Dissertationen zum Thema „Paradise, fiction“
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Lou, Sabrina. „Paradise girls : contemporary realistic young adult fiction /“. Access resource online, 2009. http://scholar.simmons.edu/handle/10090/12593.
Der volle Inhalt der QuelleRheams, Genevieve A. „We Will Plant Birds of Paradise“. ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2703.
Der volle Inhalt der QuellePalmer, Kelly. „Belonging at the end of the world: (Re)imagining paradise through narratives of low-income locals on the Gold Coast“. Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/198040/3/Kelly_Palmer_Thesis.pdf.
Der volle Inhalt der QuelleOstrowidzki, Eric A. „The bunkerfication of paradise : heterotopias, closed spaces, and the pathological geographies of exclusion in J. G. Ballard's fiction“. Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38543.
Der volle Inhalt der QuelleThe first part of this dissertation examines Ballard's "Concentration City," "Report on an Unidentified Space Station," "The Enormous Space," "The Overloaded Man," and the novel High-Rise. This section concludes generally that the imaginative geographies inscribed within those texts are closed, insular, homogeneous, pathological and exclusionary social spaces that are antithetical to a Postmodern Utopia whose socio-cultural inclusiveness would be predicated upon a "politics of difference."
The second half of the dissertation examines Ballard's later works, such as Rushing to Paradise (1994), Cocaine Nights (1996), and Super-Cannes (2001). By discursively analyzing the similar yet more ideologically transparent imaginative geographies in these recent works, the dissertation concludes that it is not exclusively the material and ideological conquest of social space by global capital that poses the greatest threat to Ballard's "utopian" socio-spatial imaginary. Rather, it is also the postcolonial threat of the dislocations and mass immigrations of the Indigenous Other precipitated by globalization. It is the emergence of the de-territorialized Other that impels Ballard's imaginative geographies to recoil inwardly into "Privatopias," "white enclaves" and "imperial ghettos" demarcated by neocolonial pathological geographies of exclusion.
Arès, Mathieu. „A paradigm of Earth : traduction performative et science-fiction queer“. Mémoire, Université de Sherbrooke, 2017. http://hdl.handle.net/11143/11595.
Der volle Inhalt der QuelleAbstract : Utopia is often used in feminist and queer literature, because it is a genre which questions some categories such as sex and gender representations. Science fiction concerns utopia since it provides cognitive estrangement, a concept that deconstructs gender binarism in feminist and queer utopias. Cognitive estrangement introduces a novum, a destabilizing element based on the author’s created reality, and shared by the reader (Suvin, 2010 : 68). The novum is a narratological device that so dominates its fiction that every science fiction narrative aspect derives from it (Csicsery-Ronay, Jr, 2008 : 49); this novum influences the translation process because the translator must reinsert it in a new context. Since the only studies which can be found today on translation in queer science fiction are generally dedicated to the reception of translation strategies (Bérard, 2015), this work situates translation within a performative approach. Translation is performative; it provides a viability to the text in another language-culture, another context. In studying an excerpt of Canadian Candas Jane Dorsey’s queer science fiction novel A Paradigm of Earth (2001), as well as my translation of it, my objective with this thesis is to consider how some translation paradigm shifts can be made according to feminist (Lotbinière-Harwood, 1991; Simon, 1996; Von Flotow, 1997 et 1999) and queer translation precepts (Louar, 2008; Larkosh, 2011; Casagranda, 2013). This work takes into consideration gender designations, which in Dorsey’s novel ensue from the character Blue, the ungendered alien; Blue represents the novum in A Paradigm of Earth, which allows the translator to take a performative approach in order to deconstruct gender binarism in French.
Saward, Melanie A. „Down in the river: Marcia's identity status paradigm in the cult novel“. Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/136517/1/Melanie_Saward_Thesis.pdf.
Der volle Inhalt der QuelleClark, Hilary Anne. „The idea of a fictional encyclopaedia : Finnegans wake, Paradis, the Cantos“. Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25575.
Der volle Inhalt der QuelleArts, Faculty of
English, Department of
Graduate
King, Liesl Eleyn. „Transforming the Post-patriarchal Paradigm : Alternative Spiritual Vision in Feminist Science Fiction and Fantasy“. Thesis, Queen Mary, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515255.
Der volle Inhalt der QuelleDyjas, Antonina [Verfasser]. „Paradisien an der Weichsel. Polnische Science Fiction 1945-1989 im Kontext der literarischen Utopie / Antonina Dyjas“. Bonn : Universitäts- und Landesbibliothek Bonn, 2013. http://d-nb.info/1042960429/34.
Der volle Inhalt der QuelleAmorena, Maria Florencia. „Science, art, fiction : l'image chez Juan José Saer“. Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080143.
Der volle Inhalt der QuelleThe objective of this thesis is to analyze verbal images in the work of the Argentinian writer Juan José Saer. By analyzing his novels, shorts stories and the unpublished film script Las nubes de Magallanes, we wish to understand the implications of the verbal images in the construction of a specific aesthetics and epistemology.Throughout the analysis of verbal and mental images in the work of Saer, this study has two fundamental aims: first, to show that description and narration are intimately linked; second, that this link enables us to think arts and sciences in the work of Saer in a non-dualistic way. The narrative structure by which we analyze the images seeks the complementarity of the opposites. This allows us to think the connection that man has with the world as well as the link between art and sciences as elements of a holistic system, instead of dualistic. The key to this new form of narration will be an aesthetic of empathy
Duport, Michelle. „De l’usage de l’altérité dans le management des ressources humaines : entre hétérologie et homologie dans les EIE en Chine“. Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30062.
Der volle Inhalt der QuelleThis research concerns the use of alterity by Human Resources Management (HRM) in subsidiaries of multinational groups implanted in China. It is as interested in the discursive use of consideration of others as in its effectiveness. It looks for a sense of management practices from interviews carried out over six years between 2005 and 2010, and is completedby an historic approach and crossed disciplinary scrutiny of organization patterns of companies in Europe and in North America on the one hand and in China on the other hand. The results of these analysis bring certain incoherencies, observed in management practices, to light: between the discursive approach on alterity and the creation of a fictional cultureabout China; between the ideology displayed by an ethical and cross-cultural management worried about cultural differences and elitist, discriminatory MRH practices; between a model of universalist management imposed by headquarters and parallel organizations which carry with them dissimulation strategies organized by subsidiaries; and between the omniscience of headquarter and the desire of autonomy from subsidiaries. The main questionis the one of incoherencies: are they inherent to management? The thesis shows a possible refondation of a Western management model through this confrontation of cultures
Amorena, Maria Florencia. „Science, art, fiction : l'image chez Juan José Saer“. Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080143.
Der volle Inhalt der QuelleThe objective of this thesis is to analyze verbal images in the work of the Argentinian writer Juan José Saer. By analyzing his novels, shorts stories and the unpublished film script Las nubes de Magallanes, we wish to understand the implications of the verbal images in the construction of a specific aesthetics and epistemology.Throughout the analysis of verbal and mental images in the work of Saer, this study has two fundamental aims: first, to show that description and narration are intimately linked; second, that this link enables us to think arts and sciences in the work of Saer in a non-dualistic way. The narrative structure by which we analyze the images seeks the complementarity of the opposites. This allows us to think the connection that man has with the world as well as the link between art and sciences as elements of a holistic system, instead of dualistic. The key to this new form of narration will be an aesthetic of empathy
Madell, Jane. „Rapport and subversion : Mesmer's treatment of Paradis and its influence on the fiction of E.T.A. Hoffmann, and, The Cost of Light (a novel)“. Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/58490/.
Der volle Inhalt der QuelleBéghain, Véronique. „John cheever, ecrivain de la marge. Representation de l'espace et espace de la representation dans l'oeuvre de fiction“. Montpellier 3, 1997. http://www.theses.fr/1997MON30001.
Der volle Inhalt der QuelleThis dissertation proposes to explore margins as an essential figure in john cheever's fictional works. It is an attempt to demonstrate that the representation of excentricity and ambivalence under different guises is echoed by rhetorical and narrative strategies involving the constitution of a dual and off-center text. The construction of a codified space in cheever's fictions thus illustrates the endless masquerading to which individuals are subjected. Meanwhile, it is reverberated in the screening and veiling process at work in the literary space itself. The first part of this dissertation examines the figure of the margin in its relation to the representation of space and it explores in turn the paradise lost pattern, the italian space, the suburban space and the domestic space. The second part deals with the figure of the margin in its relation to the space of representation and explores in turn john cheever's relationship with the new yorker, the inter/hypertextual dimension of his works, the question of digressions and the narrative play on modes and voices
Bureaux, Guillaume. „Union et désunion de la noblesse en parade. Le rôle des Pas d'armes dans l'entretien des rivalités chevaleresques entre cours princières occidentales, XVe-XVIe siècles (Anjou, Bourgogne, France, Saint-Empire)“. Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR142/document.
Der volle Inhalt der QuelleAppearing in 1428 in Spain, the Pas d’Armes are a real example of the undeniable interest held by the nobility of the end of the Middle Ages and the beginning of the Renaissance in the arts of warfare, in literature, and theater. It is in reality an evolution of the joust and tournament in which one or several knights volunteer to keep a crossroad, a door or another symbolic place. To differ from the joust, the organizers publish chapters, or letters of weapons, several months in advance. They consisted of two parts, the first one coming to place the knights defenders and aggressors in a magic and fantastic universe, the second containing rules to be followed. It is also necessary to note that the great majority of Pas place the knights in a fictional world, in particular regarding Arthurian legend, by means of chapters, present scenery around the lists and, naturally, costumes. Testimonies of transcultural contacts between the Valois ‘courts of Anjou and Burgundy and Spanish courts, the Pas d’armes are organized at courtly decisive moments like marriages, treaties of peace or just after a war, all the Pas d’armes had a common role : to highlight the unity of knighthood around the Prince and his power. On each occasion is the Prince who emerges victorious from all the entertainment organized at his court. Essentially, it is a way for the prince to dramatize his power in this “game – mimicry” where the important thing was not so much the fighting but the scenery and the highlighting of cultural, financial and military power of the court
Ardoin, Myriam. „Le discours de la méthode selon G. K. Chesterton : l'itinéraire d'une pensée“. Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0372.
Der volle Inhalt der QuelleAs Critical thinking appears more and more vital to understand the world we live in, this study resorts to detective fiction considered in its literariness to analyse the itinerary of Chesterton’s mind, both as a method of reasoning and a set of intellectual strategies. In the same way as Descartes set out his method “of rightly conducting one’s reason and of seeking truth in the sciences” (The Discourse on the Method), we intend to show the mechanisms underlying an original way of thinking. By summoning his imagination and his “ethics of elfland”, Chesterton rediscovers the things he was familiar with, sees beyond appearances, and avoids madness, which he redefines as the consequence of the isolation of pure reason. His visual mind, which progresses by way of metaphors, analogies and paradoxes, is a visionary mind that can reverse perspectives in order to see the world better and grasp its meaning. By keeping away from any form of isolation or solipsism, the Chestertonian way of thinking operates according to different dialogic modes – Chesterton always thinks with or against other thinking subjects or other forms of thinking, and invites his reader to follow him on this intellectual path
Prelorentzou, Renato Brighenti. „À sombra de um livro: história e ficção na leitura de \'Amphitryon\', de Ignacio Padilla“. Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-30072008-112522/.
Der volle Inhalt der QuelleThis work explores three possible meanings for the \"historical novel\" Amphitryon, of Ignacio Padilla, and, from this, it studies ways of interaction between history and fiction. The first meaning analyzes it as a book in history, a remarkable work that was written under the context of a manifest notable for trying to reorganize the Latin American literary tradition. The second meaning takes it as a history book, a novel that not only comes close to the historiographies facts, but, above all, it articulates historical, literary and cultural contents under narrative forms that are also drawn from the last century. The third meaning, finally, reads it as a book of history, a narrative that, for the disposal of stories and narrators, simulates the mechanism of history. As a guide line for these arguments, there are the principles of the dialectic form-opening and the interaction author-work-reader, derived from Umberto Eco, the notion of reading and writing as forms of knowledge, from Jorge Luis Borges, and the evidential paradigm, of Carlo Ginzburg. The final attempt is to make a reflection on history from a literary critical exercise. In such way, one must insist on the analogy between verification and interpretation of data and the relations bookreader- readings, and adopts the historic \"spiral of readings\" as an operative way that approaches fiction and historical speeches, and so, outlining parallels and limits in the course of the historiography and fictional production throughout the 20th century.
Sprang, Sabine van. „Entre réalité et fiction: les festivités du Papegai en 1615 à Bruxelles de Denijs Van Alsloot (1568? - 1625/1626) et de son collaborateur Antoon Sallaert (1594-1650) :Analyse et mise en contexte d'une suite de tableaux commandés par les archiducs Albert et Isabelle“. Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210886.
Der volle Inhalt der QuelleSans doute en raison de leur aspect descriptif, les tableaux conservés n'ont jamais été soumis à une analyse qui prenne en compte leur spécificité artistique, la plupart des chercheurs s'étant contentés jusqu'à présent d'examiner les spectacles dépeints dans une perspective historique. La thèse propose dès lors une étude qui non seulement repose sur une analyse des sources écrites et cherche à identifier les motifs représentés, mais aussi explore les composantes formelles, techniques et conventionnelles des peintures. Ceci afin, précisément, de mieux définir le rapport entre l’image donnée et la réalité des faits historiques. Car si les "Festivités" n'ont nullement valeur de reportage, leur raison d’être n’en a pas moins été de témoigner par le menu détail de certains événements. Et c’est très exactement la nature de ce témoignage, formulé avec les moyens propres à la peinture, qui est au cœur du questionnement.
La thèse se compose de deux parties. Dans la première partie, l'attention est portée sur la vie et la production de Denijs van Alsloot en général. Le peintre avait en effet été peu ou mal étudié jusqu’à présent. Or, de toute évidence, une meilleure connaissance de l’ensemble des activités artistiques de Van Alsloot permet d’aborder avec plus de justesse l’étude des "Festivités". Plusieurs éléments de la carrière de l'artiste furent en outre déterminants dans le choix d’Albert et Isabelle de faire appel à ses services pour la réalisation de la série.
La seconde partie se concentre sur l'examen des "Festivités". Le premier chapitre fait le point sur ce que les archives nous apprennent à propos de la commande et de l’historique des peintures originales comme des répliques et des variantes. Le second chapitre analyse la technique et le style de chacun des tableaux. Il vise également à reconstituer les étapes préparatoires dans la réalisation des peintures et à définir la nature des rapports entre les tableaux du point de vue de l’exécution. Une attention particulière est en outre portée à l'intervention comme sous-traitant du peintre Antoon Sallaert (1594-1650).
La signification politique des tableaux constitue le thème du troisième chapitre. Sont étudiés d'abord les circonstances historiques qui amenèrent Isabelle à participer au tir du Grand Serment et la cour à commander la série peinte des "Festivités". Le cadre d’origine des toiles est examiné ensuite, afin de mesurer l’influence potentielle de ce cadre sur la forme et le contenu des œuvres. Car si celles-ci contiennent une foule de renseignements valables sur les célébrations, il n’en demeure pas moins qu’il ne peut s’agir d’images objectives. Les "Festivités" servaient des intentions particulières qui ont amené les artistes à opérer des choix et à soumettre les scènes à des structures iconographiques signifiantes. C’est donc à déchiffrer et à interpréter la "rhétorique de l'image" que la thèse s'attache en dernier lieu.
En définitive, par la réévaluation d'un type particulier d'iconographie politique, l'auteure de la thèse espère contribuer aux travaux toujours plus nombreux sur le rôle de l'image dans l'élaboration du discours princier.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Whitmus, Kyle J. „Arc Entire“. 2016. https://scholarworks.umass.edu/englmfa_theses/54.
Der volle Inhalt der QuelleGoldfarb, Nancy D. „"Charity Never Faileth": Philanthropy in the Short Fiction of Herman Melville“. Thesis, 2014. http://hdl.handle.net/1805/6298.
Der volle Inhalt der QuelleThis dissertation analyzes the critique of charity and philanthropy implicit in Melville’s short fiction written for periodicals between 1853 and 1856. Melville utilized narrative and tone to conceal his opposition to prevailing ideologies and manipulated narrative structures to make the reader complicit in the problematic assumptions of a market economy. Integrating close readings with critical theory, I establish that Melville was challenging the new rhetoric of philanthropy that created a moral identity for wealthy men in industrial capitalist society. Through his short fiction, Melville exposed self-serving conduct and rationalizations when they masqueraded as civic-minded responses to the needs of the community. Melville was joining a public conversation about philanthropy and civic leadership in an American society that, in its pursuit of private wealth, he believed was losing touch with the democratic and civic ideals on which the nation had been founded. Melville’s objection was not with charitable giving; rather, he objected to its use as a diversion from honest reflection on one’s responsibilities to others.
Houle, Patrice. „Paradigme Québec : la science-fiction québécoise“. Mémoire, 2010. http://www.archipel.uqam.ca/3036/1/M11383.pdf.
Der volle Inhalt der QuelleSong, Ho Rim. „Complex Feedback Loops of Technoscience, Literature, and Culture: Dynamics of the Complexity Paradigm in Scientific Fiction“. Thesis, 2010. http://hdl.handle.net/1969.1/ETD-TAMU-2010-08-8551.
Der volle Inhalt der QuelleGibson, Jennifer Ann. „Artificial perplexities the paradigm of Gothic fiction and its postmodern survival in the work of Nabokov, Pynchon, and Beckett /“. 1991. http://catalog.hathitrust.org/api/volumes/oclc/24604087.html.
Der volle Inhalt der QuelleVita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
Cheok, Jason. „‘Friction’ in cross-cultural service interactions: narratives from guests and service-providers of a five star luxury hotel“. Thesis, 2016. https://vuir.vu.edu.au/31820/.
Der volle Inhalt der QuelleCederlöf, Henriette. „Alien Places in Late Soviet Science Fiction : The "Unexpected Encounters" of Arkady and Boris Strugatsky as Novels and Films“. Doctoral thesis, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105822.
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