate language, music and spectacle of the comedia as popularised by Lope, and develops a dramatic technique which requires the spectator to submit his initial emotional and imaginative response to the drama to the scrutiny of reason if he is to understand the play. In this way, Alarcón's own creative technique proves to be yet another example of the prudent use of deception illustrated in his plays.
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Long, Sheryl. ""He had the words" : the search for truth in the fiction of Bruce Brooks /". Electronic version (PDF), 2005. http://dl.uncw.edu/etd/2005/longs/sheryllong.pdf.
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Ye, Qing. "Reading Bodies: Aesthetics, Gender, and Family in the Eighteenth-Century Chinese Novel Guwangyan (Preposterous Words)". Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20508.
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This dissertation focuses on the Mid-Qing novel Guwangyan (Preposterous Words, preface dated, 1730s) which is a newly discovered novel with lots of graphic sexual descriptions. Guwangyan was composed between the publication of Jin Ping Mei (The Plum in the Golden Vase, 1617) and Honglou meng (Dream of the Red Chamber, 1791). These two masterpieces represent sexuality and desire by presenting domestic life in polygamous households set within a larger social landscape. This dissertation explores the factors that shifted the literary discourse from the pornographic description of sexuality in Jin Ping Mei, to the representation of chaste love in Honglou meng.
This dissertation can be divided into three parts. Part one: Chapter I and II introduce my main approach to interpret the text and the historical and aesthetic context of this novel. Chapter I introduces a large historical background of the late Ming and early Qing China from the aspects of the printing industry, gender politics and the literary criticism. I argue that the blurry boundaries between genres assigned by the May Fourth scholars do not fully satisfy the reading of Guwangyan. My reading, however, scrutinizes the textual body of Guwangyan to explore the material body and body politics demonstrated in the fictional world. Chapter II explains the meaning of the title of the text, the author, commentator, the commentary, and the current studies of Guwangyan.
The second part, Chapter III and IV, illustrate a close-reading of the aesthetic body of the text. Chapter III proposes that Guwangyan is a well organized novel which has a carefully designed narrative structure and internal connections among chapters. Chapter IV demonstrates the importance of characterization in the novel. I argue that through a non-polarized yin-yang dichotomy and the yin-zhen contrast, the text demonstrates the uncertainty, transformation, and development of the characters and explores their complicated inner world.
The third part, Chapter V and VI, explore two important subjects of Guwangyan, masculinity and the family. Guwangyan represents the male friendship and male same-sex relationship and how they can interact with men’s role in the public and private spheres. Chapter VI broadens the discussion of the family relationship in Guwangyan to include a much larger political landscape. I argue that the latter part of the novel establishes a significant contrast between a realistic representation of political disasters and an idealistic description of family and community unity.
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Nedelcu, Irina. "'2' : a novel, and, Words & pictures : the miracle of artistic lending and borrowing". Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/17906.
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December 1989, Romania – a culture steeped in secrecy-fuelled paranoia is reflected in the family of six-year-old Adam Stan, whose father is missing and no one concedes to even talk about it. In the first of two sections of 2, a novel, through the eyes of Adam the child, the narrative explores the fall of Ceaușescu's regime and the incandescent bouts of hope brought on by the first Romanian democratic summer, but overshadowed by the presence of an absent father. Adam keenly experiences the joys and injustices of private and public life in both urban and rural Romanian landscapes, before he is forced to emigrate with his mother to the United States. The latter half of the novel sees the adult Adam return to his native Romania after an absence of over two decades, having been reunited with his father and fully assimilated into American life. Adam’s first impressions are of a country still in social and political turmoil, but his Romanian senses are dulled, his outlook cynical, his father’s prohibitive voice never far from his mind. However, the seemingly new scenery and the people he meets end up exposing forbidden memories which prompt Adam’s curiosity for coming to terms with his family’s past. Dualities construct the framework of Adam’s journey: innocence and experience, child- and adulthood, nationhood and otherness, (post)communism and capitalism, personal and national trauma, culture and identity. 2, a novel is a story about family, displacement, language, but most of all about finding a sense of self despite the ambivalent responsibility that comes with inheriting one’s history.
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Hamilton, Jennifer L. "Held together by words : the bull calves and the Scottish fiction of Naomi Mitchison (1930s-1960s)". Thesis, University of Aberdeen, 2004. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=229125.
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Naomi Mitchison (1897-1999) was an accomplished Scottish author noted for her historical fiction. Her literary career was prolific and lengthy, moving through several phases. From the early 1930s through the 1960s, Mitchison wrote primarily Scottish works. Whether in setting, characterisation, or concern, her literature during these years was for the Scottish people. In this reader’s estimation, Mitchison’s greatest contribution to the Scottish literary world was her ability to write engaging story while constructively recreating strong national mythos and setting forth models of healthy, loyal communities. Mitchison first is artist; therefore, any social agenda she embraces finds expression in art (whether these concerns be socialism, feminism, education, the arts, agricultural practices, or fishing, to name a few). This thesis will trace the themes in her earlier and later periods of the Scottish phase of her literary art, with The Bull Calves as focal point not only of this study, but also of the Scottish period of her writing. Exploration of the early works (1930s-40s) and the later works (1950s-60s and the later Early in Orcadia) will highlight themes that recur throughout her literary career. While not new to her particularly Scottish works, recurring themes take on new significance in light of Mitchison’s political involvement with the Labour Party and her local Community of Carradale. Mikhail Bakhtin’s study of narratology acknowledges the inherent political nature of language, and how the lexical range of characters within a text signifies particular class, occupation, religious and/or political propensity. When examining The Bull Calves, Bakhtinian method will be applied to the text, illustrating Mitchison’s utilisation of the facets of language to refract meaning within the text.
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Jacobi, Gabriel. "Interacting with Words: Development of a text-based game on language". Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-24015.
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This paper describes the development process of an Interactive Fiction game focused on the theme oflanguage. The paper includes a brief description of the history of the genre and its definitions, a discussionabout its multiple variations and attributes, and an overview of some examples that handled similar subjects.Then it considers some of the unique properties of the written language and examines language as both ashared and subjective relationship with reality . This is followed by a description of tools and methodsadopted in the design process and how the development went — from initial research to the final concept.The results is then described, followed by the user test results and a critical evaluation. At the end, someconcluding remarks are included together with possible future developments.
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Burgess, Moira. ""Between the words of a song" supernatural and mythical elements in the Scottish fiction of Naomi Mitchison /". Thesis, Connect to e-thesis, 2006. http://theses.gla.ac.uk/1046/.
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Thesis (Ph.D.) -- University of Glasgow, 2006.Includes bibliographical references (p. 270-288). Print version also available. Mode of access : World Wide Web. System requirements : Adobe Acrobat reader required to view PDF document.
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Shimkus, James H. "Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_diss/95.
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ABSTRACT
Speculative fiction (science fiction, fantasy, and horror) has steadily gained popularity both in culture and as a subject for study in college. While many helpful resources on teaching a particular genre or teaching particular texts within a genre exist, college teachers who have not previously taught science fiction, fantasy, or horror will benefit from a broader pedagogical overview of speculative fiction, and that is what this resource provides. Teachers who have previously taught speculative fiction may also benefit from the selection of alternative texts presented here. This resource includes an argument for the consideration of more speculative fiction in college English classes, whether in composition, literature, or creative writing, as well as overviews of the main theoretical discussions and definitions of each genre. In addition, this work includes a short history of speculative fiction, bibliographies of suggested sample themes for each genre, sample course syllabi and assignment/activity suggestions, and strategies for obtaining and using hard-to-find texts for prospective teachers.
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Loughlin, M. Clare. "Charles Dickens as novelist, journalist and editor : the relationships among the constituent texts of 'Household Words' and 'All the Year Round'". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324776.
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Pang, M. W. Petti. "The image of physics and physicists in modern drama portraits and social implications /". Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22535378.
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Robidoux, Raphaëlle. "Dreams’ Impact in Life and Fiction: An Analysis of Dreams in a Normative Canadian Sample and in Shakespearean Plays". Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37896.
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Dreams have been widely shared, analyzed, and explored for centuries. Throughout cultures and contexts, some dreams seem to leave a lasting trace on waking life, whereas other dreams are forgotten as quickly as they appear. This thesis focuses its efforts on the former category, known as impactful dreams. Impactful dreams are rare and distinguished by their effect on the dreamer’s thoughts, feelings, and/or behavior. Some dreams, including impactful dreams, also contain threatening oneiric material, which may be seen as mirroring threatening content the dreamer will have to face, or has already faced, in waking life.
This thesis contributes to the study of dream content by using modern dream analysis methods to investigate impactful dreams and threats in dreams, drawing from a large normative sample of Canadians’ dreams, but also from the oneiric content found in works written by William Shakespeare. It was expected that both samples would share certain oneiric traits, but that Shakespeare’s in-play dreams would contain more oneiric threats, would have an impact on the dreamer by default, and would most notably affect the narrative of the play. In contrast, normative Canadian dreams were expected to show a lesser tendency towards both impact and threatening content.
The first article explores all impactful dreams found within a normative sample of Canadian dreams, investigating their impactful dream type and their link to waking and dreaming mood. The second article does the same within the scope of Shakespeare’s fictional works, and compares the two samples in terms of dream impact, threats, and overall oneiric content.
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Cunliffe, Rozanne Mary. "Magical words & iceberg territory : an exploration of the multifunctionality of language in dramatic dialogue, with specific reference to selected Fugard plays". Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51823.
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Thesis (MA)--University of Stellenbosch, 2000.ENGLISH ABSTRACT: Most critics and academics have concentrated on the referential function of Fugard's dramatic dialogue. In this thesis I' argue that to notice just one way in which the language functions tends to limit the text. My aim, therefore, is to look at the other ways in which language functions in selected Fugard plays. I explore the way in which Fugard uses dialect and sociolect to establish a stage world that looks and sounds recognisably South African to South Africans. I investigate how .certain assumptions (on the part of the audience) accompany the acceptance of the stage world as 'real' and how Fugard uses subtextual inferences to force the audience to critically re-evaluate these assumptions. I argue that the way to consciously understand and evaluate the sub text is through a detailed investigation of the different ways in which language functions in dramatic dialogue. Therefore, by applying Pfister's theories on the multi functionality of dramatic dialogue to selected Fugard plays, I look at how characters reveal themselves to the audience through the choice of specific words, subject matter and language variant. I also investigate, by applying Quigley's observations regarding Pinter's plays to Fugard's characters, the way in which language reveals characters striving to negotiate their status within relationships. My argument is that as far as characterisation and relationships are concerned the actual referential function of the words reveals only the tip of the iceberg - the rest lies beneath this and is to be uncovered by looking at the other ways in which the language functions. Finally I look at the way in which language as the medium of communication per se is foregrounded in Fugard's plays and how this accentuates the role that language plays in communication, as well as the failure of communication, in the South African context. Related to this metalingual function of dramatic dialogue I investigate the idea, put forward by Ibitokun, that language can be used as a 'mask' behind which a person can hide his true identity. I agree with Ibitokun that this is not only a strategy for survival but that, when consciously adopted, it is also a means for challenging the status quo. The Fugard plays I have selected are Master Harold ... and the boys, Boesman and Lena, Sizwe Bansi is Dead and The Island.
AFRIKAANSE OPSOMMING: Die meerderheid kritici en academici het in die verlede gekonsentreer op die referensiële funksie van dramatiese dialoog in die werke van Fugard. In hierdie tesis argumenteer ek dat so 'n enkele gesigspunt op die rol wat taal speel neig om die teks te beperk. Derhalwe kyk ek in die studie na die ander wyses waarop taal in geselekteerde Fugard dramas funksioneer. . Ek begin met 'n ondersoek na Fugard se gebruik van dialek en sosiolek om 'n wêreld op die verhoog te skep wat herkenbaar Suid-Afrikaans klink vir Suid-Afrikaners. Hierna bekyk ek die wyse waarop sekere aannames (deur die gehoor) saamgaan met die aanvaarding van die "realiteit" van die verhoogwêreld en hoe Fugard subtekstuele verwysings benut om die gehoor te dwing tot kritiese herevaluering van daardie aannames. Die argument is voorts dat 'n gedetailleerde ontleding van die wyse waarop taal in dramatiese dialoog fuksioneer onontbeerlik is indien mens die subteks wil verstaan en ontleed. Deur Pfister se teorieë oor die multifunksionaliteit van dramatiese dialoog toe te pas op geselekteerde Fugard toneeltekste, kyk ek dus hoe die onderskeie karakters hulle aan gehore openbaar deur hul gebruik van spesifieke woorde, inhoude en taalvariante. Ek gebruik ook Quigley se observasies oor Pinter se stukke om te bepaal tot watter mate die taal van Fugard se karakters dui op mense wat poog om hulle status in verhoudings te vestig. My argument is dat die referensiële funksie van taal slegs die oppervlak van karakterisering en verhoudings verteenwoordig - die res lê dieper verberg en moet geopenbaar word deur te kyk na die ander wyses waarop taal funksioneer. Laastens bespreek ek die mate waartoe taal per se in Fugard se stukke na vore kom en hoe dit die rol van taal in kommunikasie benadruk, asook die tekort daaraan in die Suid- Afrikaanse konteks. Verwant aan hierdie metalinguistiese funksie van taal, toets ek Ibitokun se idee dat taal 'n masker kan wees waaragter die persoon sy ware identiteit versteek. Ek stem met Ibitokun saam dat hierdie nie slegs 'n strategie vir oorlewing is nie, maar dat dit, doelbewus aangewend, ook gebruik kan word om die status quo te bevraagteken. Die Fugard tekste wat bekyk word is Master Harold ...and the boys, Boesman and Lena, Sizwe Bansi is Dead en The Island.
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Bordandini, Sofia. "Words Are My Matter: proposta di traduzione di brani scelti di Ursula K. Le Guin". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017.
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Il presente elaborato ha lo scopo di proporre una traduzione di tre brani scelti da Words Are My Matter, raccolta di saggi, discorsi e recensioni di Ursula K. Le Guin. Ai cenni biografici seguirà una panoramica delle opere, soprattutto di fantascienza, e delle idee riguardo alla narrativa di genere, al linguaggio, alla situazione delle donne scrittrici di science fiction. La contestualizzazione teorica verterà perciò sulla narrativa di genere e in particolare sulla fantascienza, con riferimenti allo sviluppo della stessa e alla traduzione fantascientifica in Italia. Il commento alla traduzione si prefigge infine di esplicare le scelte traduttive, avvalendosi anche delle problematiche presentate sopra.
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Greene, Jason. "New planet". Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/278.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Liberal Studies
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彭文慧 y M. W. Petti Pang. "The image of physics and physicists in modern drama: portraits and social implications". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31225056.
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Ferguson, Naomi Joy. "Literary Alchemy - Turning Fact into Fiction, Songs My Mother Taught Me, Songs My Mother Taught Me - Revised Edition, In Defence of Love". Thesis, University of Canterbury. School of Humanities, 2010. http://hdl.handle.net/10092/5062.
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My MFA portfolio consists of two scripts for performance and a research essay exploring the methods and process of writing these.
Songs My Mother Taught Me is a one-woman cabaret piece; set in 1972, it explores hippie culture in New Zealand and a young women‟s search for independence. This portfolio contains two versions of this script. Both versions of this piece have been performed.
In Defence of Love is a play for three actors, each of whom plays one aspect of an abused woman trying to find her way out of a destructive relationship.
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Ryan, Jennifer Joan. "Introducing Mr Perky : subverting the fantasy trope of immortality in contemporary speculative fiction". Queensland University of Technology, 2009. http://eprints.qut.edu.au/30242/.
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The Tide Lords series of fantasy novels set out to examine the issue of immortality. Its purpose was to look at the desirability of immortality, specifically why people actively seek it. It was meant to examine the practicality of immortality, specifically — having got there, what does one do to pass the time with eternity to fill? I also wished to examine the notion of true immortality — immortals who could not be killed.
What I did not anticipate when embarking upon this series, and what did not become apparent until after the series had been sold to two major publishing houses in Australia and the US, was the strength of the immortality tropes. This series was intended to fly in the face of these tropes, but confronted with the reality of such a work, the Australian publishers baulked at the ideas presented, requesting the series be re-written with the tropes taken into consideration. They wanted immortals who could die, mortals who wanted to be immortal. And a hero with a sense of humour.
This exegesis aims to explore where these tropes originated. It will also discuss the ways I negotiated a way around the tropes, and was eventually able to please the publishers by appearing to adhere to the tropes, while still staying true to the story I wanted to tell. As such, this discussion is, in part, an analysis of how an author negotiates the tensions around writing within a genre while trying to innovate within it.
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Miesak, Edward. "Heroes Are Born Then Made". Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc504458/.
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Heroes Are Born Then Made is a theatre piece involving live actors on stage, and live music originating from an orchestra pit. The script and music is original. The music is meant to literally depict actions and emotions on stage whether the actors are present or not. The duration of the entire production is about two and one-half hours long. Six main actors are used with additional walk-ons. Sixteen musicians are required to make up the orchestra which is organized into a woodwind quartet, a brass trio, a string quartet, a piano, and a percussion quartet. The play is based on the author's conception of how people tend to treat each other when someone is caught at a disadvantage. Specifically it is a depiction of the conflict involved when the minor characters discover that the main character is trying to do something quite different from their definition of "normal."
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Romagnoli, Bethonico Marina. "IMAGE-FICTION, IMAGE-ACTION. Mise en jeu de la photographie contemporaine entre théorie des mondes possibles et théorie des actes d’image". Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030034.
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Cette recherche porte sur la possibilité d’une application des théories des mondes possibles aux arts visuels. Une introduction à cet univers théorique est d’abord présentée, à partir des textes fondateurs, ainsi que son application dans les études littéraires, jusqu’au contexte des arts visuels. Une introduction aux théories des actes de langage est également réalisée, pour arriver au champ des actes d’image. À travers un corpus hétérogène, composé de photographies contemporaines produites par des artistes de diverses nationalités, les catégories d’image-fiction et d’image-action sont développées, articulant une théorie des mondes possibles visuels. La dynamique existante entre l’image, l’artiste et le spectateur, déclenchée par ces deux types d’image, est ensuite analysée par le biais de la théorie des actes d’image. À partir d’une méthode de recherche théorique et imagétique basée sur la pensée complexe, on explore l'idée d'une transmission des "manières de faire monde", qui émerge d'une image-fiction active proposant un jeu d’image. L'hypothèse travaillée est que l’acte d’auto-dénonciation de l’image-fiction permet au spectateur de trouver des pistes de la manipulation de l’image, instaurées par le "fingere" de l’artiste. Finalement, l’image-fiction – produite, manipulée – fait acte de simulation d’un fragment de monde possible au moment où elle présente d’autres versions pour le monde des phénomènes, pour l’histoire et pour les individus. Ainsi, elle ouvre des voies de la fiction vers l’action, invitant le spectateur à la construction de nouveaux contextes collectifs dans l’actualitéThis research focuses on the possibility of applying the theories of possible worlds to the visual arts. First, an introduction to this theoretical universe is presented, starting from its foundational texts, as well as its application in literary studies, to the context of the visual arts. An introduction to speech act theories is also provided, in order to arrive at the field of image acts. Through a heterogeneous corpus, composed of contemporary photographs produced by artists of various nationalities, the categories of image-fiction and image-action are developed, articulating a theory of visual possible worlds. The dynamics between the image, the artist and the viewer, triggered by these two types of images, are then analyzed through the theory of image acts. Starting from a theoretical and image-based research method founded on complex thought, we explore the idea of a transmission of "ways of worldmaking", which emerges from an active image-fiction proposing an image play. The hypothesis worked on is that the act of self-denunciation of the image-fiction allows the viewer to find trails of the image’s manipulation, initiated by the artist's "fingere". Finally, the image-fiction – produced, manipulated – enacts a simulation of a fragment of a possible world as it presents other versions for the world of phenomena, for history and individuals. In this way, it opens up paths from fiction towards action, inviting the viewer to construct new collective contexts in the present
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Ndounou, Monica White. "The color of Hollywood the cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000 /". Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180535612.
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Melchers, Alma Louise Sophia. "Cinema plays history : National Socialism and the Holocaust in counterfactual historical films of the twenty-first century". Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/14340.
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Inspired by 2009 pastiche Inglourious Basterds (US/DE), my research presents counterfactual historical film, firstly, as a marginalised type of film: the 2000s and 2010s have seen an abundance of overtly fictional films which do not intend to represent the past but nonetheless playfully refer to imageries of National Socialist and Holocaust history. These films have so far been neglected by historical film studies which, despite a consensus not to judge films according to their factual accuracy, tend to focus on genres close to historiography. My research considers as historical films the counterfactual parodies Churchill: The Hollywood Years (GB 2004) and Mein Führer: Die wirklich wahrste Wahrheit über Adolf Hitler (DE 2007), as well as Inglourious Basterds and, in a brief conclusion, Nazi zombie films. In this sense, counterfactual historical film is, secondly, a research approach which suggests reconfiguring academic definitions of the field of history and film and historical film. Assuming that historical film never visualises past reality but engages with a history that is always already medialised, I propose that the above films despite their counterfactual plots embark on a visual historical discourse, and what is more reflect upon cinema and history in their own enlightening ways. My analyses show how twenty-first century counterfactual historical films revise Nazi and Holocaust visual history, and how they describe National Socialist history as visually constructed and historical Nazism as an eclectic amalgamation drawing on fictional as well as factual media sources. In regard to the present, they explore tensions between popular and academic culture through the dissolving binaries of fiction film and historiographical fact, and propose to recognise the reciprocity of media representation and actual past as an object of research in its own right. My research demonstrates the value of cinema's playful engagement with history as a potential contribution to the theory and practise of historical film studies.
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Teske, Sílvia. "Passar-a-limpo". Universidade do Estado de Santa Catarina, 2012. http://tede.udesc.br/handle/handle/676.
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This research reflects my developed artistic procedures with the goal of bringing the fiction concept as a presence on the road relevant to the act of writing the life, here I propose dislocating from the real focus to the imagined one. I tried to reflect a fiction concept that takes place by means of selection, subtraction, filtering or extraction of photographic material related to my life story, adding the use of the word as artistic material that by touching the images brings a discursive practice where at the same time it reveals, reinvents the official story. I use as procedure the idea of writing out as an act of revision of what has been lived, searching for autonomy in the choice of what I write about life, of which fiction I want to keep, modify or invent. Dealing with authors such as Michel Foucault and the concept of heterotopias, Michel Leiris about the tangency, and Walter Benjamin about the allegories, I tried to reflect issues of contemporary photography and its potential as a material of appropriation, also making use of specific theorists, such as Philippe Dubois, Rosalind Krauss and Andre Rouille. Having also as company artists working with autobiographical issues it was possible to revisit the obvious to look at it with distrust and suspicion throwing myself into the boundless abyss, the unofficial draft of life
Esta pesquisa reflete meus procedimentos artísticos desenvolvidos com o objetivo de trazer o conceito de ficção como uma presença em trânsito pertinente ao ato de escrever a vida, que aqui proponho deslocar do foco do real para o imaginado. Busquei refletir um conceito de ficção que se dá por meio da seleção, subtração, filtragem ou extração de material fotográfico referente à minha história de vida, acrescido da utilização da palavra como material artístico que, ao tangenciar as imagens, traz uma prática discursiva que, do mesmo modo que revela, reinventa a história oficial. Utilizo como procedimento a ideia de passar-a-limpo , vendo-o como um ato de revisão do vivido, procurando uma autonomia nas escolhas do que quero escrever sobre a vida, de qual ficção desejo manter, modificar ou inventar. Lidando com autores como Michel Foucault e o conceito de heterotopias, Michel Leiris acerca da tangência, e Walter Benjamin sobre as alegorias, busquei refletir questões da fotografia contemporânea e seu potencial enquanto material de apropriação, recorrendo também a teóricos específicos dessa área, tais como Phillipe Dubois, Rosalind Krauss e André Rouillé. Tendo, ainda, como companhia artistas que trabalham com questões autobiográficas foi possível revisitar o óbvio para olhá-lo com desconfiança e suspeita e atirar-se ao abismo dos sem fronteiras, ao rascunho da vida não oficial
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Zahoor, Abubaker. "Desires & Debacles". Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1607264387584207.
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Moran, Patrick. "Lectures cycliques : le réseau inter-romanesque dans les cycles du Graal du XIIIe siècle". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040020.
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Les cycles arthuriens en prose du XIIIe siècle (principalement la trilogie dite de Robert de Boron et le Cycle Vulgate ou Lancelot-Graal) sont des ensembles au statut singulier. Définis à la fois par l’autonomie et l’interconnexion des romans qui les constituent, ils se distinguent des romans en vers individualisés qui les précèdent et des proses amples mais plus homogènes qui les suivent. À leurs caractéristiques formelles s’ajoute le projet de construire des univers de fiction cohérents, susceptibles d’instaurer un canon arthurien définitif. La brièveté de la période de production (1200-1240 environ) est contrecarrée par le succès durable que ces textes connaissent pendant tout le Moyen Âge ; la cyclicité est une forme romanesque expérimentale qui crée un rapport neuf à la matière de Bretagne et génère surtout des modes de lecture nouveaux. Caractérisés par des tendances aussi bien centrifuges que centripètes, les romans cycliques génèrent un réseau que le lecteur peut explorer à sa guise, de manière partielle ou complète, ordonnée ou désordonnée ; mettant en relation des romans aux visées parfois disparates mais assumant leur interconnexion, le cycle offre au lecteur un parcours sans cesse renouvelé, où les grands effets de cohérence l’emportent sur les contradictions de détail. C’est ce réseau inter-romanesque qui est l’objet privilégié de la présente étude : les romans cycliques, loin de développer leur sens en autarcie, vivent de la mise en lien de leurs récits et construisent ensemble, par le biais de la lecture organisatrice, des mondes narratifs multipolairesThe thirteenth-century Arthurian prose cycles (mainly Robert de Boron’s trilogy and the Vulgate or Lancelot-Grail Cycle) are groupings of a peculiar nature. Defined both by the autonomy and the interconnection of their constituent romances, they differ from the individualised verse romances which precede them as well as from the massive yet more homogenous prose narratives which follow. These formal characteristics go hand-in-hand with a coherent world-building project, which aims to formulate a definitive Arthurian canon. The brevity of the production period (ca. 1200-1240) is counterbalanced by the lasting success of these texts throughout the Middle Ages; cyclicity is an experimental form which creates a new take on the matter of Britain, and most of all, gives birth to new modes of reading. Defined by centrifugal as well as centripetal tendencies, cyclical romances generate a network which the reader may explore at will, either partially or completely, in an orderly or disorderly manner. By linking romances which may have different aims yet accept their basic connectivity, cycles allow their readers to navigate them in constantly renewed ways, while at the same time preserving their coherence in spite of localised contradictions. This cross-romance network is the subject of the present study: cyclical romances, far from existing in isolation, thrive in an interconnected narrative environment; in conjunction with the reader’s own structuring powers, they interact to build multifarious narrative worlds
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Keshabyan, Ivanova Irina. "A Contrastive Structural and Lexical Study of Shakespeare's Hamlet and Sumarokov's Gamlet: A Corpus-Based Approach to Literature. Estudio contrastivo de la estructura y del léxico en Hamlet de Shakespeare versus Gamlet de Sumarokov: una aproximación a la literatura desde la perspectiva basada en corpus". Doctoral thesis, Universidad de Murcia, 2010. http://hdl.handle.net/10803/10820.
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La presente Tesis Doctoral se encuadra dentro la línea de investigación del lenguaje mediante los métodos basados en corpus, es decir, mediante análisis computacional y cuantitativo. El esencial objetivo ha sido llevar a cabo una comparación y análisis cuantitativo estructural y del léxico de dos textos específicos del género dramático: la cuarta edición en el infolio de Hamlet (1685) de Shakespeare, y la traducción al inglés de Gamlet (1787) [1748], del dramaturgo ruso Aleksandr Sumarokov, traducida del ruso por Richard Fortune en 1970. El análisis, comparación e interpretación de los resultados de los patrones estructurales y temáticos se ha dispuesto por actos, tanto en aquello que se refiere a la intra-obra (en Hamlet y Gamlet, separado), como inter-obras (entre Hamlet y Gamlet) a lo largo de los Capítulos 3º, 4º, 5º y 6º. Para desvelar los propósitos reales de Shakespeare y Sumarokov, especialmente en lo referido a las configuraciones sociales y organizativas estructurales de Hamlet y Gamlet, se utilizaron diversas aplicaciones informáticas e estadísticas. Para ello se administró el análisis cuantitativo de la distribución de los patrones de la presencia, intervención e interacción de todos los personajes, tanto los principales, como los secundarios. Para analizar y comparar las alteraciones temáticas, es decir, las diferencias cualitativas, no simplemente cuantitativas, con respecto a la conceptualización sociopolítica, religiosa, moral, familiar, filosófica y artística, entre Shakespeare y Sumarokov, se aplicaron los métodos cuantitativos y analíticos basados en la lingüística del corpus. A tal fin, se implantó la investigación de los patrones de distribución de las palabras de contenido (open-class ítems), es decir, las palabras con significado léxico, tales como sustantivos, verbos, adjetivos y adverbios, más frecuentes entre ambas obras. Los principales resultados obtenidos revelan importantes disimilitudes entre las estructuras de las obras por actos, es decir, percepciones marcadamente distintas de todos los personajes, de su relevancia en las obras y de complejidad de las relaciones sociales entre ellos. Los resultados de los patrones temáticos señalan las divergencias significativas en los contenidos básicos de ambos textos en relación con los temas más prominentes. Así pues, los resultados confirman diferencias sustanciales en los patrones estructurales y temáticos entre versión original de Hamlet y Gamlet. Resumen:The main area of research of this PhD dissertation is the study of language by means of corpus-based techniques -in other words, by means of a computational and quantitative analysis. The aim was to carry out quantitative and qualitative structural and lexical analysis and comparison of two specific texts in the genre of drama -The Fourth Folio Edition of The Tragedy of Hamlet Prince of Denmark (1685) by Shakespeare and the English translation of Gamlet (1787) [1748] by the Russian playwright Sumarokov, translated from Russian by Richard Fortune in 1970. The analysis, comparison and interpretation of data related to the structural and thematic patterns were carried out per act: intra-play (in each play, separately) and inter-plays (between Hamlet and Gamlet). Accordingly, various computational tools were applied to reveal the differences in the social and organisational structures of the plays through quantitative and qualitative analysis of the distribution patterns of the presence, intervention and interaction variables of all the characters, both main and secondary. Quantitative and analytical corpus-based methodologies were used to analyse and compare thematic alterations between the two plays -in other words, the (dis)similarities in the authors' religious, socio-political, family, moral, philosophical and artistic conceptions- identified on the basis of the most frequent content words (open-class items), particularly nouns, verbs, adjectives and adverbs. The key findings indicate important differences between the structures of the plays per acts, that is, significant divergences in the authors' perceptions of the characters and the complexity of their relationships. Another essential finding suggests obvious distinctions between both texts' basic contents per act: intra-play and inter-plays. In general, the findings uncover wide-ranging dissimilarities in the structural and thematic patterns in Hamlet versus Gamlet.
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Bölling, Gordon. "History in the making : Metafiktion im neueren anglokanadischen historischen Roman /". Heidelberg : Winter, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2832122&prov=M&dokv̲ar=1&doke̲xt=htm.
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Williams, Ross. "Worlds within words". Thesis, 2008. http://hdl.handle.net/10413/1071.
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Shaw, Amber Nicole. "Weaving words Mina Loy's fiction of fashion, sewing, and design /". 2006. http://purl.galileo.usg.edu/uga%5Fetd/shaw%5Famber%5Fn%5F200608%5Fma.
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Leidner, Mark. "Hipster". 2012. https://scholarworks.umass.edu/theses/809.
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Hipster is first-person novel in diary form. It chronicles events in the life of the narrator. The story begins when his girlfriend leaves him in an unnamed town in the northeastern US to move back home to Georgia, and the novel ends when he decides to return home too.
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Anderson, Julia Gay. "Fiction is a lie about the truth: lesbian characters in the plays of Jane Chambers". 1988. http://hdl.handle.net/2097/22722.
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"Words and images: the representations of rebels in 1950s American novels and film". 2006. http://library.cuhk.edu.hk/record=b5892979.
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Yong Wai Ting.Thesis (M.Phil.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references (leaves 100-103).
Abstracts in English and Chinese.
Abstract --- p.i
論文摘要 --- p.iii
Acknowledgements --- p.iv
Introduction --- p.1
Chapter Chapter One: --- Literary Language Versus Film Language --- p.17
Chapter Chapter Two: --- Cinematic Novels Versus Novelistic Cinema --- p.46
Chapter Chapter Three: --- Film Adaptation: Transfer Versus Cinematic Reshaping --- p.73
Work Cited --- p.100
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Chen, Chia-Chien y 陳家倩. "A Study on the Translation of Vulgar Words in Chinese Subtitles-Based on the Practice of Pulp Fiction". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/53537798982992402335.
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碩士輔仁大學
翻譯學研究所在職專班
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English vulgar words such as “shit” and “fuck” are commonly and frequently used today by native speakers of that language for communicating and expressing their feelings. Translating vulgar language that is far from polished and elegant is actually informative, a way of gaining a more profound and comprehensive acquaintance with other cultures and also an expression of the effort to be friendly to and thoughtful of others. It is my aim in this thesis to seek methods of making the translation of vulgar words from English into Chinese vivid and yet suitable for the context of film subtitles. Quentin Tarantino’s film Pulp Fiction is selected for the translation model in the thesis, and by means of practicing the translation of vulgar English terms in this film into Chinese subtitles, I establish strategies to make the translation applicable, communicative, and humane. There are six chapters in this thesis. Except for Chapter One (The Prologue) and Chapter Six (The Epilogue), the thesis can be divided into two categories--“theory” and “practice.” In the “theory” parts, comprising Chapter Two (Socialization of Vulgar Words) and Chapter Three (Vulgar Words and Films), I explain the influence of vulgar words on present society through illustrating the historic and cultural background of them and then state the effect and intention of the use of vulgar words in films on the basis of their communicative function. As for the “practice” parts, the bulk of the thesis, including Chapter Four (Strategies for translating English Vulgar words into Chinese Subtitles) and Chapter Five (Practice for translating English Vulgar words into Chinese Subtitles-Pulp Fiction), I analyze overall strategies for translating English vulgar words into Chinese subtitles and then concentrate on practice by translating all English vulgar words in Pulp Fiction with a view to mastering the expressions and intonations of vulgar language. In any case, instead of solving all problems in the translation of vulgar words, the purpose of the thesis is to make the translation of vulgar words in film subtitles both lively and appropriate, to help the audience acquire a quicker but deeper comprehension of the films.
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Tocalli-Beller, Agustina. "Peer-peer dialogue : ringing second language learning into play". 2005. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=232590&T=F.
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Lucas, Teresa Brooks Frank B. "Deciphering the meaning of puns in learning English as a second language a study of triadic interaction /". 2004. http://etd.lib.fsu.edu/theses/available/etd-06152004-183455.
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Thesis (Ph. D.)--Florida State University, 2004.Advisor: Dr. Frank B. Brooks, Florida State University, College of Education, Dept. of Middle and Secondary Education. Title and description from dissertation home page (viewed Sept. 23, 2004). Includes bibliographical references.
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Nel, Johannes Erasmus. "Harold Pinter : breading strategies with reference to The Birthday party, The Homecoming and One for the road". Thesis, 1989. http://hdl.handle.net/10386/2131.
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Malá, Ivana. "Prózy současných českých autorů pro děti předškolního věku". Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-328098.
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This diploma thesis is focused on the titles of the contemporary Czech authors of the books for the preschool children. The main target of the thesis is to find and recommend the valuable children's books (published after year 2000) to the preschool teachers, parents and other educators, with the main emphasis on the esthetic, literary-didactic and educational quality aspects. In the theoretical part of the thesis I aimed on the characteristics of the preschool child in relation to reading. I was mainly interested in child's psychological development in the context with the examined issue. The theoretical part of the thesis also provides the definition of the prereaders period and terms of non-reader and prereader are explained here. Prosaic genres intended to this age group are also examined in this part of the thesis. Criteria for selection of children's books by the adults and the knowledge of five book titles are examined through the questionnaire survey. The practical (analytical) part of the thesis contains the analysis of the selected children's books ("Medvídek Kuma" by Martina Skala, "Už se nebojím tmy," "Kozí knížka" by Tereza Říčanová, "Jak Cílek Lídu našel" by František Skála and "Dobrodružství pavouka Čendy" by Pavel Čech) according to the predefined criteria. The Conclusion provides...