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Armstrong, Sean Somerville. "Being in time : the fictional coloniser as Dasein." Thesis, University of Glasgow, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274759.
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Primorac, Ranka. "Displacement, identity and fictional formation in selected recent Zimbabwean novels." Thesis, Nottingham Trent University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271213.
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Sambell, Kay. "The use of future fictional time in novels for young readers." Thesis, University of York, 1996. http://etheses.whiterose.ac.uk/4269/.
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Slagle, Judith Bailey. "Appropriating the Restoration: Fictional Place and Time in Rose Tremain’s Restoration: A Novel of Seventeenth-Century England." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/721.
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Excerpt: It was the sixties—albeit the 1660s—a time for tricksters, rakes, subversive women and sexual energy on the stage. It was a time of fun for those with the means to partake of it. The “good old days” are, of course, always better from a distance, but writers on through the twentieth century found the Restoration an apt setting for their fictions about prostitution, political intrigue, and tragic or comic historical events, especially for the cinema.
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Yu, Chen-Wei. "Perception and its objects in time : narrative dynamics and the existence of Ursula K. Le Guin's fictional worlds." Thesis, University of Warwick, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443627.
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Slagle, Judith Bailey. "Appropriating the Restoration: Fictional Place and Time in Works by Daniel Defoe, Sir Walter Scott and Rose Tremain." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/3220.
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While authors have appropriated literary works for centuries, they have also appropriated historical settings and places well outside their own realities, creating new works in historical settings that reflect a new cultural purpose. The Restoration and eighteenth century are frequent subjects of popular formula-fiction romances due to the distinctive, easily replicated atmospheres; but the period has also inspired serious, traditional historical fiction and fictionalized biography as well as productions of novels from the period. This panel focuses on the long eighteenth century and the period’s intrigue for filmmakers, TV producers and audiences in a modern-day culture
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Picard, Manon. "La smartfiction : une fiction interactive à lire, un rôle à incarner ou une partie à jouer sur son smartphone ?" Electronic Thesis or Diss., Compiègne, 2022. http://www.theses.fr/2022COMP2681.
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La smartfiction est un récit à lire et à jouer sur son smartphone. Reprenant les codes techniques, esthétiques, sociaux et culturels du smartphone pour les réinvestir dans le cadre d’une fiction, la smartfiction repose sur une dimension réflexive par rapport au smartphone. En exploitant les conventions des pratiques ordinaires du smartphone, l’utilisateur d’une smartfiction doit se projeter en tant qu’utilisateur de smartphone lorsqu'il lit, interprète et joue un récit de vie fictionnel. En effet, le propre du récit est de raconter une vie qui n’est plus la mienne ou qui n'est pas la mienne. « Moi » écoutant, je coïncide avec un temps racontant qui me projette sur le temps raconté. L'écriture et les dispositifs font du temps racontant une construction du « Moi » lisant. Dans le cadre des smartfictions, ce jeu sur le temps repose notamment sur la discussion instantanée (chat fictionnel) et les notifications (que je nomme notifictions pour désigner des notifications fictionnelles). Ainsi, l’utilisateur dispose d’un cadre pour se fondre dans le temps du récit en l’articulant à un temps de lecture. Mais ce récit, il l’interprète comme un acteur interprète un rôle au théâtre. En incarnant le rôle qui lui est attribué, l’utilisateur vit le temps du récit comme un temps joué à la première personne. Pour ce faire, il doit aborder son rôle comme s’il jouait une partie et ainsi transformer le temps du récit en un temps de jeu. Il doit « jouer le je.u ». Récit, théâtre et jeu sont alors trois modalités temporelles du temps vécu qui sont reconfigurées par la smartfiction : une histoire que l’on joue et que l’on incarne. La smartfiction relève donc d'un double statut, phénoménologique et sémiotique. En effet, le lecteur-acteur-joueur interagit avec la smartfiction et synchronise son flux de conscience avec les différents objets la composant pour vivre l’expérience de lecture à la première personne. Il synchronise son temps vécu au temps de la fiction. Cette synchronisation est rythmée par l'interaction avec les codes propres à l'utilisation d'un smartphone, qui devient le cadre sémiotique et pragmatique de la smartfiction. Ce cadre permet à la fois la contextualisation de la smartfiction et fonctionne comme une défamiliarisation du smartphone. L'étude, qui repose sur un corpus de onze smartfictions, articule ainsi une double approche phénoménologique et sémiotique. La smartfiction est un récit sur smartphone qui est arrivé à quelqu'un, un récit qui est un jeu dans lequel l’utilisateur joue comme un acteur. Avec la smartfiction, nous assistons à la naissance d’un format, voire d'un genre. L’émergence d’un nouveau genre invite à s'interroger sur son articulation aux genres existants, voire à leurs reconfigurations : la smartfiction correspond-elle à une autre manière de raconter, une autre forme de mise en scène, une autre pratique de jeu ? Ces questions renvoient également au rôle des dispositifs, rôle qui se révèle dans ces formes créatives. En particulier, la smartfiction invite à objectiver le rôle d'un smartphone dans le cadre d'un récit. La smartfiction est donc un laboratoire pour l’analyse des genres créatifs et la compréhension du rôle des supports et des dispositifsA smartfiction is a story to be read and played on the smartphone. Taking the technical, aesthetic, social and cultural codes of the smartphone to reinvest them in the framework of a fiction, smartfiction relies on a reflexive dimension in relation to the smartphone. By using the conventions of ordinary smartphone practices, the user of a smartfiction must project themself as a smartphone user when reading, interpreting and acting out a fictional life story. Indeed, the very nature of the story is to tell a life that is no longer mine or that is not mine. Me listening, I coincide with a telling time which projects me in the told time. The writing of the story and the devices make the telling time a construction of the reading self. Within the framework of the smartfictions, this game on time relies in particular on the instant (fictional) chat and the notifications (which I name notifictions to indicate fictional notifications). That way, the user has a framework for blending into the time of the story by articulating it to a reading time. But they interpret this story as an actor interprets a role in the theater. By embodying the role assigned to him, the user lives the time of the story as a time played in the first person. To do this, they must approach their role as if they were playing a game and thus transform the time of the story into a time of play. They must “play the ga.Me”. Narrative, theater and game are then three temporal modalities of the lived time that are reset by the smartfiction : a story that one plays and that one incarnates. A smartfiction has thus a double status, phenomenological and semiotic. Indeed, the reader-actor-player interacts with the smartfiction and synchronizes their flow of consciousness with the different objects composing it in order to live the experience of reading in the first person. They synchronize their living time with the time of the fiction. This synchronization is punctuated by the interaction with the specific codes related to the use of a smartphone, which becomes the semiotic and pragmatic framework of the smartfiction. This framework allows both the contextualization of the smartfiction and functions as a defamiliarization of the smartphone. The study, based on a corpus of eleven smartfictions, thus articulates a double phenomenological and semiotic approach. A smartfiction is a story on a smartphone that happened to someone, a story that is a game in which the user plays as an actor. With the smartfiction, we witness the birth of a format, even of a genre. The emergence of a new genre invites us to question its articulation with existing genres, or even their reconfiguration: does smartfiction correspond to another way of telling, another form of staging, another practice of acting? These questions also refer to the role of the device which stands out in these creative modes. In particular, smartfiction invites us to objectify the role of a smartphone in a narrative. Smartfiction is thus a laboratory for the analysis of creative genres and for the understanding of the role of the medium and the devices
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Mitin, Andrew. "Time Spent Away." PDXScholar, 2016. http://pdxscholar.library.pdx.edu/open_access_etds/3033.
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After the death of his father, Joshua Klein drops out of college and moves to Chicago. Alone in the city and with nothing of consequence to do, he attempts to justify to himself the ways of God, the sense of an early death and what is the good to do in life.
In this excerpt of Time Spent Away, Joshua seeks out the hidden aspects of the city and his spirit. Guided by his father's Bible and the formative texts of his undergraduate coursework, he sets out to complete his own education. During a tour of The Auditorium Building Joshua meets Felix Servo, a preserver of historic landmarks and an architectural enthusiast, who will show Joshua the city heights in a new way. When he explores the depths, Joshua meets Roland Charles, a self-proclaimed actor whose true use of time eludes Joshua and will jeopardize his peaceful search for meaning.
Told from the perspective of a timid though curious young man, Time Spent Away engages with architecture, literature and love; Louis Sullivan, the Western Cannon and the person of Jesus Christ; preservation, destruction and the fine line between both to present a heart-felt account of self-discovery.
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Armstrong, Paul Walter. "Fact or fiction : the problem of bias in Government Statistical Service estimates of patient waiting times." Thesis, London School of Hygiene and Tropical Medicine (University of London), 2000. http://researchonline.lshtm.ac.uk/682277/.
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The cumulative likelihood of admission estimated for any given 'time-since-enrolment' depends on how we define membership of the population 'at-risk' and on how we handle right and left censored waiting times. As a result, published statistics will be biased because they assume that the waiting list is both stationary and closed and exclude all those not yet or never to be admitted. The cumulative likelihood of admission within three months was estimated using the Government Statistical Service method and compared with estimates which relaxed the assumption of stationarity and reflected variation in the numbers recruited to, and admitted from, the waiting list each quarter. The difference between the two estimates ranged from +5.5 to -9.1 percentage points among 11 Orthopaedic waiting lists in South Thames Region. In the absence of information on 'times-to-admission', exact 'times-since-enrolment' were extracted from Hospital Episode Statistics and assumed to be similarly distributed. In the absence of information on 'times-to-competing-event', the number of competing events falling in each waiting time category was estimated by differencing. A period lifetable was constructed using these approximations, census counts, counts of the number of new recruits and estimates of the number 'reset-to-zero' each quarter. The results support the view that the method used by the Government Statistical Service overestimates the cumulative likelihood of elective admission among those listed. The Government Statistical Service calculates the cumulative likelihood of admission within three months (range: 0.62-0.27) conditional on the fact of admission. Multiplying by the unconditional likelihood of being admitted (range: 0.93-0.31) estimates the cumulative likelihood of admission within three months among those listed (range: 0.55-0.12) and gives a rather different ranking of waiting list performance among 34 Orthopaedic waiting lists in South Thames Region.
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McSorley, Tom. "Modern times : time and the modern in the fiction films of William D. MacGillivray." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33477.
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The work of contemporary Atlantic Canadian filmmaker William O. MacGillivray is a set of confrontations. His five fiction feature films investigate, perhaps even recalibrate, conventionally understood ideas of centre and margin, time and space, and most pointedly, traditional and modern. What MacGillivray presents in his work is not, in the manner of George Grant, a lament for a traditional or old and noble world locked inexorably in the processes of technological erasure. Instead, echoing the actively ambivalent response to technology-induced change advanced by Harold Innis and others, what the films reveal is a range of possible alternative critical positions within the experience of modern lite in contemporary Atlantic Canada. As Carlos Fuentes reminds us, this does not necessarily entail 'sacrificing the past in favour of the new,' as much of the rhetoric surrounding notions of the modern insists, but rather the 'maintaining, comparing, and remembering values we have created, making them modern so as not lose the value of the modern.' ln a sense, this process is about remembering time. Fundamentally, in creating rich, complex narratives about a part of Canada facing considerable and rapid change, MacGillivray is making his own cinematic 'plea for time' in his confrontations with notions of what constitutes a modern existence. It is also a plea for space, to remember that as there are 'different modern times' there are also 'different modern spaces.'
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Kardos, Michael P. "One last good time." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5944.
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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 March 24, 2009) Vita. Includes bibliographical references.
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Cox, Ailsa. "Time and subjectivity in contemporary short fiction." Thesis, Loughborough University, 1999. https://dspace.lboro.ac.uk/2134/8428.
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The aesthetics of contemporary short fiction have been shaped by its ability to engage with time as a boundless process of becoming. Historically and philosophically, the emergence of the short story as a specific genre may be related to modernist concepts of time and subjectivity. 'Real' time, as it is experienced by the subject, is a flux, in which past and present co-mingle. In Bergsonian terms, an unquantifiable 'duration' 1S contrasted with Newtonian concepts of absolute time as a succession of discrete units. As Hanson has argued, narrative in the short story 1S structured by a seemingly random association of 1mages rather than linear causality. I contextualize the short story genre, historically and culturally, examining texts by George Egerton and Katherine Mansfield before moving on to the main focus of my thesis, which is texts by Alice Munro and Grace Paley. These also present a dynamic reality, within time as a continuum. However, while utilizing modernist techniques, they also subvert them, problematizing concepts of transcendence. The blurring of the boundaries between autobiographical discourse, orality and fiction is used to destabilize notions of a unified subjectivity and of fixed truth. My analysis applies Bakhtinian theories on language and subject formation to investigate this presentation of time as endless self-renewal. I also draw on Genette's narrative theory and introduce Kristevan theory to investigate the speaking subject from a psychoanalytical viewpoint, with particular reference to the gendered subject. The Bakhtinian concept of the chronotope enables the theorization of the space-time nexus as the foundation of generic specificity; I offer a generic chronotope for the short story, which is grounded in the present moment. An examination of the fiction-making process, through a discussion of my own short stories, concludes this discussion of the short story as a form of contact with undefinable reality.
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Bragg, Joetta L. "SHARING TIME." Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1118206942.
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Scoles, James. "Time and the Inclination." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/194.
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McDermott, Sinead. "Time, space and subjectivity in contemporary women's fiction." Thesis, University of Strathclyde, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312388.
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David, William M. "The Mythic Conquest of Time in Faulkner's Fiction." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1420.
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William Faulkner is famous for stating he agrees with Henri Bergson's optimistic philosophy of time, a philosophy that emphasizes human freedom and action precisely as they relate to time. However, many of Faulkner's characters are defined by their stagnant and lethargic personalities which cannot change; these characters are held immobile by an over – identification with the rich history of their mythic, southern past. This paper, through in depth explorations of Faulkner's masterpieces, Absalom, Absalom! and The Sound and The Fury seeks to consider human mythmaking as the key to understanding Faulkner's difficult works. This critical approach allows us to better understand these works as conflicts between diachronic (linear or "normal") time and synchronic time (mythological or circular) time or more simply conflicts between the brute, inexorable world of fact and the human, meaning making world that is often a specious undermining of reality and change.
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Kawamoto, Marcia Tiemy Morita. "The question of time in science fiction films." reponame:Repositório Institucional da UFSC, 2016. https://repositorio.ufsc.br/xmlui/handle/123456789/162843.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos LinguÃsticos e Literários, Florianópolis, 2016.Made available in DSpace on 2016-05-24T17:56:09Z (GMT). No. of bitstreams: 1 339055.pdf: 2588449 bytes, checksum: d4d00ba9f41706ab7c9defe3cfc2f172 (MD5) Previous issue date: 2016
Abstract : Time is a hard-to-define concept in its most fundamental aspects. Different from space, to which it is commonly associated, time cannot be physically grasped, although we do try to measure it. What does not stop it from being simply ubiquitous, since we cannot escape or ignore it. The representation of time in fiction reflects its own social period. Having this in mind, this research understands that time has assumed different meanings in distinct contexts, since it reveals itself as a product of its historical times. Within this, the objective of this dissertation is to investigate time in times of change, understanding how the transitions and intersections of the Modern, Post-Modern and yet without a proper name Post-Postmodern periods affect the concept of time in film production, specifically in science fiction films. This dissertation analyzes science fiction films, since they seem to present a more conflicting and marked tendency in relation to time. Metropolis marks the modernist period with its notion of linear and futuristic time, strongly attached to an idea of industrial capitalism, in which the rhythm of the production conditions the workers. Blade Runner and Twelve Monkeys present a post-modern nostalgic vision of the future with a fragmented time, constructed through the character?s search of a past and identity. Lastly, Source Code and Interstellar seem to join a notion of digital cinema and time, proposing a more flexible temporality. In this last idea, space and time also influence one?s existence, that changes his/her ontology and starts existing in other realities and dimensions.
Tempo é um conceito difÃcil em seus aspectos mais fundamentais. Diferente do conceito de espaço, ao qual ele é comumente associado, o tempo não pode ser fisicamente apanhado, apesar de tentarmos medi-lo. O que não impede que ele seja simplesmente ubÃquo, pois não podemos escapar dele ou ignorá-lo. A representação do tempo em ficção reflete seu tempo social. Com isso em mente, essa pesquisa entende que o tempo tem assumido significados diferentes em contextos distintos, uma vez que se revela como um produto de seu tempo histórico. Em vista disso, o objetivo principal dessa tese é investigar o tempo em tempos de mudança, ao entender como as transições e intersecções dos perÃodos Moderno, Pós-moderno e o ainda sem nome definitivo Pós-Pósmoderno afetam o conceito de tempo na produção fÃlmica, especificamente em filmes de ficção cientÃfica. Essa dissertação analisa filmes de ficção cientÃfica, uma vez que eles parecem apresentar uma tendência mais conflituosa e marcante em relação ao tempo. Metropolis marca o perÃodo modernista com sua noção de tempo linear e futurista, fortemente atrelado a uma ideia de capitalismo industrial, em que o ritmo da produção condiciona os trabalhadores. Blade Runner e Twelve Monkeys apresentam uma visão pós-moderna nostálgica do futuro com um tempo fragmentado construÃdo pela busca de passado e identidade dos personagens. Por último, Source Code e Interstellar parecem unir a noção de cinema digital e de tempo, ao propor uma temporalidade mais flexÃvel. Nesta última ideia, espaço e tempo também influenciam na existência do ser, que muda sua ontologia e passa a existir em outras realidades e dimensões.
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Kovac, LB. "Time Enough." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2259.
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Perrin, Steve. "The plughole of time." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/30107.
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This thesis is comprised of a survey of all the varying influences behind the author's art making. All pre-occupations are included, the concepts of childhood memory; the use of imagination; the ability to comprehend and put together an old fashioned story in varying forms; as well as considering the notion of blurring historical and actual fact with personal elements of fantastical fiction. These themes have all been threaded delicately through the motif of time-travel, the author's personal favourite of literary genres. The main aim has been to make an attempt to re-create the feelings of childhood.Whilst embracing whimsy, the absurd and the time travel genre, this project hopefully shows a struggle and is an allegorical comment on the author as an artist, who having lost a little of his faith in the world and his abilities, becomes seduced by a new focus.
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Crombie, David. "Ordinary time, celebrating encounter and growth in short fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ30188.pdf.
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Carle, Naomi Jane. "Time, space and dialogism in Robert Louis Stevenson's fiction." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/10938/.
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It is now something of a commonplace to discuss Robert Louis Stevenson as an innovator of romance. Genre debates at the fin-de-siècle have been well researched in relation to his fiction and, increasingly, his critical writings. Since Edwin Eiger (1966) and Robert Kiely (1964) published studies on Stevenson’s romance, the interplay between romance and realism that is evident in much of his work has been identified by Roslyn Jolly (1999), Roderick Watson (2004), Hilary J. Beattie (2004) and Michael Saler (2012) to name but a few. Rather than viewing this phenomenon through the lens of genre, which, as Anna Vaninskaya (2008) points out, can lead to unhelpful complications, it is more rewarding to understand Stevenson’s new romance aesthetic as related to his experimentation with time and space. Part of Stevenson’s approach to reviving the romance, set out in “A Gossip on Romance” and “A Humble Remonstrance”, involved adopting a serious literary perspective, rather than treating it as a lesser fictional mode. This aspiration included reinvigorating the traditional spaces of romance by investing them with a more complex temporality, creating new fictional worlds that operated as Bakhtinian chronotopes. Stevenson’s fiction invariably takes a “polychronotopic” form (following Pearce [1994]), which introduces a dialogic relationship between different methods of constructing time-space within a single text. Through this, Stevenson critiques traditional generic assumptions about the hero’s interaction with the romance world and applies a self-reflexive approach to understanding the text he is in the act of producing. This internal dialogic is often exposed in the narrative through Stevenson’s characters who behave beyond the scope of traditional “heroes”, often providing a mismatching perspective to that suggested by the worlds they inhabit over the course of their adventures. Stevenson transformed the romance for a new audience in a similar way to that which Bakhtin traces for the novel in Dostoevsky’s work.
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Guo, Elaine. "Mulan: Journey in a Time of Change." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2196.
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Burrows, Steven M. "Time, form, and fiction : reading the landscapes of Booth Tarkington." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1286421.
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Indiana author Booth Tarkington laid the groundwork for understanding issues related to urban design and planning in the Midwest with a tandem of novels: The Magnificent Ambersons (1917), and The Midlander (1923). More importantly, evidence can be found to suggest that it is not only through knowledge and appreciation of tangible urban form, but also an appreciation and awareness of a culture, via its literature, that these issues of design and planning can be more fully understood by design professionals.The purpose of this study, then, is to discover the connections between studies in the field of landscape architecture (with regard to urban form and urban imageability) and the "literary landscapes" of Booth Tarkington. These connections will serve, first, to clarify and prioritize my study; second, to educate design professionals in an alternative way of understanding and tackling the physical issues of imageability in today's world; and third, to suggest to all designers the necessity for knowing, appreciating and utilizing the virtually infinite range of resources available to them.Department of Landscape Architecture
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Boccardi, Mariadele. "The representation of past and present time in contemporary fiction." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431541.
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Stedman, Jane Elizabeth. "A time of interregnum : navigating nation in devolutionary Scottish fiction." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/a-time-of-interregnum-navigating-nation-in-devolutionary-scottish-fiction(0581a50b-a213-43f3-9cac-96a8cfc8a8f5).html.
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This thesis analyses four texts produced during the so-called ‘devolutionary period’ in Scotland, between the referendum of 1979 and the opening of the Parliament at Holyrood in 1999. Due to the particular political exigencies of the time, texts from this period have often been read through the prism of cultural nationalism. One particularly influential such characterisation argues that ‘in the absence of elected political authority the task of representing the nation has been repeatedly devolved to its writers.’ Such a critical paradigm can impose a limiting and distorting framework on these texts, reducing the scope and complexity of their political interventions by insisting too exclusively upon reading them through the lens of nation. Therefore, in this thesis, I undertake an analysis of these novels not as documents of cultural nationalism, but through Gramsci’s description of times of interregnum. Gramsci suggested that the crisis precipitated at moments of regime change as one that ‘consists precisely in the fact that the old is dying and the new cannot be born; and in this interregnum a great variety of morbid symptoms appear.’ This delineation of the fraught character of interregnum seems an apt and helpful way to elucidate the tensions and fault lines within devolutionary Scottish fiction, and help to evade the pitfalls of readings that would recruit these writers into a narrative of resurgent national confidence directly connected to the political process of devolution. In order to explore the dynamics of interregnum at work in devolutionary fiction, I will analyse four key canonical texts from 1979–1999; James Kelman’s How Late it was, How Late (1994), Janice Galloway’s The Trick is to Keep Breathing (1989), Alan Warner’s Morvern Callar (1995) and Jackie Kay’s Trumpet (1998). I will be attentive to the ways that these novels literalise the figurative suggestions of Gramsci’s aphorism; probing instances of death, woundings/illnesses and interrupted reproduction. Within my discussion, I will be attentive to the fault lines within Scottishness explored by these texts, in particular paying attention to the way that the nation has been gendered in damaging or occluding ways. I will also contend that the interregnum liminality of these texts is also enacted in their spatial negotiations, as the novels repeatedly press against spatial boundaries. I hope to offer a perspective on this period in Scottish literature that complicates and refines the predominant cultural nationalism that has coloured their critical reception.
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Wensink, Patrick Ronald. "Nine Times Out of Ten, You Don't Die." PDXScholar, 2019. https://pdxscholar.library.pdx.edu/open_access_etds/5039.
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My novel, "Nine Times Out of Ten, You Don't Die," is the story of Layla Wisnewski and her quest to write a book about her famous father. In the 1970s, "Big Dan" Wisnewski was a motorcycle stuntman who broke more bones than anyone living. He jumped cars and buses and rivers atop a white Harley Davidson. Big Dan was considered an American Hero.
Fast forward forty years, Big Dan has been dead for decades, and his daughter Layla is writing a book about his life. While researching the book, she learns she was kidnapped as a baby. This triggers a domino effect that leads Layla on a trail to uncover the many ways in which she has been lied to over the years and just how dangerous her family really is.
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Edwards, Caroline. "Fictions of the not yet : time and the contemporary British novel." Thesis, University of Nottingham, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546269.
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Perrin, Steve. "The plughole of time." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.105558/index.html.
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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2003."A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Master of Arts (Honours) Creative Arts" Includes bibliography.
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bourcier, Simon de. "Relativity and narrative time in the late fiction of Thomas Pynchon." Thesis, University of East Anglia, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533702.
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Randall, James P. "Posthumous temporality and encrypted historical time in fiction and life writing." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23276/.
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This thesis considers ways of reading posthumousness in narrative in various theoretical and literary constellations by focusing on temporality and historical time. Defining posthumousness in terms of a narrative perspective adopted after the death of a character or the narrator, I consider how writers reanimate historical characters, adopt imagined posthumous perspectives and reconstruct historical memory. I combine approaches to temporality by Paul Ricoeur and Mark Currie, incorporating elements of psychoanalytic and poststructuralist theory including Nicolas Abraham and Maria Torok’s writing on crypts, Ned Lukacher’s analysis of primal scenes and prosopopoeia, and Jacques Derrida’s writing on the archive. Each chapter considers how historical time is imagined within narratives concerned with posthumousness. Chapter 1 considers how historical time is given a place within the posthumous narrative of Iain Sinclair and Rachel Lichtenstein’s Rodinsky’s Room. Chapters 2 and 3 develop ideas of historical time and the posthumous in relation to Wilhelm Jensen’s Gradiva and Orhan Pamuk’s The Black Book. Chapter 4 compares Fernando Pessoa’s The Book of Disquiet and José Saramago’s The Year of the Death of Ricardo Reis. Chapter 5 analyzes posthumousness in Bruno Schulz’s stories, and how these are reimagined by Jonathan Safran Foer (Tree of Codes), David Grossman (See Under: Love) and Cynthia Ozick (The Messiah of Stockholm). I focus on these novels’ engagement with posthumousness, including how primal elements of memory and historical time are given new presences. I consider how this approach to fiction and historical time gives the past a new life in narrative, giving time for what Schulz describes in his story ‘The Age of Genius’: ‘events that have no place of their own in time; events that have occurred too late, after the whole of time has been distributed, divided and allotted; events that have been left ... hanging in the air, homeless and errant.’
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McFarthing, James. "Jules Verne and the utopias of space, time and science fiction." Thesis, University of Bristol, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.665460.
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This thesis seeks to cohere two strands in the work of Jules Verne, namely that of science and utopia. The role of science is of paramount importance to Verne's fictional practice in the Voyages extraordinaires, yet its elucidation, I will argue, is dependent upon aesthetic innovations that lend science a spatial and temporal structure. The spatial and temporal manifestations of science help form a 'chronotope of science' that allows Vernian protagonists to gain access to scientific phenomena using an aesthetically charged epistemology. The chronotope of science is accompanied by further motivic chronotopes, which I identify as key in the depiction of Vernian utopia and dystopia respectively. The vehicles of some of Verne's earlier and most successful novels, such as the Victoria of Cinq semaines en ballon (1863) or the Nautilus of Vingt mille lieues sous les mers (1870), illustrate the ways in which Verne reconfigures ideology and history in new spatial and temporal categories. These utopian figurations will be subverted, so I argue, in the Vernian utopian community as depicted in the Voyages extraordinaires of the 1870s. Here, the utopian communities of L'Ile mysterieuse (1874) and France-Ville from Les Cinq cents millions de la Begum (1879) are subverted by a chronotopic recalibration of their utopian content, which sees the anti-utopian Le Chancellor and the Germanic Stahlstadt emerge as thematic opposites. This dystopian turn becomes more concretely established in Vernian production of the 1880s and 1890s, which sees various of Verne's earlier utopian motifs transformed into instruments of dystopia and terror, from destructive cannons to tyrannical airships. The thesis will conclude that the challenges initially met by Verne in the depiction of science and the rapidly changing industrial world of the nineteenth century led to the development of a unique aesthetic and spatio-temporal constructions that could frame not only the changing spatial environment, but also the unfolding temporal field of human history. These structures, both scientific and utopian, would help inform the generic development of science fiction, whose use of science and positing of alternative futures owes much, thematically and stylistically, to the Vernian literary aesthetic.
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Nerozzi, Giada <1988>. "Time Control in Diana Wynne Jones's Fiction: The Chronicles of Chrestomanci." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6055.
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Recently, the popularity of the British author Diana Wynne Jones has increased so much that also the literary critic, which until now has been snubbing her production, has begun to examine her works. I have decided to focus on Diana Wynne Jones's novels because I believe that she is an incredibly talented author who, thanks to her innovations, has given her contribution to modern children's fantasy. Through my dissertation, I want to demonstrate the complexity of Jones's novels and also how her production has contributed to the renewal of fantasy literature. I have started my dissertation by introducing Diana Wynne Jones. Specifically, I have touched on her biography to highlight how her personal life has influenced her entire production and I have offered an overview of Jones's narrative feature and theme. In the last part of this chapter I have focused on the relation between literary criticism and Jones.
The following chapter addresses the issue of time treatment in the Chrestomanci Series. Precisely, I have offered a brief explanation of the notion of time and I have deeply focused on the nature of time travel. In particular, I have explained Jones's idea of time traveller, I have presented the common subjects in time travel stories and I have compared and contrasted Jones with other relevant fantasy children's authors. The other main section of this chapter, concentrates on the relation between time and space in two Jones's books. First of all, I have introduced the concept of space and then I have spoken about Jones's geography rewriting.
The fourth chapter addresses the concept of parallel worlds. Therefore, after having introduced the concept of parallel universes, I have focused on multiverse in Chrestomanci series and I have concluded this section by highlighting traces of heterotopia.
The last chapter of my dissertation focuses again on time, but here time is understood as history. Indeed, I have focused on the rewriting of history in The Chronicles of Chrestomanci and I have analysed the relationship between Diana Wynne Jones and the Anglo-Saxon tradition.
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McNamee, Brendan. "Rosy cruci-fictions : time and eternity in the novels of John Banville." Thesis, University of Ulster, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421775.
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Duarte, Hector Jr. "Desperate Times Call." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3272.
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DESPERATE TIMES CALL is a collection of short stories and a novella about people whose lives intersect with violence. The young girl in Of Course She Would is forced to leave her home after finding her meth-addicted father dead of a heart attack. Tomas Mangual, the main character of She Said Two, sets off on a blind date to discover his counterpart has recently been the victim of a disturbing hate crime. The featured novella, Diablo Corrido, raises the question: How far would someone chase their ambition to see a life-long dream come true?
Using the intimate perspectives of first-person and close third-person points of view, DESPERATE TIMES CALL offers glimpses of characters chasing dreams of success, romance, wealth, even normalcy, but coming up empty-handed.
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Renner, Jasmine R. "You Cannot Chase Two Antelopes at The Same Time." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/1490461604.
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"You Cannot Chase Two Antelopes at the Same Time" will teach your child(ren) the invaluable lesson of determination and focus. This heart-warming story about the courage and determination of a little boy and his sister who set out to chase two antelopes unsuccessfully, extracts in a vivid illustrative style, the important character trait of determination and focus. The little boy and girl set out to accomplish an impossible task and try different approaches, but to no avail. They finally figured out that in life some pursuits are too delicate to focus on multiple things at the same time. The vivid imagery of antelopes and their incredible sense of swiftness will thrill, entertain and motivate your children.https://dc.etsu.edu/etsu_books/1080/thumbnail.jpg
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Okumura, Sayaka. "The poetics of Virginia Woolf's fiction : time, space and the material world." Thesis, University of York, 2007. http://etheses.whiterose.ac.uk/9911/.
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Baker, Ingrid Liv. "Love in Conflict:D.E. Stevenson, War-Time Romance Fiction, and The English Air." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/51753.
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D.E. Stevenson was a 20th century Scottish novelist writing romance fiction before, during, and after World War II. By analyzing her life and dissecting the genre's formulaic properties, I will show how The English Air is representative of the ways some women coped with the eras of conflict of the two World Wars. In a critical analysis of the novel itself, I will show how Stevenson's attention to Anglo-German relations propels it beyond a light-hearted example of the genre as a whole, pushing against the prescribed requirements of what romance fiction must be. Though Stevenson has never before been studied through an academic lens, her novels were popular and successful, which suggests that this kind of fiction met the needs of readers during the early to mid-20th century, while coping with the devastation and uncertainty of war.Master of Arts
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Henderson, Barbara Anne. "'New takes on time' : a critical dissertation on time-distort fiction, and, The serpent house : a novel for children." Thesis, University of Newcastle upon Tyne, 2012. http://hdl.handle.net/10443/1545.
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This project consists of a reappraisal of children’s historical time-distort literature and a children’s novel within the genre, entitled The Serpent House, aimed at readers aged 9 -12. The submission consists therefore of a critical piece of academic research into the genre, which reflects throughout on how the two pieces of work have informed each other. The research component of the project argues that the critical consensus, which suggests that children’s historical literature employing time-distort elements is prone to conservatism and convention, misrepresents this body of writing. As I show from its earliest examples, it has been a genre at least as progressive as any other in children’s literature. An overview and two detailed case studies demonstrate these innovative elements. The chronological overview and the texts that make up the case studies illustrate ways in which writing of this kind has been and continues to be experimental at a variety of levels. Jane Yolen’s The Devil’s Arithmetic (1988) was chosen for its challenging content and Gary Crew’s Strange Objects (1990) for its experimental form. Analysing the primary texts and the related scholarship was part of the process by which I shaped my aspirations and creative decisions while writing The Serpent House and so the academic submission leads into a reading of my children’s novel, which forms 70 per cent of the submission.
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Wake, Vivian F. "A novel, Curse of the time witch : and, An essay, The time-slip novel." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/463.
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E. Nesbit’s The Story of the Amulet inspired me to write a time-slip novel for young adults. During my research for this explicatory essay, I discovered that later writers not only expanded upon Nesbit’s simple formula to create atmospheric novels with fully developed characters, but also experimented with space as well as with time, thus allowing their protagonists also to travel within parallel worlds. This essay traces the source of Nesbit’s inspiration as well as discussing the problems associated with the actual writing of a time-slip novel, together with its gradual acceptance as a sub genre within fantasy literature. In particular, Nesbit’s influence on later writers is also discussed. Nesbit’s formula incorporated characters travelling into the past to perform a quest or to solve a problem before returning to the present. One group of writers, after the wide-spread destruction of World War Two, used Nesbit’s formula as a basic structure to portray, usually through the eyes of one main protagonist, an England they once knew that was on the point of vanishing. Another group of writers, having spent their early years in the Blitz in an England under constant threat of invasion, often delved further into the past to express their concern over the ever-fighting forces of good and evil. These writers, like Nesbit, returned to using more than one protagonist, but unlike Nesbit, their protagonists are usually visited by characters from out of the past, rather than the reverse. It is from within this group of writers that the concept of parallel worlds emerged. My own novel, Curse of the Time Witch, set in Elizabethan England at the time of the Spanish Armada in 1588, follows Nesbit’s formula to some extent, except that the events are seen through the eyes of a protagonist living in the past who is visited by the other protagonist from the twenty-first century. My novel is also somewhat unusual because my protagonist, as well as speaking in the first person, also uses the present tense to describe the events as they take place.
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Chern, Joanne. "Restoring, Rewriting, Reimagining: Asian American Science Fiction Writers and the Time Travel Narrative." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/449.
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Asian American literature has continued to evolve since the emergence of first generation Asian American writers in 1975. Authors have continued to interact not only with Asian American content, but also with different forms to express that content – one of these forms is genre writing. Genre writing allows Asian American writers to interact with genre conventions, using them to inform Asian American tropes and vice versa. This thesis focuses on the genre of science fiction, specifically in the subgenre of time travel. Using three literary case studies – Ken Liu’s “The Man Who Ended History,” Charles Yu’s How to Live Safely in a Science Fictional Universe, and Ted Chiang’s “Story of Your Life” – this thesis seeks to explore the ways in which different Asian American writers have interacted with the genre, using it to retell Asian American narratives in new ways. “The Man Who Ended History” explores the use of time travel in restoring lost or silenced historical narratives, and the implications of that usage; How to Live Safely is a clever rewriting of the immigrant narrative, which embeds the story within the conventions of a science fictional universe; “Story of Your Life” presents a reimagining of alterity, and investigates how we might interact with the alien in a globalized world. Ultimately, all three stories, though quite different, express Asian American concerns in new and interesting ways; they may point to ways that Asian American writers can continue to write and rewrite Asian American narratives, branching out into new genres and affecting those genres in turn.
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Shepley, Elinor. "Ageing in Welsh fiction in English, 1906-2012 : bodies, culture, time, and memory." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/114562/.
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This thesis examines the proliferation of ageing characters to be found in twentieth and twenty-first-century Welsh fiction in English and argues that older people have a special significance in this body of literature. The study employs a mixed methodology, combining close comparative analysis of fictional texts with theoretical perspectives taken from cultural and literary theory, philosophy, sociology, psychoanalysis, and postcolonial studies. The introduction situates my work alongside the fields of literary gerontology and Welsh writing in English, giving focus to strands of research which have synergies with this thesis. Chapter 2 examines the influence of stereotypes of ageing on older characterisations in Anglophone Welsh fiction and argues that writers undermine and complicate these stereotypes. Representations of gossips, burdens, those with dementia, wise older people, inspirational grandmothers, older men and grandfathers, and unmarried women are analysed. Chapter 3 focuses on renderings of older subjectivity, considering protagonists’ experiences of physical ageing, alongside tensions between the changing older body and a more constant self within, and texts which represent changes in experiences of time and memory. Writers are argued to give voice to the frail and the marginalised and to reveal the influence of socioeconomic and cultural factors on experiences of ageing. Chapter 4 asserts that intergenerational relationships involving older characters tend to symbolise societal change and to reflect class and linguistic divisions between generations. Ageing characters, particularly older women, are shown to become links to the past and to act as remembrancers of local and national histories. They also signify a conception of Welsh identity grounded in speaking Welsh, devotion to Nonconformist worship, and a stoic determination to survive. These characters often perform the role of storyteller, passing on suppressed knowledge and traditional values. It is argued that, despite their regard for the past, the novels and short stories discussed avoid the dangers of nostalgia through the ambivalence of younger characters to the identities they are bequeathed, the self-reflexivity of several texts, and older characters who are grounded in the present and concerned about the future.
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Boardman, Kirsty Louise. "Notions of time and epoch in contemporary French fiction : Montalbetti, Lenoir & Pireyre." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16398.
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This thesis examines the notions of time and epoch through the works of three contemporary French authors: Christine Montalbetti, Hélène Lenoir and Emmanuelle Pireyre. The theoretical framework for this study draws upon literary criticism, time studies and cultural theory: it investigates in particular the ways in which literary fiction may respond to what has been called a ‘culture of speed' in capitalist economies of the twenty-first century. This culture of speed is traced back two major epochal shifts: the revolution in information technology, which has permitted the generating and sharing of information at exponentially higher speeds, and an increasing consciousness of the vast time cycles within which we might situate our own epoch or individual lives. This work considers the ways in which this collective and paradigmatic shift might be reflected in literary fiction. It examines the representation of new information technologies within these literary works, focusing in particular on the texts' representations of obsessive or compulsive uses of technology and the kinds of anxieties emerging as a result of the ubiquity of these devices. It further questions whether new aesthetic trends, what has been called a ‘post-internet aesthetic', may be emerging in literary fiction in light of some of these changes. Further investigation of the representation of diegetic time within these texts demonstrates that these literary works appear to resist the current time culture of speed and simultaneity, embracing instead the literary devices of repetition and digression while maintaining a dilatory pace. This study also considers the emergence of ‘short-termism' and insularity within these literary texts as reflecting a wider societal trend, especially in light of recent theoretical work on the vast timescales (for example those of the planet's climate cycles) that have become increasingly present in political and journalistic discourses.
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Drake, George A. "Historical space in the eighteenth-century novel /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9425.
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LANGE, NINA. "Fictions of Time : Zeitvorstellungen, - erfahrungen und -reflexionen in englischen und amerikanischen Romanen der Gegenwart." Doctoral thesis, Università degli studi di Bergamo, 2015. http://hdl.handle.net/10446/32658.
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Burns, Ladonna Michelle, and Ladonna Michelle Burns. "A Hero in Our Time: Stories of the Fictionally Subversive Soviet Woman of the 1980s." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/620724.
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Citizens who lived in the Soviet Union in the early 1980s did so amid a changing political atmosphere. For their extreme patience, they were rewarded with new policies (after 1985) that promised less censorship and more openness from the government to the people. The Soviet woman received special attention and promises in the shape of new reforms in the social spheres of education and employment. As often happens with political change, there were unintended results. As the policy of glasnost' or "openness" attempted to create and provide new possibilities for women, the unforeseen byproduct of the change was that a non-idyllic and even subversive female emerged in literature and society. This thesis will explore the prevailing cultural attitudes surrounding women before glasnost', as well as glasnost' itself and its policies affected the cultural attitudes as they related to the traditional woman's role in society. The thesis will also examine how glasnost' enabled the literary debut of the subversive female character, and foster this previously forbidden type and other prohibited topics. Finally, the discussion will turn to the immediate aftermath of glasnost' with some observations about the stunted position of the Russian woman in literature, and in society, after the breakup of the Soviet Union.This thesis will include brief studies of published shorter works-all by contemporary female Soviet writers of the 1980s-and their fictional characters. As the gender specific deep-seated beliefs, proverbs, laws and anecdotes connected to the "suggested" ideal life of the virtuous Soviet females are analyzed, the thesis will show how these fictional characters' behaviors directly and indirectly allowed Russian contemporary female writers to challenge taboo subjects within Russia through a new literary category of alternative women's prose.
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Berger, Aurore. "The transparitions of time in space in four fiction films by Knut Erik Jensen." Thesis, Stockholm University, Department of Cinema Studies, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1122.
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Knut Erik Jensen’s oeuvre is often described from a typical Norwegian point of view. The corpus of films studied is restricted to his documentary production and to the breakthrough of Stella Polaris in 1993. But as I discovered Knut Erik Jensen through his posterior fiction films, I had to focus on this under esteemed production, even if I remain convinced that the dichotomy between the documentary and fiction films is not very pertinent. As Passing Darkness had blurred my reading of Gilles Deleuze’s books dedicated to cinema, I started to focus on both this film and Deleuze’s philosophical approach. I linked then Knut Erik Jensen’s films to other filmmakers who in my sense had the same concerns.
As history is first a matter of geography, I based the reflection on the works by Alain Resnais, Jean-Daniel Pollet and the texts by Jean Epstein. But as the study went on, I realized that a classical study could not validate Jensen’s aesthetic as the alchemical concerns of both Jean Epstein, Edgar Morin or Gilles Deleuze were dealing with either a source or a result. Living at the era of the networks and influenced by some seminars in France regarding the figure and the networks inside the image, I focused on the philosopher stone in order to find an alternative to the crystal image and other postulates. Using some previous knowledge regarding the alchemy, I used the cycle of the azoth in the sea, one of the main characters in Jensen’s aesthetic as being a way to consider the loss of the source and of the result. Instead of opposing time, space and then a questioning of the space/time continuum, I refuted the organic regime (which has been dead for about forty years in film) to focus on the mineral one (through the crystal image and other reflections) and the gaseous one (the development of the transparitions).
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Moore, Suzanne. "The Place Between: Time as Palimpsest in the reading and writing of women's fiction." Thesis, Moore, Suzanne (2017) The Place Between: Time as Palimpsest in the reading and writing of women's fiction. PhD thesis, Murdoch University, 2017. https://researchrepository.murdoch.edu.au/id/eprint/41074/.
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Time is one of the many measures through which women make sense of their embodied and emotional lives, and negotiate their relationships to work, community, culture, politics and history. However, traditional definitions often segregate ‘women’s time’ from contexts of public life and social change. This thesis, presented in two parts, is interested in developing, critically and creatively, a new understanding of women’s time through the conceptual framework of the palimpsest.
The first part of this thesis is an original novella that explores themes of family history, mother-and-daughter relationships, identity and time. Set in present day Sydney, the narrative traces the fraught relationship between Sarah and her mother, Beryl, utilising the technique of time-shifts to gradually reveal silenced family histories. The novella treats its characters’ diverse experiences as palimpsestic, through a combination of conventional linear and radically subjective modes of time, to represent women’s lives as complexly constructed and intertwined with the lives of others.
The dissertation, the second part of the thesis, explores the creative representation of time in fiction, particularly by drawing on Julia Kristeva’s seminal essay “Women’s Time” (1996e), and her notion of subjectivity, in order to develop the conceptual framework of time as palimpsest. This framework is proposed as a way to render women’s lives creatively and imaginatively in fiction. A critical reading of two novels by Kate Atkinson, Behind the Scenes at the Museum (1996) and Life After Life (2013), harnesses the temporal palimpsest and offers insights into Atkinson’s treatment of time as a multifaceted phenomenon, one that both shapes and is shaped by the subjective and relational experiences of the everyday, experiences at once individual and politically and historically significant.
The thesis thus demonstrates how the temporal palimpsest might revitalise critical practices of reading and writing fiction, enabling a dynamic approach to moving beyond reductive renderings of gendered time.
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Podeschi, Mario. "What comes next /." View online, 2008. http://repository.eiu.edu/theses/docs/32211131428176.pdf.
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Reuterbrink, Christopher. "Att Uppleva Tid : En Undersökande Läsning av The Time Machine och "A Sound of Thunder"." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36874.
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The purpose of the following essay is to examine various works of fiction featuring time travel and their underlying common theme. The main focus of the essay is the novella The Time Machine by H. G. Wells and the short story ”A Sound of Thunder” by Ray Bradbury, but a number of other texts from various different periods in time are also taken into account, mainly to provide a background for the analysis of the chosen texts. The essay is written based on the assumption that there are two distinct subcategories of time travel fiction. There is a significant difference in time travel literature written before and after The Time Machine: mainly because this work was written in a period when the concept of 'time' was changing in the public mind, due to the scientific and cultural advances in the fields of physics, philosophy and psychology. The conclusion of the study is that all examples of time travel fiction (or at least those brought up in this essay) share a common theme, namely the relation to the alien and the uncanny. Furthermore, the analysed texts seem to be firmly rooted in their respective era. Older time travel fiction in particular demonstrates that time travel is used as an alienating effect on the traveller, who is transported (willingly or not) into an unfamiliar time and is hopelessly lost in an inescapable situation. The alienation theme lives on in more modern examples of the narrative as well, but since the introduction of the The Time Machine, the time travelling protagonists have a way of fighting back against the alienation, by trying to take control of their unfamiliar situation.Syftet med följande uppsats är att undersöka olika litterära verk innehållande tidsresor, samt det underliggande gemensamma motivet. Uppsatsens huvudfokus är kortromanen The Time Machine av H. G. Wells och novellen ”A Sound of Thunder” av Ray Bradbury, men ett antal andra texter från olika tidsperioder tas också i beaktande, främst för att tillhandahålla en bakgrund för analysen av de utvalda texterna. Uppsatsen är baserad på antagandet att det i tidsreselitteraturen finns två distinkta underkategorier. Det finns en väsentlig skillnad i de verk som publicerades före respektive efter The Time Machine, vilket främst beror på att denna text skrevs i en tid då föreställningen om vad 'tid' är var på väg att förändras i det publika medvetandet, med anledning av de vetenskapliga och kulturella landvinningarna inom fysik, filosofi och psykologi. Studiens slutsats visar att all tidsreselitteratur (eller åtminstone de exempel som tas upp i uppsatsen) har ett gemensamt tema, nämligen relationen till det främmande och det kusliga. Vidare tycks de analyserade texterna vara tydligt förankrade i sina respektive tidsperioder. Äldre tidsreselitteratur i synnerhet använder sig av en alienerande effekt på resenären, som förflyttas (frivilligt eller ej) till en främmande tid och blir hopplöst förlorad i en ofrånkomlig situation. Alienationstemat lever vidare även i mer moderna tidsreseexempel, men sedan The Time Machine publicerades har de tidsresande protagonisterna möjligheten att slå tillbaka mot alienationen genom att försöka (och ibland till och med lyckas) att ta kontroll över den obekanta situationen.
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Muscolino, Stephen J. "Writing in real-time, fictions of digitization : the novels of Don DeLillo and Dave Eggers." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8276/.
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By tracking the intersection of contemporary fiction and the information technologies of the digital age, this thesis argues that the narratives being produced over the past ten years have evolved into a distinct genre of literature, one where the aesthetics of fragmentation and postmodern uncertainty must confront the new realities of a digitally saturated culture and society. In order to demonstrate this alteration in contemporary fiction, this thesis considers novels written within the past ten years that reflect on this new form of textuality, namely Don DeLillo’s Cosmopolis (2003) and David Eggers’ The Circle (2013). These texts demonstrate a paradigm shift in contemporary literature, a new kind of fiction in which American society, culture, economics, and politics, are all directly affected by various forms of digital mediatisation. These authors reflect an altered cultural zeitgeist within their fiction—writings which can be differentiated from the postmodern literary aesthetic—prompted by neoteric digital technologies coupled with the ubiquitous nature of the Internet. Although this topic is broad and covers multiple fields of scholarly interests, my thesis nonetheless concerns itself with a very specific line of questioning: will our authors have the imaginative wherewithal and social sensitivity to keep pace with changes brought forth by the explosion of information technologies? If so, what type of fiction is likely to emerge from this new digital environment? By taking a focused approach and using contemporary literature as representative of these massive social, economic, and political transformations, my research recalls Kurt Vonnegut’s “Canary in the Coal Mine” dictum: the writer has always been the first to notice the dramatic effects of technology on the individual and the culture at large.