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1
Fung, Kit-ting, und 馮潔婷. „Decolonizing fictions: the subversion of 19thcentury realist fiction“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31953001.
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Perkins, Aaron M. „Fictions, enabling fictions, and autofiction within painting; or, "This painting is a work of fiction", I said“. Thesis, Griffith University, 2022. http://hdl.handle.net/10072/419477.
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This practice-led research project investigates the potential for a philosophically defined and
criterial notion of fiction to function within the medium of painting. It develops Kendall L.
Walton’s make-believe theory of fiction via Gregory Currie and Richard Wollheim to include
a criterion of fictive intent, whereby a painting is fictional if it is intended to prompt an act of
imagining in its viewer. Although painting has not art-historically distinguished between
fiction and non-fiction, the research demonstrates the intuitive usefulness of such a
classification. The research then argues that painted works of fiction offer a means of insight
through a visual medium into the everyday fictions that enable our understanding of the real
world around us.
Using contemporary anglophone autofiction—a mode or genre of writing that
purposefully blurs autobiography and fiction—as a model for this inquiry, the research
analyses Ben Lerner’s novel 10:04 to identify a range of strategies that confuse the real world
and the fictional world of a work. These strategies are characteristic of literary autofiction and
include a paratextual communication of fictive intent, an ambiguous authorial presence, the
use of text and image, ekphrasis, self-appropriation, and extratextual reference. These are also
identified in the painting practice of Avery Singer and so are demonstrated to be applicable
across mediums.
The creative outcomes of this research project emerge from a painting practice
concerned with the relationship between image and text to explore the enabling fiction of a
coherent self-narrative. They encompass an artist’s book, a series of paintings that manifest a
tension between typographic and anthropomorphic forms, a site-specific ekphrastic catalogue
essay, a site-specific collaboration with a screenwriter on an exhibition of fictional paintings,
and, ultimately, an autofictional exhibition of paintings that explore a transference between
painting and literature through a short story and a typeface.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
3
Gleiberman, Jack Rhein. „Believing Fictions: A Philosophical Analysis of Fictional Engagement“. Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2243.
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Works of fiction do things to us, and we do things because of works of fiction. When reading Hamlet, I mentally represent certain propositions about its characters and events, I want the story and its characters to go a certain way, and I emotionally respond to its goings-on. I might deem Hamlet a coward, I might wish that Hamlet stabbed Claudius when he had the chance, and I might feel sorrow at Ophelia’s senseless suicide. These fiction-directed mental states seem to resemble the propositional attitudes of belief, desire, and emotion, respectively — the everyday attitudes that represent and orient us toward the world. These mental states constitute our engagement with fiction, and the way in which they hang together is central to understanding our engagement with fiction. In that aim, this thesis hopes to provide an analysis of our belief-like attitudes about works of fiction. I argue that a folk psychological theory of fictional engagement should call upon belief, not imagination, to serve as the primary cognitive attitude with which we engage fictions.
4
Fung, Kit-ting. „Decolonizing fictions : the subversion of 19th century realist fiction /“. Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23473010.
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5
Kimmich, Matt. „Offspring fictions /“. Bern : [s.n.], 2005. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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Siety, Emmanuel. „Fictions d'images“. Paris 3, 2003. http://www.theses.fr/2003PA030021.
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On estime en général que, pour un spectateur, l'univers diégétique d'un film de fiction et la réalité matérielle du film lui-même sont plus ou moins incompatibles. Soit il fixe son attention sur la fiction, soit il se montre attentif au film lui-même (le montage, le cadrage, la photographie). De ce point de vue, la fiction la plus réussie est celle qui parvient le mieux à capter l'attention du spectateur, à détourner celui-ci du film en tant qu'artifice. Cependant, certaines descriptions de films remettent en cause ce principe d'incompatibilité en reconstruisant imaginairement le film lui-même. Il peut s'agir d'un simple effet métaphorique, comme lorsque les déformations causées par un miroir déformant invitent à parler d'une image " liquéfiée " (bien que nous sachions que l'image est faite de lumière), mais il existe des exemples plus saisissants - lorsqu'une description indique par exemple que le personnage semble se dissoudre dans l'image, ou que l'image semble tomber en morceaux. Tous ces cas constituent pour nous des " fictions d'image ". Parfois ces fictions sont clairement induites par le film lui-même (c'est le cas dans Persona) ; parfois en revanche elle semblent obéir à des motivations plus complexes de la part du spectateur. L'étude des fictions d'image suppose donc de déterminer ce qui, dans un film, est de nature à induire une telle fiction. La relation entre fiction d'image et film de fiction est à cet égard essentielle : nous proposons donc de comparer leurs mécanismes et de comprendre de quelle manière l'une et l'autre peuvent se combiner et non s'exclure. Nous entendons d'autre part interroger la portée heuristique des fictions d'image dans le cas où elles obéissent à des motivations plus complexes que la simple transcription d'une impression. Nous voudrions montrer que ces fictions ne relèvent pas simplement d'une licence poétique, mais qu'elles ont aussi un réel pouvoir d'éclairement, dans le cas du cinéma comme dans d'autres artsIt is ordinarily supposed that, for the spectator, the diegetic aspect of a fiction film and the material reality of the film itself are somewhat incompatible. A spectator either focuses on the fiction or on the film itself (editing, framing, photography). From this perspective, the most successful fiction is the one which most fully captivates the spectator's attention, diverts her or him from perceiving the film as an artifice. Yet certain film descriptions challenge this principle of incompatibility in imaginarily reconstructing the materiality of the film. This might take the form of a metaphoric effect such as when the distortions of a mirror inspire discussion of imagistic wateriness (although we know that the image is rendered in light), but there are more striking examples - when a description indicates that a character seems to dissolve into the image, or that the image appears to break into virtual pieces. These cases, we term a "fictitious pictures". Sometimes such fictions are clearly constructed by the film itself (precisely the case of Persona) ; sometimes they seem to arise from a more personal spectatorial perception: a feeling. Hence, study of these "fictitious pictures" presupposes determining what in a given film is likely to induce such readings. The interrelationship between the fictitious pictures and the fiction film is essential in this context: having compared their mechanics, we propose to evaluate how these can combine cumulatively without mutually excluding each other. We intend to examine the heuristic scope of the fictitious pictures as a phenomenon, treating examples that arise from factors more complex than a simple transcription of a spectatorial impression. We seek to show that these fictions do not simply appear due to an exercise of poetic licence, but that they have a real illuminating power of clarification as well; and this, in the cinema as in other arts
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Morris, Davis Maggie Elizabeth. „The Fictions We Keep: Poverty in 1890s New York Tenement Fiction“. OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/387.
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In his 2008 book, American Hungers: The Problem of Poverty in U.S. Literature, 1840-1945, Gavin Jones calls for academic studies of literature that examine poverty as its own actuality, worthy of discussion and definition despite its inherently polemical nature. As presented by Jones and tested here, American literature reveals how poverty is established, defined and understood; the anxieties of class; imperative connections with issues of gender and race; and the fictions of American democracy and the American Dream. This proves to be especially interesting when examining the 1890s. From a sociological standpoint, the eighteenth century's approach to poverty was largely moralistic, while the early parts of the nineteenth century moved toward acknowledging the impact of environmental and social factors. Literature itself was changing as a result of the realism and naturalism movements; the resulting popularity of local color and dialect writing and the exploding market for magazine fiction created access to and an audience for literature that discussed poverty in multifarious ways. Furthermore, New York proved to be an ideal setting - the influx of immigrants, the obvious problem of the slums, and the public's infatuation with those slums - and served as a catalyst for a diverse body of writing. Middle-class anxieties, especially, surfaced in this modern Babel. This study begins with a historical and sociological overview of the time period as well as an analysis of the problematic photography of the effective reformer Jacob Riis. Like Riis's photography, the cartoons of R.F. Outcault both challenge and subtly support stereotypes of poverty and serve as a reminder of the presence of poverty in day-to-day life and entertainment of turn-of-the-century New Yorkers. Stephen Crane's Maggie is discussed in depth, and his Tommie sketches are contrasted with the middle-class Whilomville Tales. These pieces have in common several unifying qualities: the centrality of the human body to the discussion of poverty, the failure of language for those in poverty, vision as a tool writers and artists lean heavily upon, and the awareness of multiple audiences within and without the text. Ultimately, the pieces return to the burdened bodies of small children - "the site that bears the marks, the damage, of being poor" (Jones American Hungers 3).
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Hunt, Celia. „Personal fictions : the use of fictional autobiography in personal development“. Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285106.
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This thesis contains the results of my research between 1994 and 1998 into the uses of fictional autobiography in personal development. The topic arose out of my observation, both of my own experience and the experience of students attending my creative writing courses, that writing fictional autobiography as part of a writing apprenticeship not only enabled the development of writing skills and the finding of a writing 'voice', but often had a therapeutic effect on the writer's relationship with himor herself, and with his or her significant others. I set out to explore this observation through an examination of my creative writing course 'Autobiography and Fiction' (subsequently called 'Autobiography and the Imagination'), which I taught at the University of Sussex Centre for Continuing Education from 1991 to 1996. I issued questionnaires to all 78 students who had taken this course, to generate data on the benefits of engaging in the writing of fictional autobiography. I also conducted interviews on the same topic with 5 of these students. I analysed the resulting data using the theory of the Germani American psychoanalyst Karen Horney, and to a lesser extent that of object relations theorists D.W. Winnicott, Christopher Bollas and Marion Milner. Where appropriate, I also used theory of literary and social narrative. The thesis presents the three main findings of the research, namely, that the writing of fictional autobiography (1) can facilitate a closer contact with the inner life, resulting in a stronger sense of identity and the finding of a 'writing voice'; (2) can help to reveal and work through problems of identity which cause writer's block; and (3) can provide a means of're-writing' self-narratives which have been 'written' in the psyche by family and society. The thesis concludes with some suggestions as to how fictional autobiography might be used in a self-analytic or psychoanalytic context.
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Leroyer, Anne-Marie. „Les fictions juridiques“. Paris 2, 1995. http://www.theses.fr/1995PA020058.
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La doctrine française contemporaine considère les fictions avec défaveur. Le procédé est juge arbitraire. Son utilisation devrait donc être réservée au législateur qui ne pourrait y recourir qu'a titre exceptionnel et pour des raisons d'équité impérieuses. Les fictions légales devraient être d'interprétation stricte, sinon restrictive. En tout état de cause, le procédé ne serait qu'un palliatif devant être éliminé par la recherche d'un moyen permettant de parvenir aux mêmes fins. Ce sont ces présupposes qu'il est proposé de mettre à l'épreuve à la lumière du droit positif. Si le procédé est aussi mal jugé, c'est en grande partie parce qu'il est mal connu : les controverses doctrinales abondent sur la notion elle-même. La première partie est ainsi consacrée à mieux cerner la notion de fiction. Une définition précise peut être proposée permettant de découvrir l'existence de fictions légales, mais aussi jurisprudentielles doctrinales et émanant de la volonté des particuliers. La définition permet aussi de mieux cerner la spécificité des fictions à l'égard des notions voisines et de prendre acte de toute la mesure du recours a l'artifice en soulevant le voile de prétendues assimilation, analogie, ou présomption pour découvrir la fiction. L’importance du recours aux fictions invite alors à s'interroger sur leur rôle. Il apparait qu'elles sont aussi diversement employées car elles sont un procédé particulièrement utile de technique juridique et également un instrument efficace de politique juridique. A considérer l'utilité manifeste des fictions, on est fictons, on est conduit à envisager leurs limites : est-il toujours possible et souhaitable de les utiliser ? Les limites des fictions sont plus ou moins étendues. Parfois, elles peuvent être simplement bornées, parfois elles doivent être totalement éliminéesThe contemporary french doctrine is not in favour of legal fictions. They are considered as an arbitrary device which should be only used by the legislator in last resort and for the sake of pressing equity concern. Interpretation of legal fictions should be stric, even restrictive. In any case, the process would be ut a palliative which should be supplanted by a more approriate mean. These are the presuppositions which we propose to put to the test in the light of positive law. Such a misjudgment about legal fictions is mainly due to the misunderstanding of the process. They are plenty of doctrinal disputes about the notion itself. In the first place, we shall therefore focus on the notion of legal fiction. An accurate definition can be issued, which will help to disclose legal, but also jurisprudential and doctrinal fictions, as well as those issued from private individuals' will. The definition will also enable to highlight the specificity of fictions compared with close notions and to reveal the fiction when unveiling so-called assimilation, analogy or presumption. Taking into account the widespread use of fictions, we will then question about their part. They appear to be so largely used because they are highly powerfull tool of juridical technics and also an efficient devise of juridical politics. Measuring their obvious usefulness leads to foresee their limits : is-it always convenient and desirable to resort to fictions ?
10
Kolovou, Ioulia. „First Crusade fictions“. Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/8752/.
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The world of Byzantium is under-represented in historical fiction written in English, a fact that reflects a general negativity or even absence of Byzantium in the non-academic, cultural traditions of the Anglophone world. Sir Walter Scott’s penultimate novel Count Robert of Paris (1832), set in Constantinople at the time of the First Crusade (1096), is an interesting late work of Scott’s whose ambivalent stance towards Byzantium both asserts and refutes this fact and hints at its possible causes, at the same time offering interesting insights on how to read historical fiction meaningfully. This thesis, comprising a critical essay and a novel, explores ways of reading and writing Byzantium in historical fiction. The critical essay titled ‘Reading and writing Byzantium and the First Crusade in historical fiction: a reading of Sir Walter Scott’s Count Robert of Paris (1832)’ uses Marxist, gender, reader-response, and postcolonial theory as tools to decode Scott’s artistic strategies in the representation of Byzantium and at the same time to propose a theoretical approach to reading historical fiction. The novel titled A Secret Fire, inspired by and conversing with Scott’s Count Robert, employs the characters of a cross-dressing female crusader and a Byzantine eunuch in order to signpost the ambivalent position of Byzantium in regards with the European west at the time of the First Crusade and to subvert stereotypes of power and domination. Written in the current context of the Greek financial crisis and subsequent discussion on the position in Greece within the European Union (and the questioning of the EU in general), the thesis aims to contribute to the historical imaginary and to open up a discursive space for engaging with Byzantium and Greece beyond received ideas and negative representations.
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Shen, Ruihua. „New woman, new fiction : autobiographical fictions by twentieth-century Chinese women writers /“. view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3113028.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 339-366). Also available for download via the World Wide Web; free to University of Oregon users.
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VIEIRA, MARTHA ALKIMIN DE ARAUJO. „(LITERARY) FICTIONS: CONTEMPORARY CHALLENGES“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5886@1.
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UNIVERSIDADE ESTACIO DE SÁO estudo das ficções (literárias), no marco dos sistemas midiáticos e da mediação digital e suas conexões com o processo de produção e sistematização do conhecimento, em modelos de realidade aponta a presença da ficcionalidade como fenômeno constitutivo de todos os segmentos da vida social e não apenas com o objeto sob jurisdição exclusiva da literatura. O estatuto das ficções literárias em interseção com a proliferação de ficções não literárias e a virulênncia das transformações tecno-científicas, das práticas sociais, estatisticas e culturais tensionam tanto o entendimento das formas de ficção quanto as noções de realidade, sugerindo uma aliança interdisciplinar entre literatura e cultura como possibilidade de compreensão dos conteúdos semânticos que abastecem e organizam repertórios compartilhados em sociedade.
With the development of digital and media systems and their connection with the process of production and systematization of knowledge, the study of (literary) fictions in models of reality points to fictionality as a phenomenon present in the makeup of every segment of social life, rather as an object restricted to literature. The status of literary fictions in their relation with nonliterary fictions, together with radical changes taking place in technology and science and in social and aesthetic practices, has challenged our understanding not only of fictional forms but also of our notions of reality, suggesting an interdisciplinary link between culture and literature as a possibility of understanding the semantic contents organizing the repertoires shared by contemporary society.
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COSTA, TIAGO LEITE. „NELSON RODRIGUES CONFESSIONS/FICTIONS“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10593@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOREste trabalho consiste numa análise das Confissões de Nelson Rodrigues, crônicas de costumes escritas na passagem da década de 1960 para 1970 e reeditadas recentemente em três coletâneas: O óbvio ululante, A cabra vadia e O reacionário. O propósito da dissertação é, a partir da leitura das crônicas, fazer emergir o personagem/narrador Nelson Rodrigues que trabalha na fronteira da ficção e da confissão. Narrador que cria outros personagens a partir das figuras públicas do Brasil daquele momento. Caberá verificar, então, como Nelson Rodrigues ficcionaliza a si próprio e aos outros protagonistas da década de 1960/70.
This piece of work consists of an analysis of Nelson Rodrigues` Confessions, custom chronicles written in the passage from the 1960`s to the 1970`s and recently reedited in three compilations: O óbvio ululante, A cabra vadia, O reacionário. The purpose of this dissertation is to make emerge, from the reading of chronicles, the character/narrator, Nelson Rodrigues, who works on the thin line between fiction and confession. A narrator who creates other characters from the image of Brazilian public figures of the time. It will hence rest to verify how Nelson Rodrigues fictionalizes himself and other protagonists of the 1960`s and 70`s.
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Majzoub, Raafat S. M. (Raafat Mohamad Chamseddine) Massachusetts Institute of Technology. „A lover's discourse : fictions“. Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111268.
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Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2017.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis. "June 2017."
Includes bibliographical references (pages 130-131).
This thesis sets a landscape to discuss intimacy as a political tool, using fiction as a methodology to create potency in the Arab world. Its concern with critique is on the actionable level. This document discusses projects that critique realities in Lebanon and the Arab World by proposing (1) that these realities are in fact fictions (2) that can be contested by creating new fictions through cultural practice. The arguments, challenges and defenses happen in public through observations and readings. The corpus of this thesis is the manuscript of a novel written between 2012 and 2015, "The Perfumed Garden: An Autobiography of Another Arab World," and the methodology of writing it.
by Raafat Majzoub.
S.M. in Art, Culture and Technology
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Teguia, Tariq. „Robert Franck, fictions cartographiques“. Paris 8, 2001. http://www.theses.fr/2001PA082219.
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Cette recherche prend pour hypothèse que Robert Frank aura, une vie durant, inlassablement élaboré des fictions cartographiques autant par la photographie, le cinéma, la vidéo et dans toutes les formulations intermédiaires que ces trois outils autorisent. Les diverses définitions qu'est susceptible de prendre la fiction cartographique sont abordées en cinq volets. . .
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Norman, Natasha. „Further fictions in print“. Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/11652.
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Includes bibliographical references (p. 36-40).Further Fictions mediates a particular visual system - that of the screen. I have tried to unravel and grant materiality to this contemporary virtual coding of images using a process of translation: by evoking the inherent nature of the cinematic image in the medium of print.We live in an analogue reality. There is always a shift between an idea and its translation into a model, between the photograph and the reality of the event it references, between the drawing on a matrix and the print of that drawing on paper. In this project I have set myself the task of the translator by grappling with the elements of an image that defy translation from one medium to another.
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Meals, Nathaniel Jeffrey. „Among the Lost: Fictions“. Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522933463551811.
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Higginbotham, Ethan James. „Truth in (Impossible) Fictions“. Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/104101.
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I propose a new account of truth in fiction that better handles truth in impossible fictions than the standard Lewisean account. Lewis' solution makes use of possible worlds to capture truths unstated but implied by the fiction. In order to improve upon this account I categorize a number of impossible fictions by the difficulties they raise for any account of fictional truth and show that Lewis' account fails to handle several of them. By careful division of the fiction, one may construct a better account of truth in fiction which captures both the truths of possible fictions as well as the truths of impossible fictions.Master of Arts
I propose a new account of truth in fiction that better handles truth in impossible fictions than the standard Lewisean account. Lewis' solution makes use of possible worlds to capture truths unstated but implied by the fiction. In order to improve upon this account I categorize a number of impossible fictions by the difficulties they raise for any account of fictional truth and show that Lewis' account fails to handle several of them. By careful division of the fiction, one may construct a better account of truth in fiction which captures both the truths of possible fictions as well as the truths of impossible fictions.
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Moore, Richard W. „Defoe's fictions of memory“. Diss., Online access via UMI:, 2008.
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Egerer, Claudia. „Fictions of (in)betweenness /“. Göteborg (Sweden) : Acta universitatis Gothoburgensis, 1997. http://catalogue.bnf.fr/ark:/12148/cb37650173w.
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Watson, Lauren Pamela. „Contingencies and masterly fictions : deconstructive dialogues in/between Dickens, contemporary fiction and theory“. Thesis, Lancaster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444642.
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Brown, Alistair. „Demonic fictions : cybernetics and postmodernism“. Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2465/.
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Whilst demons are no longer viewed as literal beings, as a metaphor the demon continues to trail ideas about doubt and truth, simulation and reality, into post- Enlightenment culture. This metaphor has been revitalised in a contemporary period that has seen the dominance of the cybernetic paradigm. Cybernetics has produced technologies of simulation, whilst the posthuman (a hybrid construction of the self emerging from cultural theory and technology) perceives the world as part of a circuit of other informational systems. In this thesis, illustrative films and literary fictions posit a connection between cybernetic epistemologies and metaphors of demonic possession, and contextualise these against postmodern thought and its narrative modes. Demons mark a return to pre-Enlightenment models of knowledge, so that demonic (dis)simulation can be seen to describe our encounters with artificial others and virtual worlds that reflect an uncertainly constituted and unstable self. By juxtaposing Renaissance notions of the demon with Donna Haraway's posthuman "cyborg," psychoanalytic demons with the robots of the science fiction film Forbidden Planet (1956), and Descartes' "deceiving demon" with Alan Turing's artificial intelligence test, I propose that the demon proves a fluid, multivalent trope that crosses historical and disciplinary boundaries. The demon raises epistemological questions about the relationship between reality, human psychology, and the representation of both in other modes, particularly narrative fictions. When this framework is applied to seminal science fiction (2001: A Space Odyssey and Do Androids Dream of Electric Sheep? [both 1968]), conventional readings of cyborgs as monstrous Others have to be revised. These fictions are engaged with cybernetic technologies with an epistemological rather than ontological concern, and consequently lend themselves to the kind of sceptical doubt about reality that characterises postmodern thought. Contrary to Descartes, who sees foundational truth through the deceptions of his "deceiving demon," later films like Blade Runner (1982) and The Matrix (1999) use the motif of cybernetic technologies to highlight the inescapability of the postmodern condition of the hyperreal. Finally, however, literary fictions like Umberto Eco's Foucault's Pendulum (1988) and A.S. Byatťs A Whistling Woman (2002) and Possession (1990) draw attention to their narrative mechanisms through metafiction, and set the creation of literary meaning against computer-generated texts. Consequently, they defy both the determinism of cybernetic sciences, and the postmodern pretence that the "real" is irrecoverably evasive.
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McGarry, Paul William. „Subcultural fictions of 1990s Britain“. Thesis, University of Leeds, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496531.
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Osbourne, Nicholas. „Juan José Arreola : nostalgic fictions“. Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609796.
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MATOS, ANTONELI DE FARIAS. „FICTIONS OF CHILDHOOD: CLARICE LISPECTOR“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27371@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Esta pesquisa investiga quatro narrativas de Clarice Lispector escritas para crianças: O mistério do coelho pensante , A mulher que matou os peixes , Quase de verdade e A vida íntima de Laura , no empenho teórico de formular concepções e cenas de infância implicadas nos dispositivos estético-literários dessas obras.
This research investigates four narratives written by Clarice Lispector for children: The mystery of the thinking bunny, The woman who killed the fish, Almost true and Laura s private life, in the theoretical effort of formulating conceptions and scenes of childhood implied in the aesthetical and literary devices of these works.
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Benslama, Fethi. „Fictions des origines en Islam“. Paris 13, 1999. http://www.theses.fr/1999PA131012.
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L'objet de cette these est l'etude de l'imaginaire des origines en islam. Il s'agit d'une lecture psychanalytique des textes fondateurs de cette religion, en jonction avec ceux des autres monotheismes. Elle se propose d'etendre a l'islam, le projet de freud d'approcher les refoulements constitutifs des institutions spirituelles et de traduire leur metaphysique en metapsychologie. Partant de la crise contemporaine de l'islam, l'introduction montre comment les mouvements islamistes ont fonde leur ideologie sur << un recours delirant a l'origine >>, qui s'avere symptomatique d'une rupture impensee avec le sujet de la tradition. Prenant appui sur la notion de << fiction >>, elle en deplace l'enjeu, de la question de la verite a celle de l'impossible, vers laquelle tendront par la suite toutes lesanalyses. Au premier chapitre intitule << la repudiation originaire >>, la lecture du mythe d'abraham selon les sources bibliques et islamiques, suit et analyse l'ecriture de << la genese du pere >> entre deux figures du feminin : sarah et agar. Elle identifie le refoulement originaire de l'islam, comme etant celui de la repudiation de l'ancetre mere (agar) de sa fondation, perpetuant ainsi le geste d'abraham. Le second chapitre << destins de l'autre femme >>, met en evidence la poursuite dans la tradition, de la repression de cette figure du feminin, a travers trois grands recits : celui de l'engendrement du prophete, celui du voile, et celui qui ouvre les mille et une nuits. L'enjeu central de ces recits est la question de la jouissance feminine, et le trouble qu'elle suscite pour le narcissisme masculin, au sein de l'ordre patriarcal monotheiste. Le dernier chapitre << de lui a lui >>, soutient que la spiritualite de l'islam, a la suite des autres monotheismes, s'est constituee face aux problemes poses par le narcissisme masculin. L'etude de cette question est menee a partir des recits du meurtre fondateur, du sacrifice, de la destruction de l'enfant, de la formation de l'individualiteautour du miroir divin, et de la transmission homosexuelle a la base de la communaute.
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Paloc, Sophie. „Cortazar et nabokov : fictions labyrinthiques“. Montpellier 3, 1998. http://www.theses.fr/1998MON30052.
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Les fictions de j. Cortazar et de v. Nabokov sont des fictions labyrinthiques. D'une part, car elles emploient des procedes de ruptures et de codages qui brisent l'unite diegetique tout en exhibant la litterarite et privilegient une << texture >>, autrement dit, une unite de nature analogique et poetique. Complexifiant ainsi l'espace narratif, elles font du parcours du lecteur un veritable dedale, reclamant de la part de ce dernier un travail d'actualisation* important, qu'il semble effectuer sous leur controle. La figure du labyrinthe est egalement presente dans les univers diegetiques, puisqu'elle sert a caracteriser l'espace et surtout, a traduire une vision problematique du reel - inaccessi♭ ble ou trompeur -, reproduisant ainsi en abyme la problematique posee par la fiction labyrinthique : celle des rapports entre fiction et realite. La souplesse de la figure, alliee a la << flexibilite >> du mythe, autorise les deux auteurs a donner des reponses contras♭ tees : la fiction labyrinthique nabokovienne nous indique que la seule realite accessible est celle, subjective, de la conscience, tandis que la fiction cortazarienne est en quete d'une surrealite. Chez le premier, la fiction << epuise >> le repertoire referentiel pour in♭ carner ainsi une nouvelle realite a la mesure du sujet. Chez le second, la fiction devient un lieu d'experience du reel, accueilli sous sa forme brute, qui doit permettre une con♭ quete et une transformation de la realite, hors des frontieres de l'uvre. Si la fiction labyrinthique pose la meme question, sa nature meme permet toutes les reponses.
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Bourgeois, Denis. „Fictions éclatées : littérature et éthique“. Paris 8, 1995. http://www.theses.fr/1995PA080962.
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Ce travail est une contribution vers l'elaboration d'une theorie esthetique contemporaine, a partir notamment du primat de l'hallucination (issue du champ psychanalytique). L'exemple de la revendication ethique en litterature du vingtieme siecle, telle qu'elle s'exprime notamment chez hermann broch et j-p sartre, est un exemple fecond des problemes insolubles qui se posent a la theorie esthetique classique issue de l'ideal philosophique. D'autant que la recherche litteraire a la meme epoque, par son extremisme, telle que la menent kafka, joyce, celine, pulverise ces limites esthetico-metaphysiques. Ce travail a donc, dans une premiere partie, deplie la revendication ethique en litterature et y a reconnu un avatar de la question du sens ; puis a tente de cerner, dans une deuxieme partie, cette nouvelle pratique litteraire post-flaubertienne, nee a l'oree du siecle, et etudie ses implications ; pour, dans une troisieme partie, et a partir des consequences de cette pratique artistique radicale, repenser le rapport de l'humain au reel et au mondeThis work is a contribution to the elaboration of a contemporary aesthetical theory, refering to the primacy of hallucination (stemming from the psychoanalytic field. ) the example of ethical claiming in literature in the xxth century, such as it shows in hermann broch and jean-paul sartre, is a fruitful example of insoluble problems coming up in classical aesthetic theory stemming from the philosophical ideal. All the more since literary research at that time, that is in the first half of the xxth century, owing to its extremism, such as for instance kafka, joyce, celine carry it out, demolishes these aesthetico-metaphysical limits. Thus has this work, in a first part, unfolded ethical claiming in literature and there recognized a consequence of the question of meaning ; it has then tried to delimit, in a second part, this new postflaubertian literary practice, born at the turn of the century, and studied its implications ; so as to rethink, in a third part, the bond of the human element to reality, to the world and to others, refering to the consequences of this radical artistic practice
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Murphy, Christopher B. „Mahoras Stories and Other Fictions“. Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1596141224622685.
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Greenberg, Emily Ilyssa. „Alternative Facts and Other Fictions“. The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1592860943065632.
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Henry, Céline. „L’atelier photographique, poïétiques et fictions“. Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20121.
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La création photographique fonde et se fonde sur des conditions et des conduites d’émergence et de développement, que l’image ne saisit pas toujours, ou dont elle choisit de se dessaisir. Notre travail propose d’explorer les modalités et les enjeux du dévoilement des instances poïétiques dans l’image photographique. Par le biais d’une mise en tension des termes propres à l’atelier et au laboratoire photographique, nous situons ces deux espaces d’actions au coeur d’un territoire plastique ouvert aux interactions et aux circulations des éléments en jeu dans les divers processus et procédures suivis ou tracés. Notre pratique plastique engage le procédé photographique vers des dispositifs archaïques et vers de nouvelles fonctionnalités qui privilégient les voies de l’élaboration plastique, de l’expérience et de la réflexivité. Les motifs réflexifs mettent en question les fictions en construction et en éclairent en même temps les fondations ou les fondements. Le processus ne tend plus vers la restitution d’un résultat visé, mais vers des visions singulières qui retracent les expériences menées et vécues dans le laboratoire-atelier. Les ressorts poïétiques de la dissémination, de la sédimentation et de la fiction participent d’un chantier d’instauration plastique et photographique qu’ils donnent à voir et qu’ils redéfinissent sans cesseCreative photography implies and is based on conditions and emerging and developing behaviours, that the image does not always seize or chooses to impart. Our work aims to explore the modalities and goals of poietic disclosure inside the image. Through the opposition of terms specific to the studio and photographic laboratory, we set both spaces at the heart of an artistic territory, open to interactions and flows of the elements involved in the various processes and procedures followed or traced. Our fin art practice engages the photographic process to archaic devices and new functionalities that focus on developing artistic work, experience, and reflexivity. The reflexive patterns disturb fictions in construction, and point to their foundation. The process does not tend anymore towards the restoration of a preexistent outcome, but rather to singularities reflecting the experiments made or experienced in the photographic studio. Poietic methods of dissemination, sedimentation and fiction are part of en establishing fine art and photographic site, they present and remodel
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Macauslan, John. „Schumann's music and Hoffmann's fictions“. Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/schumanns-music-and-hoffmanns-fictions(6204c093-4ed6-44c9-b992-08c19f3060e9).html.
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This thesis interprets four of Schumann’s works in the light of the Hoffmann fictions with which they seem to be associated. Unlike previous studies, it deals with each of the four works, treating them as aesthetic entities enhanced by literary relationships that are not primarily programmatic, nor primarily a matter of formal parallels. Each work emerges both in a new light and as it always was. Carnaval (1834-37) appears as a dizzying comedy of theatrical vignettes and character, in the spirit of the German literary understanding of Italian carnival (including in Hoffmann), and Fantasiestücke (1837-38) as a humorous sequence of dream images, resonating with literary tales of the artist’s development, not least those in Hoffmann’s Fantasiestücke. Kreisleriana (1838), a finished masterpiece, suggests improvisations on melodic fragments appearing also in popular tunes used both in trivial variation sets and in Bach’s Goldberg Variations – which figure in Hoffmann’s Kreisleriana as opposed emblems of the philistine and the profound. Nachtstücke (1839-40) creates from plain rondos a paradoxically unsettled set, expressive of profound mental disturbances explored by Hoffmann’s book of that name. I bring out in each work previously unexamined patterns of melody, tonality, metre, sonority and form, showing how these become threads expressive of drama, emotion or symbolism. Unusually, I do not take Schumann’s approach over the 1830s as static: increasingly powerful musical means gave the music greater independence from supporting words, and what Schumann called ‘poetic’ threads increasingly coincide with core musical processes. Equally unusually, I describe those processes as resonating simultaneously with Schumann’s titles, with his culture including Hoffmann, and with his concerns around the time of composition as documented in his letters, criticism, diaries and Mottosammlung. Unlike previous work the thesis treats its subject consistently at three levels. My approach to the interpretation of the individual works at the first level is consonant with Schumann’s aesthetics as described at the second: there I focus more sharply than previous treatments on his stated view that musical works can ‘express’ ‘remote interests’ including literature, and on how he thought that possible – points that, given sensitivity to contemporary connotations and to context, emerge from his writings. Finally, at a third level, I reflect on the approach in the light of strands of musicological and intellectual thought in Schumann’s day and since.
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Huertas, Millan Laura. „Eclats et absences. Fictions ethnographiques“. Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLET022/document.
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“Eclats et absences. Fictions ethnographiques” développe une enquête autour de la représentation ethnographique, donnant lieu à un ensemble de films où s’entrelacent l’anthropologie et la fiction : les “fictions ethnographiques”.Cette enquête sensible et pratique commence autour de la notion d’exotisme, en analysant la construction de “l’indigène” dans le “Nouveau Monde”. Ces premières recherches donnent lieu à des films mettant en scène de “jungles” in vivo et in vitro, en Europe et en Amérique, qui relient des jardins botaniques et serres tropicales aux archives de la colonisation. Ces films explorent ainsi les moments de “premier contact” entre voyageurs et autochtones. La fiction apparaît comme stratégie narrative pour faire contrechamp à une Histoire racontée majoritairement du point de vue des conquérants.L’enquête établit par la suite un dialogue avec l’anthropologie visuelle. Il s’agit d’opérer un déplacement par rapport à l’ “ethnofiction” articulée par Jean Rouch, tout en incluant les démarches le précédant et celles postérieures à lui, où l’ambigüité est de mise entre l’immersion ethnographique et la fiction. Un ensemble de nouveaux films est développé entre le laboratoire d’ethnographie expérimentale le Sensory Ethnography Lab de l’université de Harvard, la Colombie et le Mexique.Si cette recherche doctorale prends source dans l’analyse des représentations cinématographiques de “l’indigène”, elle évolue au fil du temps vers l’auto-ethnographie et l’autofiction, démarches auto-réflexives pour construire une place d’énonciation singulière. Ainsi, il ne s’agit plus de “parler sur…” une communauté (démarche propre du documentaire télévisuel), mais plutôt parler de “près d’(elle)” (en suivant les mots de la réalisatrice Trinh T. Min-ha) ou bien de “parler avec” elle (faisant écho à la formulation de l’anthropologue Eduardo Viveiros de Castro). La fiction et ses recours narratifs sont indispensables dans les films crées lors de cette enquête : elle construit un espace partagé, des laboratoires politiques pour penser l’émancipation sociale, individuelle et collective. Sol Negro (2016) et La Libertad (2017) constituent les pièces clés de cette dernière série.La création de ces oeuvres a aussi donné naissance à un ensemble d’écrits, d’articules publiés, de performances et à une exposition publique de fin de thèse, intitulée “Disappearing operations — Opérations de la disparition, Opérations disparaissantes, Opérations pour disparaître”. Cette exposition itinérante, matérielle et immatérielle, s’est déroulée entre le 30 novembre et le 15 décembre 2016, au Cinéma Le Méliès, Les Laboratoires d’Aubervilliers, les Beaux-Arts de Paris"Shards and absences. Ethnographic fictions” develops a survey around ethnographic representation, giving rise to a series of films in which anthropology and fiction intertwine: the "ethnographic fictions ".This sensitive and practical inquiry begins around the notion of exoticism, analyzing the construction of "the native" in the "New World". This initial research gives birth to films staging in vivo and in vitro jungles in Europe and America, which link botanical gardens and tropical greenhouses with the archives of colonization. These films also explore the moments of "first contact" between travellers and natives. Fiction appears as a narrative strategy to counteract a History mostly told from the point of view of the conquerors.The inquiry then establishes a dialogue with visual anthropology. A displacement is made in regard to Jean Rouch’s "ethnofiction", while including the practices preceding him, and those subsequent to him, with an intrinsic ambiguity between ethnographic immersion and fiction . A series of new films are developed between the laboratory of experimental ethnography Sensory Ethnography Lab of Harvard University, Colombia and Mexico.If this doctoral research takes its source in the analysis of the cinematographic representations of the "native", it evolves over time towards forms of auto-ethnography and autofiction, self-reflexive approaches to construct a place of singular enunciation. Thus, it is no longer a question of "talking about ..." a community (a specific approach of the television documentary), but rather of speaking "close to it" (following the words of the director Trinh T. Min-ha ) or to "speak with" it (echoing the formulation of the anthropologist Eduardo Viveiros de Castro). Fiction and its narrative uses are indispensable for the films created during this inquiry: it allows building a shared space, political laboratories to think of social emancipation, on an individual and collective level. Sol Negro (2016) and La Libertad (2017) are the key pieces of the latter series.The creation of these works also gave birth to a set of writings, published articulations, performances and a public exhibition at the end of this thesis, entitled "Disappearing operations" . This traveling exhibition, material and immaterial, took place between 30 November and 15 December 2016, at the Cinéma Le Méliès, Les Laboratoires d'Aubervilliers and the Beaux-Arts in Paris
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Filippou, Michalis. „Evaluating and super-valuating fictions : an investigation into the semantics of fictional names“. Thesis, King's College London (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427936.
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Dreshfield, Anne C. „"All are finally fictions": Fan Fiction as Creative Empowerment Through the Re-Writing of "Reality"“. Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/237.
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This paper examines online fan fiction communities as spaces for identity formation, collaborative creativity, and fan empowerment. Drawing on case studies of a LiveJournal fan fiction community, fan-written essays, possible world theory, and postmodern theories of the hyperreal and simulacrum, this paper argues that writing fan fiction is a definitive, postmodern act that explores the mutable boundaries of reality and fiction. It concludes that fans are no longer passive consumers of popular media—rather, they are engaged, powerful participants in the creation of celebrity representation that can, ultimately, alter reality.
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Burgess, Elizabeth. „Understanding interactive fictions as a continuum : reciprocity in experimental writing, hypertext fiction, and video games“. Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/understanding-interactive-fictions-as-a-continuum-reciprocity-in-experimental-writing-hypertext-fiction-and-video-games(5202be2d-db6d-4791-aa53-004072ffa4a7).html.
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This thesis examines key examples of materially experimental writing (B.S. Johnson’s The Unfortunates, Marc Saporta’s Composition No. 1, and Julio Cortázar’s Hopscotch), hypertext fiction (Geoff Ryman’s 253, in both the online and print versions), and video games (Catherine, L.A. Noire, The Elder Scrolls IV: Oblivion, and Phantasmagoria), and asks what new critical understanding of these ‘interactive’ texts, and their broader significance, can be developed by considering the examples as part of a textual continuum. Chapter one focuses on materially experimental writing as part of the textual continuum that is discussed throughout this thesis. It examines the form, function, and reception of key texts, and unpicks emerging issues surrounding truth and realism, the idea of the ostensibly ‘infinite’ text in relation to multicursality and potentiality, and the significance of the presence of authorial instructions that explain to readers how to interact with the texts. The discussions of chapter two centre on hypertext fiction, and examine the significance of new technologies to the acts of reading and writing. This chapter addresses hypertext fiction as part of the continuum on which materially experimental writing and video games are placed, and explores reciprocal concerns of reader agency, multicursality, and the idea of the ‘naturalness’ of hypertext as a method of reading and writing. Chapter three examines video games as part of the continuum, exploring the relationship between print textuality and digital textuality. This chapter draws together the discussions of reciprocity that are ongoing throughout the thesis, examines the significance of open world gaming environments to player agency, and unpicks the idea of empowerment in players and readers. This chapter concludes with a discussion of possible cultural reasons behind what I argue is the reader’s/player’s desire for a high level of perceived agency. The significance of this thesis, then, lies in how it establishes the existence of several reciprocal concerns in these texts including multicursality/potentiality, realism and the accurate representation of truth and, in particular, player and reader agency, which allow the texts to be placed on a textual continuum. This enables cross-media discussions of the reciprocal concerns raised in the texts, which ultimately reveals the ways in which our experiences with these interactive texts are deeply connected to our anxieties about agency in a cultural context in which individualism is encouraged, but our actual individual agency is highly limited.
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Maslen, Robert W. „Elizabethan fictions : espionage, counter-espionage, and the duplicity of fiction in early Elizabethan prose narratives /“. Oxford [GB] : Clarendon press, 1997. http://catalogue.bnf.fr/ark:/12148/cb36968775r.
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Xinari, Charis. „Bare essentials : gender fictions, embodiment matters“. Thesis, University of Edinburgh, 2005. http://hdl.handle.net/1842/29430.
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If sex and gender, and ultimately our bodies are discursive constructions, then where is woman’s subjectivity grounded and what are the implications of such an approach to subjectivity for political efficacy? According to Meleau-Ponty ‘existence realises itself on the body’. If the body is the locus of subjectivity then it is to the matter of embodiment, as substance and as point of concern, which we need to turn in order to discuss the development of subjectivity, and gender subjectivity in particular. This thesis deals with the notion of gender as embodied practice and looks at the transgender subject – both transvestite and transsexual – as addressing the matter of embodiment located primarily in transsexuality’s desire to occupy material body. In the association that it establishes between gender practices and an experience of the ‘flesh as the flesh itself’ as defining subjectivity, the transsexual body, ‘the matter of embodiment’ as it has been argued, opens up a space for the reconsideration of the matter of embodiment altogether. Such concerns are addressed through a reading of the transsexual body via the work of Merleau-Ponty, Simone de Beauvoir and Judith Butler in the first part of the thesis. The second part develops the ideas stemming from these readings through the work of Angela Carter with a particular focus on embodiments of woman/hood in Nights at the Circus and The Passion of New Eve. Carter’s interest in the material conditions of woman, her concern with ‘demythologising’ women, as well as the bodily resistance – the body’s resistance to be consumed by and within discursive powers – embodied in her work, serve as the space for a re-examination of the role of the body in the development of gender subjectivity.
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Hao, Ji. „"Double" in traditional Chinese fantastic fictions“. online access from Digital Dissertation Consortium, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1438396.
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Grandena, Florian. „Political fictions in contemporary French cinema“. Thesis, Nottingham Trent University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429265.
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Bernhardt, Paul. „Entertaining fictions : Chaucer, literature, and play“. Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338626.
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Brown, Seth Nathaniel. „Patterns of patriarchy in men's fictions“. Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/14017.
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Leavenworth, Van. „The Gothic in contemporary interactive fictions“. Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-30353.
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This study examines how themes, conventions and concepts in Gothic discourses are remediated or developed in selected works of contemporary interactive fiction. These works, which are wholly text-based and proceed via command line input from a player, include Nevermore, by Nate Cull (2000), Anchorhead, by Michael S. Gentry (1998), Madam Spider’s Web, by Sara Dee (2006) and Slouching Towards Bedlam, by Star C. Foster and Daniel Ravipinto (2003). The interactive fictions are examined using a media-specific, in-depth analytical approach. Gothic fiction explores the threats which profoundly challenge narrative subjects, and so may be described as concerned with epistemological, ideological and ontological boundaries. In the interactive fictions these boundaries are explored dually through the player’s traversal (that is, progress through a work) and the narrative(s) produced as a result of that traversal. The first three works in this study explore the vulnerabilities related to conceptions of human subjectivity. As an adaptation of Edgar Allan Poe’s famous poem “The Raven,” Nevermore, examined in chapter one, is a work in which self-reflexivity extends to the remediated use of the Gothic conventions of ‘the unspeakable’ and ‘live burial’ which function in Poe’s poem. In chapter two, postmodern indeterminacy, especially with regard to the tensions between spaces and subjective boundaries, is apparent in the means through which the trope of the labyrinth is redesigned in Anchorhead, a work loosely based on H. P. Lovecraft’s terror fiction. In the fragmented narratives produced via traversal of Madam Spider’s Web, considered in chapter three, the player character’s self-fragmentation, indicated by the poetics of the uncanny as well as of the Gothic-grotesque, illustrates a destabilized conception of the human subject which reveals a hidden monster within, both for the player character and the player. Finally, traversal of Slouching Towards Bedlam, analyzed in chapter four, produces a series of narratives which function in a postmodern, recursive fashion to implicate the player in the viral infection which threatens the decidedly posthuman player character. This viral entity is metaphorically linked to Bram Stoker’s vampire, Dracula. As it is the only work in the study to present a conception of posthuman subjectivity, Slouching Towards Bedlam more specifically aligns with the subgenre ‘cybergothic,’ and provides an illuminating contrast to the other three interactive fictions. In the order in which I examine them, these works exemplify a postmodern development of the Gothic which increasingly marries fictional indeterminacy to explicit formal effects, both during interaction and in the narratives produced.
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Levitsky, Maria. „Invisible Cities: Photographic Fictions of Architecture“. ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1457.
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The artist's process in which she examines the built environment through the medium of black and white photography. By tracing the trajectory of her awareness of architecture from her early career as a dancer, to the making of photographic images, the artist illuminates the process of deconstructing architectural and pictorial space into fragmented yet illusionistically convincing photographic montages. Influenced by the urban localities in which she dwells, she tells the story of being captivated by the post-industrial landscape of Williamsburg, Brookyn, NY, followed by landing in New Orleans and her fascination with post-Katrina architecture. Grounded in the analog techniques of traditional black and white photography, Levitsky describes the various means by which she alters her images to create visionary reconstructions of buildings in transitional states.
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Costa, Delphine. „Les fictions juridiques en droit administratif“. Paris 1, 1998. http://www.theses.fr/1998PA010263.
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Les fictions juridiques ont fait l'objet d'abondantes recherches en droit privé, spécialement en droit civil. Il est alors intéressant d'examiner si le droit public et, plus précisément, le droit administratif recourt au procédé de la fiction juridique. Confronter la fiction juridique au droit administratif conduit à l'examen de la notion de fiction juridique à la lumière du droit administratif et à l'étude de ses fonctions en droit administratif. D'une part, examiner la notion permet d'isoler les éléments uniformes de définition de la fiction juridique, que celle-ci se définisse d'un point de vue interne ou d'un point de vue externe à la réalité juridique. Mais, selon que la fiction juridique se situe au premier ou au second de ces deux niveaux d'appréhension de la réalité juridique, elle ne présente pas les mêmes caractères : précaire dans le premier cas, elle est pérenne dans le second. Enfin, dans sa double dimension, la fiction juridique trouve sa source dans le droit écrit et non écrit, notamment administratif. D'autre part, l'étude de ses fonctions autorise à distinguer une fonction pragmatique d'une fonction dogmatique de la fiction. La fiction juridique permet, d'un côté, d'appliquer efficacement le droit administratif en l'adaptant, en le simplifiant et en le rationalisant. D'un autre côté, la fiction juridique présente une spécificité fonctionnelle en assurant la justification et la systématisation dogmatique de l'autonomie juridique et juridictionnelle du droit administratif. Par suite, tandis que la fiction juridique est redéfinie, il est procédé à une lecture fictionnelle du droit administratifMany researches in private law, especially in civil law, concern legal fictions. It is interesting to examine if public law and, precisely, administrative law resorts to the process of legal fiction. Confrontation between legal fiction and administrative law leads to the examination of the notion of legal fiction and to the study of its functions in administrative law. On the one hand, the examination of the notion permits to isolate the uniform components of definition of legal fiction, which can be defined from the external point of view or from the internal point of view of legal reality. But, according to whether legal fiction is situated at the first or at the second level of apprehension of legal reality, it does not have the same characters : precarious in the first case, permanent in the second. At last, in its double situation, legal fiction finds its origin in written and unwritten - notably administrative - law. On the other hand, the study of its functions leads to distinguish a pragmatic function and a dogmatic function assumed by legal fiction. Legal fiction permits to apply with efficacy administrative law, adapting it, simplifying it and rationalizing it. Otherwise, legal fiction has a functional specificity assuming dogmatic justification and systematization of legal and judicial autonomy of administrative law. Consequently, legal fiction can be redefined and permits to study differently administrative law
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Bale, Anthony Paul. „Fictions of Judaism in medieval England“. Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395238.
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Costa, Delphine Picard Étienne. „Les fictions juridiques en droit administratif /“. Paris : LGDJ, 2000. http://catalogue.bnf.fr/ark:/12148/cb37185110z.
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Reuter, Anne-Marie. „Fictions of authority : enchanters, teachers and mentors in selected fiction of Iris Murdoch and A.S. Byatt“. Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3784/.
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This thesis aims at showing how pedagogical concerns are manifest in the writing of Iris Murdoch and A. S. Byatt. Through the portrayal of teacher and learner characters they explore the working of authority in relationships marked by power, seduction, admiration and love. As Murdoch‟s and Byatt's learners share a tendency to choose a person or a work of literature as a guiding master, who is invested with excessive power, the proximity of teachers' and authors' concerns becomes apparent. Both authors analyse writer and reader characters alongside the pedagogical figures, and their own writing reacts to the concepts of authority as discussed within the novels. Murdoch rejects authority in principle with the consequence of becoming authoritarian in fact but also enchanting through the mystery she imposes on her readers. Byatt accepts authority and moves between an authoritative affirmation of her position and an opening up to the reader, which also leads to a sense of mystery. The conceptual tools used in this thesis are the figure of the fairy-tale enchanter as a teacher and writer model, as well as the figure of Socrates, and above all Jacques Rancière's concepts of the "explicating" and the "ignorant" master. While Rancière's two types need to have enchanting qualities in order to affect change, authority is determined by the needs of the learner, who may be satisfied with explanations and a transmission of knowledge, or who may have the self-confidence to do without firm guidance. Moreover, the timing of the experience is crucial, since what goes unnoticed at one moment may become obvious and clear later on. What exactly authority is, remains obscure to the end, since it is the result of a complex interplay between learners, teachers, lessons on the one hand and readers, authors, texts on the other hand.
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Brochard, Cécile. „Fictions du pouvoir et pouvoir de la fiction : les romans du dictateur à la première personne“. Nantes, 2012. http://www.theses.fr/2012NANT3023.
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Le monstrueux est-il indicible ? La question relève du paradoxe : si l'horreur et l'inhumanité trouvent peu d'expression à la hauteur de leur excès, le monstrueux doit malgré tout être montré, car monstrum est son étymon. Qui plus est, dès lors que le monstre ne relève pas d'une anomalie tératologique mais prend la figure très humaine du bourreau, se pose la question de sa représentation par la littérature. Comment celle-ci peut-elle donner forme à l'informe ? Faire le choix d'un roman à la première personne tourné vers la subjectivité du criminel impose une interrogation éthique, d'autant plus lorsqu'il s'agit de crimes historiques : comment le roman peut-il articuler écriture personnelle du dictateur et engagement du romancier ? Lieux privilégiés d'une parole directe du dictateur, ces fictions au premier rang desquelles figurent Yo el Supremo de Roa Bastos, El otono del patriarca de Garcia Marquez, El recurso del método de carpentier, Autobiografia del general Franco de Vazquez Montalban, the Coup d'Updike ou encore Le protecteur de Bourbon Busset, constituent de singuliers romans du pouvoir : que disent-ils qu'eux seuls peuvent dire ? Partant de l'énigmatique formule de Kundera, nous tenterons de saisir la spécificité de cette méditation romanesque au-delà de la critique traditionnelle inhérente aux romans du dictateur. A la lumière de l'anthropologie littéraire, entre mythe moderne et quête identitaire, ces romans du scandale disent le monde du pouvoir, l'excès de l'omnipotence en même temps que son échec et sa solitude essentielle : serait-ce alors dans l'expérience de la désolation livrée au lecteur que résiderait la singularité de ces romans ?
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Deshpande, Tara. „Citizenship, National Transformation and United States Fictions“. Thesis, University of Leeds, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491655.
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This thesis is concerned with literary negotiations of nation and citizenship at key moments of U.S. national transformation.· It examines specifically. the ways that literature represents transformations in civic relationships, constructing and contesting the connection between citizen, or noncitizen, and state. In the wake of Revolutionary claims to guarantee a reciprocal relationship between citizen and state, Charles Brockden Brown's gothic novel Wieland (1798) represents the early republic's structures of authority as tyrannous. Tropes of 'spousal· murder, ventriloq'uism and seduction critique disenfranchised women's metaphoric death to the state, and engage the dangers of representative government. Lydia Maria Child's Hobomok (1828) and George Lippard's 'Bel of Prairie Eden (1848) problematise antebellum Manifest De.stiny by revealing the racialised contact that colonisation entailed. Child protests against Indian Removal by figuring the U.S. as an interracial family, in which Native Americans are integral. Lippard compares the U.S.Mexican War's violence to that of Spanish imperialism, undermining exceptionalism and representing contact as inherently corrupting. In the contexts of threatened and recently concluded Civil War respectively, Harriet Beecher Stowe's Uncle Tom's Cabin (1852) and Thomas Wentworth Higginson's Army . Life in a Black Regiment (1869) negotiate the transformation of enslaved men into free citizens through armed resistance. Their representations of masculine, black heroism are inflected by assumptions about race and, in Stowe's case, by invocations of Spain and the U.S.-Mexican War. Pauline E. Hopkins's magazine novel Of One Blood (1902-03) responds to U.S. imperialism in Hawaii, Cuba and the Philippines. It uses transnational and pan-African perspectives to critique the nation's failed reconstruction after the Civil War as the cause of its interconnected, racialised domination of African Americans at home, and colonised peoples abroad. In all of these texts, tropes of reciprocal transformation contest attempts to represent the U.S. as homogeneous, eternal and exceptional. They operate in three overlapping relationships: those between foreign and domestic concerns, between the state and the individual, and between the U.S. and other nations or empires.