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Dissertations / Theses on the topic 'Fantasy'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Liu, Zilu. "Fantasy Library." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/91430.

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Now days, there are a lot of magnificent concrete buildings in the city, so do the library, the library in China always design as supremacy of authority, there is no funny and relax atmosphere, it's so hard to get alone with them. I wonder if there has a library can be a garden, I am trying to combine some Chinese classical garden element to my library design, create a comfortable environment for people who reading books, and pay more attention to the people's feelings.
Master of Architecture
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2

Sohutskay, Nicholas J. "Dragon Fantasy." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437952467.

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3

Kientzel, Paula. "Artifacts and fantasy." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4895.

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Thesis (M.F.A)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 28, 2008) Includes bibliographical references.
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Yu, So-phann, and 余素芬. "A home fantasy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B41004607.

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Кобякова, Ірина Карпівна, Ирина Карповна Кобякова, Iryna Karpivna Kobiakova, Олександр Миколайович Кобяков, Александр Николаевич Кобяков, and Oleksandr Mykolaiovych Kobiakov. "Fantasy Reveals Wisdom." Thesis, Wroclaw, Poland: R-P Institute, 2016. http://essuir.sumdu.edu.ua/handle/123456789/46465.

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Fantasy has ceased to be an everyday force.
Тези присвячені фантазі в лінгвістиці та її втіленню у творах.
Тезисы посвящаются фантази в филологии и поиску ее границ в произведениях.
The distinctive feature of fantasy is that of imaginary invention. Time and place indicators are unreal, characters may be identified by their social position. Fantasy fire our imagination, carry us away, giving reality to our utmost bluedreams.
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6

Zane, Marissa N. "Home: A Fantasy." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491314553724183.

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7

Har-zvi, Adam Albert. "The Bartlebooth Fantasy." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1585953819358062.

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8

Samuelsson, Emma. "Longing for fantasy." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7414.

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9

Millhouse, Llewellyn David. "Fantasy in Public." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/380458.

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This thesis consists of artworks and an exegesis in response to the question: How can the appeal of advertising narratives aimed at contemporary Australian youth culture be scrutinised through restaging narrative content? The exegesis will be structured around a chronological reflection on studio outcomes, interspersing evaluation of exhibited works with relevant theoretical frameworks and significant practices within this field of research. In response to the dense implicit ideological content of narrative in advertising and the historical field of cultural texts responding to consumer capitalism, the central argument of this exegesis will formulate a practical research methodology that enacts sustained scrutiny of an advertisement’s narrative appeal. In working towards a research methodology, this exegesis will assess the potential of appropriative art production to critically respond to contemporary youth-oriented advertising. Taking into account the pervasiveness of oppositional and ironically complicit narratives within contemporary advertising culture, this research will use a method of appropriation as over-identification to restage advertising narratives that relate to my personal experience, my identity and the values of my community.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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10

Hayashida, Mami. "FROM SONATA AND FANTASY TO SONATA-FANTASY: CHARTING A MUSICAL EVOLUTION." Lexington, Ky. : [University of Kentucky Libraries], 2007. http://lib.uky.edu/ETD/ukymuar2007d00612/HayashidaDMADoc.pdf.

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Thesis (D.M.A.)--University of Kentucky, 2007.
Title from document title page (viewed on August 7, 2007). Document formatted into pages; contains: viii, 135 p. : ill., music. Includes abstract and vita. Includes bibliographical references (p. 127-133).
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11

Hirst, Miriam Laufey. "Fantasy and feminism : an intersectional approach to modern children's fantasy fiction." Thesis, University of Bolton, 2018. http://ubir.bolton.ac.uk/1968/.

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This thesis compares modern children’s fantasy literature with older texts, particularly Grimms’ fairy tales. The focus is on tropes from fairy tales and myths that devalue women and femininity. In looking at these tropes, this thesis examines how they are used in modern fiction; whether they are subverted to show a more empowering vision of femininity or simply replicated in a more modern guise. Whereas other approaches in this area have addressed the representation of gender in an isolated fashion, this study adopts an intersectional approach, examining the way that different axes of oppression work together to maintain the patriarchal hegemony of powerful, white, heterosexual men. As intersectional theory has pointed out, mainstream feminism has tended to focus only on the needs and rights of more privileged women, who are themselves complicit in the oppression of their more marginalised “sisters”. Intersectional feminism, in contrast, seeks to dismantle the entire system of interlinked oppressions, rather than allowing some women to benefit from it to the detriment of others. The intersectional issues around feminism that this thesis addresses include race, disability, class, and sexuality. There is also an emphasis on female solidarity, which is championed as an effective strategy to weaken the hold of patriarchy and subvert it in its aim to “divide and conquer”. It is this intersectional approach to children’s fantasy literature that is seen as the thesis’s main contribution to knowledge. The primary texts under examination are mainly from the United Kingdom, but also include works from the United States, Australia, and Germany. All of them were originally published between 1980 and 2013. The thesis explores heroism, beauty, magic, and gender performance in these works, showing how such themes can be dealt with in ways that are either reactionary and detrimental or progressive and empowering.
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12

Luo, Zhiwen. "A Bakhtinian reading of fantasy chronotopes in modern children's fantasy literature." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/104240/.

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Drawing on Bakhtin’s theory of the literary artistic chronotope and the interdisciplinary spatiotemporal theories of geocriticism, this study identifies three particular modes of the fantasy spatiotemporality presented in modern children’s fantasy works. They are the epic chronotope, the “fantastic” time-travel chronotope and the heterotopian chronotope. Each fantasy chronotope is examined in the specific but interrelated textual contexts of selected children’s fantasy works in relation to the three main research questions: (i) How is the fantasy chronotope embodied and strategically deployed in the focused children’s fantasy works? (ii) What ideas and values are conveyed by its syntagmatic interplay with other chronotopes that characterise the textual quotidian world? (iii) How do characters, through their spatiotemporal practices, negotiate with the divergent chronotopic values that converge and wrestle in the textual universes? This study builds on existing works in relation to chronotopic considerations and develops the understanding of the fantasy chronotope in these particular ways: a) It moves the study of the fantasy chronotope from generalities to specific instances, so that the inner diversity of the fantasy spatiotemporal arrangements can be perceived and explored. b) It examines the syntagmatic spatiotemporal relations constructed between the fantasy and the “real” in individual children’s fantasy works and their connotations. In so doing, it reveals how each of the identified fantasy chronotopes can be strategically deployed in fantasy cartographies to convey meanings and values. c) This study also delves into the spatiotemporal embedding of human actions that is distinctively shown in fantasy chronotopes. This is done by reading characters’ spatiotemporal practices in and their negotiations with the projected fantasy worlds. d) Taking Bakhtin’s literary artistic chronotope as the link, my reading of the fantasy chronotopes also demonstrates an interpenetrative and reciprocal relation between fantasy spatiotemporal imaginations and the theoretical interpretations of space and time in geocriticism.
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13

Schulze, Sean. "An ignored fantasy: An examination of Beethoven's Fantasy for Piano Op. 77." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/298813.

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This document provides a comprehensive examination of Beethoven's Fantasy for Piano Op.77. While most of Beethoven's other works for solo piano have been extensively researched and performed, this work has received very little scholarly or performance attention. The prime objective of this document is to redress this omission and shed some light on a work that contains several intriguing features. After tracing the fantasy tradition from which this work emerged, this document provides an extensive background into the specific origins of the Fantasy Op.77. Amongst the issues that are discussed is this work's relationship to the Choral Fantasy Op.80 and also those piano works by Beethoven that contain fantasy-like elements. The central portion of this document is concerned with the unique structural design that underpins this work. After discussing that small body of research that does address this work, this document puts forward an original analysis that puts this work in a new perspective. This involves a more eclectic analytical approach that embraces elements of Schenkerian as well as more conventional theoretical procedures. A definite connection between the compositional procedures in this fantasy and the late piano sonatas by Beethoven is then established. Ultimately this document reveals the compositional genius of Beethoven in this little known work, specifically in his ability to mask structural unity with the outward appearance of chaos and disorder.
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Stawiski, Eileen Beth. "Ucieczka w Fantazi Opery (Escape-Fantasy Opera): Preserving the Heart of Poland." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276532042.

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15

Melano, Anne. "On divergence in fantasy." Master's thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/17998.

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The original thesis contains the novel "Stranger, I" as an integral part of the thesis. However this novel has been omitted in this digital copy.
Thesis (MA (Hons))--Macquarie University, Division of Humanities, Department of English, 2006.
Bibliography: p. 93-97.
On divergence in fantasy -- Introduction -- Preliminary -- The thousand and one definitional nights -- Characteristic works: inclusions and exclusions -- Critical objections to fantasy -- Conclusion.
On Divergence in Fantasy explores the ways in which fantasy criticism continually redefines its boundaries, without arriving at agreement. The paper draws on Foucault to suggest that these disputes and dispersions are characteristic of the operation of fantasy critisim as a discursive formation.
Mode of access: World Wide Web.
97 p
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16

Sheeler, Ralph A. "Glasnost : a Russian fantasy." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/834136.

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Chapter one began with an introduction to the concept of glasnost and the events surrounding the first four years of Mikhail Gorbachev's reign as General Secretary of the Soviet Union. This rhetorical study gained its thrust from an Aristotelian definition of rhetoric. The method proposed was one of Ernest Bormann's fantasy theme analysis. This study looked at mediated fantasy themes as they chained out in the Western media regarding the glasnost campaign.Chapter two presented the setting for the dramas of glasnost with a look at the history of Soviet leadership and the impact each General Secretary had on Soviet society. Chapter three examined the characters of glasnost. 9iographical information was presented on the players of the dramas. Finally, chapter four examined the media's rhetoric as it chained out the dramas of glasnost through Mikhail Corbachev and his battles with antagonists from the left, from the right, and from within.
Department of Speech Communication
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17

Molid, Mats. "Fantasy : genrens bildmässiga särdrag." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-558.

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18

Courtney, Susan. "Hollywood's fantasy of miscegenation." Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Reg_Diss_06.

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19

Cho, Hye-Won Jennifer. "Performance practice issues in Franz Schubert's Fantasy in C major ("Wanderer fantasy"), D. 7960." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023755691&sid=4&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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20

Chan, Michelle. "The confrontation between religion and fantasy : a study of nineteenth-century children's Christian fantasy." Thesis, Royal Holloway, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594223.

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By examining the children's versions of The Faerie Queene and The Pilgrim '5 Progress, A.L.O.E.'s The Giant Killer: or the Battle that We must Fight (1856), The Young Pilgrim (1857) and Miracles oj Heavenly Love in Doily Life (1864), Lewis Carroll's Alice's Adventure in Wonderland (\865) and Through the Looking-Glass: and What Alice Found There (1872), Christina Rossetti's Speaking Likenesses (1873), Charles Kingsley's The Water-Babies or a Fairy-Tale for a Land Baby (1863), and George MacDonald's 'The Golden Key' (1867) and At the Bock of the North Wind (1871), this thesis provides a collective study of nineteenth-century children's Christian fantasy. This genre is comparatively under-researched mainly because of the multifarious ways of understanding Christian beliefs and fantasy writings. Nevertheless, this complex and engaging issue enriches the interplay between Christian doctrine and fantastic narration. Indeed, authors were strategically expanding and exploiting the various patterns of these interplays in their children's books. In this thesis, the investigation of the selected texts will show how authors' individual and personal interpretation of their Christian belief and fantasy are intrinsic to form a unique combination between the two entities, while at the same time, to generate a work that echoes other children's Christian fantasies. On top of that, this genre also addresses the educative-entertaining debate, offers a re-examination of religious beliefs in children's books, and recognises the inextricability of fantasy from religious writings and children's literature. At the same time, it also reflects the social, intellectual and scientific developments of the nineteenth century. This thesis will demonstrate that owing to the dynamic interplay of Christian elements and fantasy, children's Christian fantasy becomes a literary middle ground that embodies various debates and argument concerning children's literature in the nineteenth century. Although all the selected authors are different from each other in terms of their beliefs and their literary achievements, they all shared the same intention of writing for the spiritual and emotional benefit of their readers.
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21

Chesebro, Joseph Lee. "A fantasy of insanity : a fantasy theme analysis of Susan Powter's Stop the insanity!" Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941718.

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Since 1993, diet and fitness promoter Susan Powter has gained significant prominence with her passionate message of health and wellness. This study used fantasy theme analysis to examine Powter's view of reality and her ability to persuade her audience. The analysis revealed a coherent vision, "Stop the Insanity!," within which Powter and other dieters are viewed as heroes. Additionally, the diet and fitness industries are viewed as conspiring villains who starve dieters and exclude the unfit from exercise programs. Powter differentiates herself from these villains by promoting herself as an uneducated but sincere speaker who does not starve or exclude people. Rather, she can identify with dieters because she has experienced their pain and frustration. Because anything is better than the "starvation" and "exclusion" promoted by the diet and fitness experts, Powter's program cannot help but succeed in the eyes of those who share her vision of reality.
Department of Speech Communication
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22

Prall, Mark M. "Fantasy for piano and orchestra /." Online access, 2010. http://content.wwu.edu/cdm4/item_viewer.php?CISOROOT=/theses&CISOPTR=363&CISOBOX=1&REC=4.

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Cusick, Edmund. "George MacDonald and Victorian fantasy." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293456.

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BARROS, ISABEL COLLIER DO REGO. "CONSTRUCTION OF FANTASY IN ANALYSIS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=28967@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Este trabalho visa a investigar a que se refere a construção da fantasia em análise, com referências de Freud e Lacan. O conceito de construção, técnica da psicanálise diferente da interpretação, designa um trabalho feito em análise a partir do que é esquecido na história do paciente, do limite da rememoração. Diante do impossível de interpretar, constrói-se, segundo Freud, uma cena, que diz respeito à fantasia primordial do sujeito. Lacan aborda essa construção em termos de fantasia fundamental. Segundo ele, a construção da fantasia é a construção de uma fórmula que rege a relação entre sujeito e objeto, relação essa que encontra sua base na posição que o sujeito toma como objeto do desejo do Outro. A consideração da construção da fantasia no percurso de uma análise é especialmente importante na psicanálise com crianças, em que cada vez mais surgem crianças com dificuldade em que se separarem da posição de objeto na fantasia materna.
This work aims to investigate to what the construction of fantasy in analysis refers, with references from Freud and Lacan. The concept of construction, a psychoanalysi s techinique different from interpretation, indicates a work done in analysis from what is forgotten in the history of the patient, the limit of remembrance. Faced with the impossible to interpret, one constructs, according to Freud, a scene that relates to the subject s primary fantasy. Lacan aproaches this construction in terms of fundamental fantasy. According to him, the construction of fantasy is the construction of a formula that governs the relationship between subject and object, a relationship that finds its basis in the position that takes the subject as an object of desire of the Other. The consideration of the construction of fantasy in the course of an analysis is especially important in psychonalysis with children, in which increasingly appear children with difficulties to separate from the object s position in the maternal fantasy.
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Ghai, Tara. "Fantasy films of the 1980s." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3551.

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Fantasy films have been a part of cinema since the very beginnings of the medium. Although fantasy films can be found in every decade of the last century, the genre only became persistently successful from the late 1970s onwards. Perhaps the relatively recent prominence of fantasy goes some way to explain why the genre lacks the academic discourse that other film genres have encouraged. Another reason why fantasy has evaded considerable discussion as a genre could be because of the difficulty in defining it. Fantasy can encompass numerous types of films, and features an array of different thematic and visual styles. Previous studies examining fantasy either fail to consider the mode as a genre, or only consider a limited array of films. Using Tzvetan Todorov’s assessment of The Fantastic as a framework, this thesis examines fantasy films from the late 1970s to the early 1990s. I reassert fantasy’s position as a genre rather than a mode or impulse. Analysing a wide range of films from this period, this thesis outlines the preoccupations of the genre and identifies the various cycles and sub-genres encompassed by the term ‘fantasy’. These categories include those that concern the style of film and those that concern the intended audience. Deconstructing the fantasy genre in these sub-genres makes it more manageable to appraise the genre as a whole. Consistent patterns emerge in the examination of these films, ranging from archetypal characters to a fixation with subversion. The 1980s was a critical time for fantasy cinema as it was the first sustained period of frequent successful films. Fantasy was the most commercially successful genre of the decade; Hollywood’s output in this period still reverberates in today’s industry. Thus, the fantasy genre is most worthy of the critical discussion afforded to other genres.
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Buck, Wayne A. "Triad fantasy : score and analysis /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131527718.pdf.

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Turcotte, Tyler. "SYMPHONIC FANTASY: DISCUSSION AND ANALYSIS." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/137.

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The following piece is a three movement, twenty minute orchestral work in a Romantic style whose primary goals are accessibility and beauty. In the process of writing this piece, I learned that strong and memorable melodies are the key to a successful composition - taking influence from Henry Mancini and early Japanese video game composers, this work takes a central melodic theme through a series of variations to demonstrate the power of harmonic and orchestrational recontextualization. Rhythmically, the work utilizes techniques from the Minimalist and Progressive Rock traditions to strike a balance between rhythmic complexity and melodic focus. The three movements are meant to represent three steps towards self-actualization - Explore depicts curiosity and open-mindedness, Engage demonstrates the merits of focusing on one's craft, and Wonder represents the value of feeling awe towards the world even if it is not easy or simple. Ultimately, the work moves through a wide variety of moods and textures throughout its duration while staying focused on the central theme until the end, with the goal of creating a listening experience that is both rich and memorable.
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Heide, Sandra. "Fantasy-Serien und Fantasy-Welten in Öffentlichen Bibliotheken Überlegungen zu ausgewählten Problemen; mit einer Empfehlungsliste /." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675610.

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Dalton, Adam. "The sub-genres of fantasy literature : where does 'metaphysical fantasy', as exemplified by A.J. Dalton's novel 'Empire of the Saviours', sit in relation to traditional 'high fantasy' and other second-world sub-genres of fantasy literature?" Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34552/.

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Drawing upon academic and critical literature, the introduction to this exegesis considers how J.R.R. Tolkien’s The Lord of the Rings (1954) became the ‘norm’ in modern second-world fantasy. Just as Tolkien’s ‘high fantasy’ mediated the fantasies of the sociohistorical periods that preceded it (James, 2012), so subsequent fantasy authors and sub-genres have inherited from and had to react against ‘high fantasy’ in order to discover their own definitions and distinct voices, styles and relevance. Thus, the introduction argues, in order to define and demonstrate the distinct nature of second-world ‘metaphysical fantasy’, of which Empire of the Saviours (2011) is a defining novel, this exegesis is required to show how the second-world ‘epic fantasy’ of the 1980s and 90s inherited from and reacted against ‘high fantasy’, and how ‘metaphysical fantasy’ in turned inherited from and reacted against the ‘epic fantasy’ sub-genre. There is also a discussion of how competing sub-genre definitions within academia and the publishing industry have complicated the debate. The first chapter considers the sociohistorical context of the development of the various sub-genres of fantasy literature, moving from the ‘high fantasy’ of Tolkien’s The Lord of the Rings, through the nature-based fantasy of the 1960s, to the ‘swords and planets’ sci-fi crossover sub-genre of the 1970s, to the ‘epic fantasy’ of the 1980s and 90s, to the ‘urban fantasy’, ‘flintlock fantasy’, ‘steampunk’ and ‘comedic fantasy’ of the new millennium, to the ‘dark fantasy’ and ‘metaphysical fantasy’ (the latter established by my various novels) of the mid to late 2000s, to the ‘grimdark fantasy’ and ‘dystopian YA’ of the 2010s. The chapter shows how each sub-genre is informed by and reacts to its own sociohistorical moment and that each sub-genre in large part derives its distinctiveness from that unique moment. The second chapter considers how second-world ‘metaphysical fantasy’ in large part derives its definition and particular motifs from a ‘Millennial’ sociohistorical moment. The chapter then analyses how ‘metaphysical fantasy’ is distinctly informed by, reacts to and differs from the preceding sub-genre of second-world ‘epic fantasy’. Finally, the chapter considers how subsequent second-world ‘grimdark fantasy’ is informed by, reacts to and differs from ‘metaphysical fantasy’. The third chapter sets out how my novel Empire of the Saviours further exemplifies ‘metaphysical fantasy’ and has served to establish the sub-genre as a distinct and valuable contribution to the wider genre of fantasy. Drawing upon Empire of the Saviours, the chapter identifies further literary features and themes (other than those detailed in the second chapter) that are unique to the ‘metaphysical fantasy’ sub-genre.
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DeHart, Gretchen L. "Out of character : issues of identity, acceptance,and creativity in tabletop role-playing games." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/376.

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Wedin, Tommy. "Fantasy War Game : Spelmotor i PHP." Thesis, University of Gävle, Ämnesavdelningen för datavetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-6218.

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Fantasy War Game är en spelmotor gjort i PHP med inslag av Java. Själva striden är uppbyggd med objektorienterad programmeringsmetodik. Spelet är ett textbaserat rollspel i high fantasy-miljö. Sidan är ett interaktivt konfliktspel där spelarna kan utveckla sitt gäng, slåss mot monster eller andra spelare.

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Nusselder, André Cornelis. "Interface fantasy a Lacanian cyborg ontology /." [S.l : Rotterdam : s.n.] ; Erasmus University [Host], 2006. http://hdl.handle.net/1765/8108.

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Comeau, Troy O. "Fantasy football participation and media usage." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4726.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on January 31, 2008) Vita. Includes bibliographical references.
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Tracey, Linda. "Graham Greene : the link to fantasy." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61315.

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Graham Greene has stated that he believes there to be an undercurrent of fantasy running through all of his work that has largely gone unnoticed by his critics. Within the context of any discussion on Greene can be found a starting point for an evaluation of his work in terms of the fantastic and fantasy. Eric S. Rabkin defines fantasy as the inverse of reality. In a fantasy world, the ground rules, expectations, and perspectives of everyday experience are reversed, or diametrically opposed, and the effect is a sense of hesitation and wonder. All of Greene's fiction describes worlds divided. He constructs borders that continuously separate people, places, situations, motivations, perspectives, objectives, and states of mind. Each side of the border describes a world that is the opposite of the other. The reality of one side is turned over on the other side, and life on the border is unpredictable and uncertain. The concept of alternate realities and other worlds which characterize fantasies, can be applied to all of Greene's works in general, and more specifically to a particular group of the fiction which exhibits a much higher degree of fantastic content.
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Howard, Chris 1967. "Prelude, chorale and fantasy : Ecclesiastes 12." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69607.

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The Prelude, Chorale and Fantasy is a tonally conceived work for orchestra with a duration of approximately twenty minutes which uses as its inspiration the final chapter of Ecclesiastes. It is constructed from a relatively small number of germinal elements which function throughout the work as connecting forces and icons. In it can be found musical ideas used to represent the Trinity, the most significant of which are the quotations of the hymn "How Brightly Shines the Morning Star" which appear throughout.
A greater understanding of the work can be gained by approaching it first on a philosophical level, making connections between the Biblical text and the music and extrapolating from those connections. Following this, a step by step analysis will show the microscopic structure of the work and its relationship to the larger form.
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Ferreday, Debra. "Online belongings : fantasy, virtuality and community." Thesis, Lancaster University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410750.

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Tonkin, Lois. "Fantasy and Loss in Circumstantial Childlessness." Thesis, University of Canterbury. School of Language, Social, and Political Sciences, 2014. http://hdl.handle.net/10092/9240.

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The incidence of unintentional childlessness in women who have, as popular comment puts it, 'left it too late', is rising markedly in many western nations, yet the experience is not well understood. This thesis focuses on issues of fantasy, loss, and grieving in the experience of 26 New Zealand women in their 30s and 40s who are what Cannold (2005) has termed 'circumstantially childless'; that is women who expected to have children but find themselves at the end of their natural fertility without having done so for - at least initially - social rather than biological reasons. I explore the conscious and unconscious dimensions of the fantasies that many of the women interviewed have about themselves as mothers in relation to a child or children. I argue that these fantasies have their origins in these women's trans-subjective relationship with their mothers before birth, the intersubjective relationship after birth, and the mutual overlapping of their unique psychobiography and the social worlds in which they have become adults. Circumstantial childlessness entails a loss of the potential to embody their fantasies about themselves as mothers. The thesis uses psychoanalytic and contemporary grief theories to explore their experience of loss and grieving, and their adaptation of their fantasies when the potential to embody them has passed. It calls for a reconceptualization of maternal subjectivity to encompass the creative and satisfying alternative ways that women who do not have children embody 'mother' in their lives. The study's psychoanalytically-informed psychosocial methodology entailed the innovative use of participant-produced drawings, and the development of a method of recording protocols - based on Bollas'(2007) notion of a symphonic score - to systematically record non-linguistic elements of the texts (such as sighs, hesitations, laughter, repetitions, and tears) across the range of the semi-structured individual and group interview transcripts. In this respect, the thesis contributes to investigations of social life that move beyond the limits of conventional text-based methods of inquiry and interpretation.
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Anderson, Shawny L. "Farm Aid : a fantasy theme analysis." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/488765.

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The Farm Aid benefit concert in September of 1985 was one member of a long list of such philanthropic events. It proved itself unique, however, in a number of ways. Most notably, the concert failed to reach the goals which its organizers had set, unlike most of the other benefits of the same decade. This study attempted to explain the failure of the event.Chapter One is an introduction which helps to justify the study, review existing literature on the subject, and preview the method used within the analysis. Chapter Two includes a general history of benefit concerts, helping to explain the evolution of such persuasive events.Concerts such as the early work of Harry Chapin, the Concert for Bangladesh, Concerts for Kampuchea, and others are discussed. The contemporary trend of successful benefits including the Band Aid, USA for Africa, and Live Aid efforts are also considered, helping to establish the context in which Farm Aid occurred.Next, an explanation of the situation facing American farmers in 1985 is provided, establishing the need for the concert.Chapter Three is an evaluation of the fantasy themes presented to the American public by the media. By chronologically examing the changes in the characters, plots, and settings set forth by the media, certain general themes can be identified.These themes glorified the effort and its participants, conjuring high expectations in the minds of many Americans.Those expectations could not be met, however, guaranteeing failure for the event.Chapter Four draws conclusions about the weaknesses of Farm Aid. By examining the timing of the concert, its focus, and the persuasive appeals used by its participants, the study reveals that Farm Aid's failure was the result of a combination of different factors. First, the organizers had left themselves very little time to plan the event.Also, many Americans were suffering from boredom with the notion of the benefit concert after the highly successful events which preceded Farm Aid. The ideas expressed within the concert were not focused in a unified manner. Different participants presented differing appeals for action, making the public's role in the event unclear.Finally, the appeals which were presented were not well planned, preventing them from adequately moving the public. In general, the media had created a picture in the minds of the public that could not be fulfilled, especially not with the weak attempts of the concert's participants.
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Broome, F. H. "The science-fantasy of George MacDonald." Thesis, University of Edinburgh, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356398.

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Vasilišin, Maroš. "Inteligentní manažer hry Fantasy Premier League." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2020. http://www.nusl.cz/ntk/nusl-417274.

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Hra Fantasy Premier League poskytuje miliónom hráčov po celom svete možnosť stať sa na chvíľu manažérom svojho vlastného klubu. Výsledky a bodové ohodnotenie v hre závisia na správnom predvídaní, ako sa budú hráči chovať v skutočných futbalových zápasoch. Ak by pri tomto rozhodovaní pomáhal software na predikciu a analýzu budúcich výkonov hráčov, výsledky v hre sa môžu rapídne zlepšiť. Táto diplomová práca sa zaoberá návrhom a implementáciou predikčného modelu, ktorý využíva neurónové siete na predikcie časových radov počas celej sezóny v hre. Boli použité metódy na spracovanie dát o hráčoch a kluboch za posledné 4 sezóny. Výkonnosť a presnosť predikčných metód boli testované na dátach z poslednej sezóny Premier League a predikcie algoritmu sa vo väčšine prípadov blížili realite. Ak by sa užívateľ držal predikčného modelu v hre stopercentne, získal by väčší počet bodov ako bežný hráč, ktorý žiadny predikčný model nepoužíva.
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Chan, Chin Ting. "Apparitions − a fantasy for chamber ensemble." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300936213.

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Proodian, John D. "Fantasy on a Theme of Luther." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1123529520.

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Harry, Shannon A. "Whose Fantasy Is This: Postfeminist America." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1385983884.

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Ljungqvist, Ylva, and Frida Svensson. "Creating Your Fantasy Self : An Analysis of Ethnicity in Character Creators in Computer Fantasy Role-Playing Games." Thesis, Uppsala universitet, Institutionen för speldesign, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-254724.

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This thesis examines whether character creators in fantasy role-playing games allow players to create ethnically diverse characters. We studied eight games following a procedure to record perceivable data about the available options, and conducted interviews. The results show that options for minority ethnicities are usually either very few and lack variation or are non-existent. All the interviewees answered that they were generally dissatisfied with the options given to them in character creators and could rarely make a representation of themselves. This highlights the need to diversify the options in order to not exclude players.
Denna avhandling undersöker om karaktärsskapare i fantasy dator-rollspel tillåter spelare att skapa karaktärer av etnisk mångfald. Vi studerade åtta spel efter bestämda riktlinjer och samlade information om de tillgängliga alternativen, och genomförde intervjuer. Resultaten visar att alternativ för minoritetsetniciteter är vanligtvis antingen mycket få och har ingen variation eller är helt obefintliga. Alla de intervjuade svarade att de var allmänt missnöjda med de alternativ som ges i karaktärsskapare och kan sällan göra en representation av sig själva. Detta belyser behovet av att diversifiera alternativen för att inte utesluta spelare.
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Artan, Niklas. "Harry Potter as High Fantasy : The Uses of High Fantasy in J. K. Rowling’s Harry Potter Series." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-27029.

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The purpose of this essay is to present the reader an analysis of Harry Potter as high fantasy and how Rowling has expanded on high fantasy norms which can be seen as a contributing factor to why the saga became such a global phenomenon.  This essay will show the ways in which Harry Potter elaborates on the high-fantasy norms by analyzing its narrative elements (setting, narrative structure, characters, and language). The first part will be a brief introduction to high-fantasy and its norms while the second part will be an analysis of the novels in terms of these norms.
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46

Degim, Iclal Alev. "TURKISH FANTASY FICTION FILMS THEN AND NOW: AN ANALYSIS OF FANTASY FILMS PRODUCED IN EARLY 1970s TURKEY." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/dissertations/1303.

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Turkish cinema has produced very few examples of fantasy fiction genre films since its beginning in 1914 except for the 1970s Yeşilçam era. The first film ever to be made in Turkey by a Turkish filmmaker (Fuat Uzkınay) is credited as Ayastefanos’taki Rus Abidesinin Yıkılışı (The Destruction of the Russian Monument at Ayastefanos) (Panaite, 8), which is an actuality film similar to Lumiere brothers’ shorts. The lack of recognition of fantasy fiction in Turkish film history and literature can be attributed to the social and political movements along with the modernization process in the republic’s history to migration, alienation, and the contradictory Turkish identity. A survey of Turkish novels reveals a parallel lack of fantasy fiction in literature. In analyzing this lack of fantasy fiction films in literature, Veli Uğur concludes that it is the late modernization process (he claims starts with early 2000’s) within the Turkish social, cultural sphere that influenced this almost complete non-existence of the genre (136). A late modernization is not sufficient to explain the fantasy fictions rise in 1970s and complete disappearance afterwards in Turkish cinema. This project’s main concern is to identify the reasons behind the lack of fantasy fiction films in Turkish cinema by analyzing the films produced in the early peak period of Yeşilçam (early 1970s). I look at the cinematic texts through the lens of attachment to realism and tradition, the refusal and re-appearance of folklore, the definition of Turkish identity prior to the acceptance of Islam, and the severed ties with the Ottoman identity. These factors all created a crisis for the modern Turk. The investigation addresses the effect of the emerging Turkish culture of the early 1970s on the production and perception of fantasy in films as a way of unearthing the social struggles and desires of that time. Contrary to mainstream literature, the Yeşilçam (Green Pine) era (roughly between 1960 and 1980) produced quite a few examples (36 in total from 1970 to 1979 (Önk, 3875)); however, these are only A movies and thus the perception that there aren’t many fantasy films produced in Turkey is wrong. If B films with low-budgets are added the total number rises to 135 films out of a total of roughly 200 films were produced during this nine-year period. The influence of European and American culture after the proclamation of Turkey as a republic in 1923 aided a rise in art and cultural events (such as film festivals) that affected the production of films. Yeşilçam was the peak of this movement towards modernization, and although the production values and budgets for the films were very low, became they extremely successful. These films were produced and distributed for the Turkish audience. Turkish movie theaters of the 1970’s were mainly in big cities.
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Zamaron, Alain. "Représentation des civilisations disparues dans la littérature d'aventures fantastiques de la fin du XIXe siècle et du début du XXe." Villeneuve d'Ascq, France : Presses universitaires du Septentrion, 1998. http://catalog.hathitrust.org/api/volumes/oclc/40674686.html.

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48

Simms, Beverley. "The Solo Piano Works of John Corigliano: Etude Fantasy (1976) and Fantasia on an Ostinato (1985)." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332224/.

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John Corigliano (b. 1938) is a contemporary American composer who has in the last twenty years established himself as a composer whose versatility and accessibility are appreciated by a wide range of audiences. He has labeled himself an eclectic composer who unashamedly borrows from other musical styles and periods in an effort to create works that appeal to a variety of listeners. He has been mentioned along with George Rochberg, George Crumb, and Jacob Druckman as an advocate of the post-modern movement in contemporary American music, a trend that has been crucial to the development of contemporary concert music. The purpose of this study is to examine the two solo piano works of Corigliano in terms of style, structure, and musical influences. The Etude Fani-agy (197 6) is a set of five etudes, performed without pause. The etudes are unified through an elaborate use of thematic transformation in which a row-like idea generates most of the material. The keyboard writing is varied and dramatic, with similarities to Debussy, Bartok, Prokofiev, and Copland. Fantasia on an Qstinato (1985), commissioned for the van Cliburn International Piano Competition, is an atmospheric tone poem that transforms the theme from Beethoven's Symphony no« 7 (second movement) . The rhythmic and harmonic structure of this theme are retained through much of Corigliano's work. Full quotations and fragments of the symphony are combined with newly-composed material influenced by Beethoven's theme. Influence of minimalist techniques associated with Terry Riley, Steve Reich, and Philip Glass is apparent throughout the work; rhythmic phasing, repetitive patterns, and musical stasis are used extensively in the second section. A comparison of the Etude Fantasy and Fantasia nn an OstinatQ confirms the eclectic characteristics of Corigliano's style. In both works, the composer borrows freely from a variety of musical traditions, combining and modifying traditional and avant-garde techniques. It is this intelligent combination of elements, along with expert craftsmanship, that has become Corigliano's trademark and have earned him an important place in contemporary American music.
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Campos, Brielle R. "Hybrid Genre and Character Representation: Noir, Fantasy, and Fantasy Noir in Constantine, Pushing Daisies, and The Dresden Files." Youngstown State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1464790300.

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Palmas, Jauze Daisy de. "La figure du dragon : des origines mythiques à la Fantasy et à la Dragon Fantasy anglo-saxonnes contemporaines." Thesis, La Réunion, 2010. http://www.theses.fr/2010LARE0025/document.

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À la fois mythique constructeur ou destructeur de Mondes, incarnation du Malin pour l'Église au Moyen-âge, monstre lové sur un trésor au fond d'une grotte, qu'un héros doit tuer pour prouver sa bravoure dans les légendes et les contes, le dragon revient périodiquement exprimer les peurs et les fantasmes les plus profonds. Au XXème siècle, la Fantasy a ramené le dragon en littérature et la Dragon Fantasy récente (DragonLance de M. Weis et T. Hickman comme point de départ en 1984) a fait évoluer son image en lui offrant le rôle de personnage principal ou de héros, contribuant à l'amplification de la figure mythique du dragon et à son renouveau. Le dragon vole, crache du feu, pense, parle, raisonne, se métamorphose, possède des pouvoirs magiques, aime et se bat. Il existe également au féminin. Si le dragon ancien était représenté aux pieds de l'homme, en position d'infériorité d'animal dompté, le dragon de Fantasy se situe dans le ciel, libre et supérieur à l'homme. Il ouvre la voie d'une sagesse ancestrale au dragonnier qu'il se choisit. Les combats des dragons symbolisent les éternelles luttes du Bien et du Mal présentes dans toutes les sociétés humaines et en l'homme lui-même, les forces qui s'affrontent pour le rétablissement de l'ordre et de l'équilibre universel en danger
A mythic builder or destroyer of Worlds, the embodiment of Evil for the Roman Catholic Church in the Middle Agesd, a monster to kill in order to take its treasure in legends or tales, the dragon periodically comes back expressing one's fears or diseases. Fantasy has brought the dragon back to twentieth century literature and Dragon Fantasy offers him the leading role in fights to keep order and and hold the world balanced. The new dragon, male or female, thinks, speaks, loves, fights, has magical powers, can fly, breathe fire, transform himself/herself. He shows human beings the way to ancestral wisdom
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