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Dissertations / Theses on the topic 'Fictional trilogy'
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McCracken, David E. "The Great Plains trilogy. Book one, These God-forsaken lands. Part one (of three), Wayward horse." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391232.
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This is the first of three parts in the first of three planned novels, collectively called The Great Plains Trilogy, which takes place between 1841 and 1845. Set against such historical events as the Battle of Plum Creek and the Texas Council House Fight, Part One follows Lock (a.k.a. Aidan Plainfield) in 1841, whose wife and daughter were killed by Comanches during the Victoria raid of 1840. Since the raid, Lock has left his life behind, surviving alone in the Great Plains. One morning he discovers that Comanches have stolen his horse, and he sets off to recover it. Along the way, he meets Mr. Pendleton, an Englishman who has been injured by Comanches, and Raymond Wales, a thief who has been mysteriously left to hang in the middle of the woods. Mr. Pendleton and Raymond Wales, each of whom have their own mysterious motivations, join Lock on his journey.Department of English
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Wright, Kenneth Patrick. "The Law and Its Enforcers in Faulkner's Trilogy." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501260/.
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This thesis evaluates how effectively the trilogy's laws and law enforcers further the ends of the fictional laws. The study examines the trilogy's law enforcers' responses to Snopes violations and bendings of the laws to evaluate the laws and their enforcers. The enforcers' responses to Snopes wrongs make clear how well the laws are written. These responses also reveal how well the enforcers themselves are able to achieve the objectives of the laws. It is argued in the thesis that although the laws are effectively written, the law enforcers fail to enforce the laws and, consequently, fail to achieve the laws' ends. It is also shown that the enforcers invariably harm innocent persons when they fail to enforce the law.
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Dobianer, Nicole S. "Auto-fiction and identity in Esther Tusquets' trilogy." Thesis, University of Kent, 2013. https://kar.kent.ac.uk/55458/.
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This thesis investigates personal development and identity formation in Esther Tusquets and the female protagonists in her trilogy, composed of El mismo mar de todos los veranos (EMM) (1978), El amor es un juego solitario (AJS) (1979) and Varada tras el último naufragio (VUN) (1980). Recent autobiographic publications had made it possible to shed light on the author behind the literature and had provided indications that supported a hypothesis of life influencing literature. This thesis approaches the question of identity formation primarily through the female protagonists in the trilogy. Their emotional and sexual development, analysed in Chapter 2 and 3, is seen as indicatory of a similar developmental path taken by Tusquets. Chapter 2 and 3 therefore focus on the protagonists’ identity development in emotional and sexual terms and elicit further parallels that exist between the literary plot and the author’s life by complementing the analysis with a conceptual background on autobiography, auto-fiction and psychoanalysis in women’s development. The backdrop of auto-fiction suggested that textual analysis of Tusquets’ autobiographic literature should also allow for a margin of scepticism regarding the reliability of its content. The conclusions derived from Chapters 2 and 3, were seen as paramount because they allowed for putting the later analysis of the author on issues, such as love, sex, motherhood, career, solidarity, individuality and independence, into context. The objective of Chapter 4 was to extract Tusquets’ perspective on womanhood and identity put forward in the trilogy. To do so, her definition of femininity, evidenced by her autobiographic works and her novels, was analysed against the backdrop of patriarchal history, thought and theory provided by Marilyn French, Kate Millett and Gerda Lerner. All this led to a conclusive portrait about Esther Tusquets’, her identity and development in regards to womanhood, as well as, a renewed analysis of her protagonists and their identity formation process.
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Kneale, James Robert. "Lost in space? : readers' constructions of science fiction worlds." Thesis, University College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309071.
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Graf, Stephen. "Necessary Fictions : Nietzsche, Anti-Philosophy and Violence in Samuel Beckett's Trilogy." Thesis, University of Newcastle Upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519471.
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Gui, Lihua. "Robertson Davies's innovative use of the trilogy form in his fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0004/NQ35168.pdf.
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Bagnall, Imogen. "Afrofuturism and Generational Trauma in N. K. Jemisin‘s Broken Earth Trilogy." Thesis, Stockholms universitet, Engelska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194870.
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N. K. Jemisin‘s Broken Earth Trilogy explores the methods and effects of systemic oppression. Orogenes are historically oppressed and dehumanised by the wider society of The Stillness. In this thesis, I will be exploring the ways in which trauma experienced by orogenes is repeated through generations, as presented through Essun‘s varied and complex relationships with her children, and with the Fulcrum Guardian Schaffa. The collective trauma of orogenes is perpetuated through different direct and indirect actions in a repetitive cycle, on societal, interpersonal and familial levels. My reading will be in conversation with theories of trauma literature and cultural trauma, and will be informed by Afrofuturist cultural theory. Although science fiction and fantasy encourage the imagination, worldbuilding is inherently influenced by lived experiences. It could thus be stated that the trauma experienced by orogenes is informed by the collective trauma of African-Americans, as experienced by N. K. Jemisin. Afrofuturism is an aesthetic mode and critical lens which prioritises the imagining of a liberated future. Writing science fiction and fantasy through an Afrofuturist aesthetic mode encourages authors to explore forms of collective trauma as well as methods of healing. Jemisin creates an explicit parallel between the traumatic African-American experience and that of orogenes. Afrofuturist art disrupts linear time and addresses past and present trauma through the imagining of the future. The Broken Earth Trilogy provides a blueprint for the imagined liberation of oppressed groups. Using Afrofuturist tropes such as technology, the ―Black Genius‖ figure and alienation, Jemisin demonstrates the power of reclamation and the possibility of a self-created future for oppressed groups.
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Oppelt, Riaan. "The valley trilogy: a reading of C. Loius Leipoldt's English-language fiction circa 1925-1935." Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_7246_1257247882.
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C. Louis Leipoldt is known as a canonical figure in the history of Afrikaans poetry, He is customarily included in the pantheon of writers such as C.J. Langenhoven who not only established Afrikaans as a standardized national language in the early twentieth century, but also contributed to the idea of the Afrikaner Volk as a distinct nation within South Africa. The recent publication of Leipoldt's Valley Trilogy, three novels written in English in the 1930's now reveals Leipoldt in a very different light. Today, in a time of national transformation, Leipoldt's liberal ideas deserve to be given the broader scope he had intended for them.
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Toerien, Michelle. "Boundaries in cyberpunk fiction : William Gibson's Neuromancer trilogy, Bruce Sterling's Schismatrix, and Neal Stephenson's Snow crash." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51639.
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Thesis (MA)--Stellenbosch University, 2000.ENGLISH ABSTRACT: Cyberpunk literature explores the effects that developments in technology will have on the lives of individuals in the future. Technology is seen as having the potential to be of benefit to society, but it is also seen as a dangerous tool that can be used to severely limit humanity's freedom. Most of the characters in the texts I examine wish to perpetuate the boundaries that contain them in a desperate search for stability. Only a few individuals manage to move beyond the boundaries created by multinational corporations that use technology, drugs or religion for their own benefit. This thesis will provide a definition of cyberpunk and explore its development from science fiction and postmodern writing. The influence of postmodern thinking on cyberpunk literature can be seen in its move from stability to fluidity, and in its insistence on the impossibility of creating fixed boundaries. Cyberpunk does not see the future of humanity as stable, and argues that it will be necessary for humanity to move beyond the boundaries that contain it. The novels I discuss present different views concerning the nature of humanity's merging with technology. One view is that humanity is moving towards a posthuman future, while some argue that humanity is not discarded, but that these characters have merely evolved to the next step in the natural development of humankind. Both these views deal with constant change, a notion advocated by both postmodernism and cyberpunk.
AFRIKAANSE OPSOMMING: "Cyberpunk" literatuur ondersoek die uitwerking wat tegnologiese ontwikkeling in die toekoms op die lewens van individue sal hê. Tegnologie word gesien as tot moontlike voordeel vir die samelewing, maar dit kan ook 'n gevaarlike wapen wees wat gebruik kan word om die mens se vryheid in te perk. Die meerderheid van die karakters in die romans wat ek bespreek verkies om die grense wat hulle inperk te handhaaf in 'n desperate strewe na stabiliteit. Slegs 'n paar individue kry dit wel reg om verby die grense te breek wat deur multinasionale organisasies geskep word vir hul eie gewin. In hierdie tesis kyk ek na 'n definisie van "cyberpunk" en ek ondersoek die invloed van wetenskapsfiksie en postmodernisme op die ontwikkeling van die beweging. Die invloed van postmodernistiese denke kan gesien word in "cyberpunk" se fokus op veranderlikheid eerder as stabiliteit. "Cyberpunk" sien nie die toekoms van die mens as stabiel nie, en die argument is dat dit nodig is vir die mens om verby die grense te beweeg wat vryheid inperk. Die romans wat ek bespreek bevat verskillende sieninge oor die tipe samesmelting wat die mens en tegnologie sal hê. Sommige voel dat die kategorie "mens" permanent agterlaat gaan word, terwyl ander argumenteer dat individue slegs sal ontwikkel tot die volgende stap in die natuurlike ontwikkeling van die mens. Voortdurende verandering is die fokus van beide hierdie standpunte, en dit is ook die belangrikste fokus van beide "cyberpunk" en postmodernisme.
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Simpson, Kathryn C. S. "H. Rider Haggard, Theophilus Shepstone and the Zikali trilogy : a revisionist approach to Haggard's African fiction." Thesis, Edinburgh Napier University, 2017. http://researchrepository.napier.ac.uk/Output/978289.
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The history that H. Rider Haggard writes about in his imperial adventure romance fiction is neither collusive nor consensual with the Zulu who are often the focus of his novels. He writes a complex colonial narrative that characterises the Zulu as a proud and mythic, yet ultimately doomed, race. His early twentieth century trilogy, Zikali, is unique in that he uses the three books, Marie, Child of Storm and Finished, to narrate three pivotal events in the nineteenth century history of the Zulu Kingdom. In Zikali, he simultaneously propounds the legitimacy of the colonial endeavour, so effectively that he rewrites history, to ensure the primacy of the Englishman in nineteenth century Southern Africa historiography, whilst aggrandising the Zulu kingdom. This reframing of the colonial narrative—to suit the Western interloper—would be evidence of what is a standard trope within imperial adventure romance fiction, were it not for the fact that Haggard is ambivalent in his imperialism. He is both recorder and creator of imperial history, bewailing the demise of the Zulu Kingdom whilst validating the importance of the role of the colonial white Englishman; he senselessly kills hundreds of natives within his books, yet privileges the Zulu. Referencing one of the primary motivational sources in Haggard's own colonial experience, Theophilus Shepstone, I propose to show Haggard's sublimation of Shepstone's ideas into his own African Arcadian romances, and his creation of a Zulu historiography, which would go on to be lauded by the early South African National Native Congress as being one of the foundations of early twentieth century native socio-political self-fashioning. Haggard's work provides a fragmentary and elusive insight into nineteenth century southern African history and offers an abstruse glimpse into colonial culture rarely found in other imperial adventure romance fiction.
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Persson, Henrik. "Seldonplanen : En studie av determinism och upplysningsidéer i Isaac Asimovs Stiftelse-trilogi." Thesis, Mittuniversitetet, Institutionen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-13309.
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Ess, Courtneigh. "n Interseksionele lees van Bettina Wyngaard se misdaadtrilogie (An intersectional reading of Bettina Wyngaard’s crime-fiction trilogy)." Thesis, University of the Western Cape, 2021. http://hdl.handle.net/11394/8183.
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Magister Artium - MABettina Wyngaard se misdaadfiksie-trilogie, bestaande uit die romans Vuilspel (2013), Slaafs (2016) en Jagter (2019) het ’n vernuwende uitwerking in die Afrikaanse literatuur gehad. Dit kan hoofsaaklik teruggevoer word na die skrywer se gebruik van ’n (swart) lesbiese protagonis. Wyngaard is ook die eerste swart Afrikaanse vroue-outeur wat haar tot hierdie genre gewend het. Haar misdaadtrilogie toon ’n sentrale bemoeienis met die vroulike subjek se ondergeskikte posisie as deurgaans onderdruk weens verskeie identiteitsaspekte (waaronder ras, gender, klas, seksualiteit, kultuur en nasionaliteit tel). Die simbiotiese verhouding tussen identiteit en mag is dus ’n prominente tematiek in die trilogie. Hierdie bemiddeling tussen identiteit en mag toon raakpunte met die interseksionaliteitsteorie soos voorgestel deur Kimberlé Crenshaw (1989). Sy voer aan dat subjekte onderdruk word deur die tussenspel van identiteitsmerkers en sisteme van onderdrukking wat inherent is daaraan. In hierdie verhandeling word die representasie van die vroulike subjek in Wyngaard se misdaadtrilogie uit ’n interseksionele invalshoek in oënskou geneem. Vanweë die gebruik van literatuur as subjek van analise in hierdie verhandeling, word swart feministiese denkskole oor die letterkunde ingereken as ontledingsinstrumente om Wyngaard se trilogie binne die ruim trajek van swart feministiese fiksie te posisioneer. Terselfdertyd word Wyngaard se subjektiwiteit as swart vroue-outeur krities bekyk omdat sy deur middel van haar tekste verantwoordelik is vir beeldskepping en voorstellings van vroulike subjekte. Aangesien Wyngaard se fiksie dikwels identiteitsaspekte ondervang wat verband hou met haar eie subjektiewe identiteit, sal die wyse bekyk word waarop selfdefiniëring en selfaktualisering in haar trilogie tot stand gebring word.Soos reeds genoem, het Wyngaard grense in die Afrikaanse letterkunde versit deur haar tot misdaadfiksie as genre te wend. As deel van populêre fiksie, staan misdaadfiksie tradisioneel bekend as ’n behoudende genre met ’n resepmatige onderbou wat, só beskou, nie gebruik word om progressiewe argumente in te voer nie. Hierdie aspek van die genre staan dus oënskynlik in kontras met die feministiese aard van Wyngaard se misdaadfiksie-trilogie. In hierdie verhandeling word gevolglik ook die funksionaliteit van genre en die impak daarvan op die beeldskepping van die vroulike subjek bekyk. Maniere waarop Wyngaard gevestigde genrekonvensies oorskry in ’n poging om feministiese benaderings te berde te bring, word in die besonder bestudeer.
South Africa
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Ross, Larry J. "The use of Tolkien's 'The lord of the rings' trilogy in contemporary pre-evangelism." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p001-1235.
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Thesis (D. Min.)--Dallas Theological Seminary, 2008.Includes abstract. Appendix A: Pastor's guide to The lord of the rings : a resource for fellow pastors who love "The lord of the rings" / by Larry J. Ross. Includes bibliographical references (leaves 110-112).
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Elhousny, Nadja. ""I believe it." : En luthersk-teologisk analys av Veronica Roths Divergent-trilogi." Thesis, Uppsala universitet, Teologiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-255544.
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The aim of this essay is to examine what happens when Veronica Roths Divergent-trilogy is read with a lutheran theological pre-understanding. Using reader-response theory and lutheran theology written for and in a post-modern context, three lutheran figures of thought are presented as one way of understanding the trilogy. The conclusion is that it is possible to reveal lutheran ideas concerning justification, guilt, forgiveness, mercy and self-sacrificing love in the Divergent-story.Denna uppsats undersöker Veronica Roths Divergent-trilogi ur ett luthersk-teologiskt perspektiv. Metoden som används är en text- och läsarcentrerad metod. Med hjälp av post-modern luthertolkning till största delen hämtad från projektet Luthersk teologi och etik - i ett efterkristet samhälle så byggs tre tankefigurer upp; människan och det onda, människan och det goda samt människan och vägen till frihet. Dessa tankefigurer läggs som ett raster över trilogin. Resultatet av denna process visar att det i berättelsen är möjligt att synliggöra lutherska tankefigurer rörande rättfärdiggörelse, skuld, en självutgivande kärlek, förlåtelse och nåd.
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Rector, Ann Mansfield. "Gleams of Godlight in the trilogy a study of myth and doctrine in the science fiction of C.S. Lewis /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1985. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1985.Source: Masters Abstracts International, Volume: 45-06, page: 2846. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves [103]-106).
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Chau, Ka-wah Anna. "Imaginary spaces in children's fantasy fiction a psychoanalytic reading of Lewis Carroll's Alice Books and Philip Pullman's His Dark Materials Trilogy /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31364986.
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Chau, Ka-wah Anna, and 周嘉華. "Imaginary spaces in children's fantasy fiction: a psychoanalytic reading of Lewis Carroll's Alice Booksand Philip Pullman's His Dark Materials Trilogy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31364986.
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Stephenson, William John. "Form, parody and history in 'The French lieutenant's woman' and 'A maggot' by John Fowles, and 'To the ends of the Earth: a sea trilogy' by William Golding." Thesis, University of Leeds, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249288.
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Stenberg, Felicia. "Cooperative Apocalypse : Hostile Geological Forces in N. K. Jemisin’s The Broken Earth Trilogy." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96839.
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In this thesis I explore the place of the human in the Anthropocene, and our relationship to the Earth through an analysis of N. K. Jemisin’s The Broken Earth trilogy. As the trilogy depicts an apocalyptic landscape where the Earth has sentience and humanity is divided into three subspecies, this work of speculative fiction lends itself well to be interrogated and examined as an allegory for our current climate crisis. The analysis is anchored in posthumanism and employs a variety of concepts, such as Bruno Latour’s work on agency and deanimation, Donna Haraway’s Chthulucene, and Amitav Ghosh’s work on speculative fiction among others. I argue that The Broken Earth trilogy illustrates that the Earth is an agentive network that can no longer be ignored and contend that the trilogy complicates both anthropocentrism and individualism by depicting amplified versions of human beings, and in doing so highlights the arbitrary boundaries between both nature and society, and human and nonhuman. Thus, The Broken Earth trilogy can be read as a warning call for a future to be avoided at all costs, while concurrently be used to make sense of the incomprehensibility of our contemporary era.
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Lagerqvist, Anna. "”Shouldn’t I be in your position?” : En studie av klass och kön i Marie Lus Legendtrilogi." Thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105846.
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Syftet med uppsatsen är att studera de två huvudkaraktärerna i Marie Lus Legendtrilogi för att undersöka om och i så fall hur deras egenskaper är formade av deras klass- och könstillhörighet, vad som möjliggör eller orsakar deras klassresor samt hur de påverkas av att röra sig mellan olika samhällsklasser. Studiens teoretiska utgångspunkt är att det inte enbart går att analysera en maktordning utan att även ta hänsyn till andra maktordningar. Jag har utgått ifrån Maria Nikolajevas uppställning av stereotypt manliga och kvinnliga egenskaper, Roberta Seelinger Trites teorier om hur makt fungerar både förtryckande och frigörande för subjektet, samt Sanna Lehtonens teorier om normbildning kring klass som identitetskategori. I uppsatsen kommer jag fram till att karaktärernas egenskaper är mer kopplade till deras klass, och mindre till deras kön. Flickan från överklassen sätter större värde på sig själv, medan pojken från underklassen värderar sig själv lägre. Hon har även haft tillgång till utbildning som gjort henne snabb, stark och rationell, medan han inte är lika tränad som hon är och därmed mer känslostyrd. Klassresor möjliggörs av socialt och kulturellt kapital samt trogenhet gentemot landet de lever i. Karaktärerna påverkas av möten med andra klasser på så sätt att de omvärderar synen på sig själva samt förhandlar med den makt de blivit tilldelade.
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Waddell, Heather. "Reading with thought and effort : Philip Pullman's His Dark Materials trilogy, and its connections to the works of John Milton and William Blake /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/245.pdf.
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Mounienguet, M'bérah Yannick. "Identité, théâtralité et statut anthropologique de la fiction narrative dans "The New York Trilogy" de Paul Auster et "La Polka, la fabrique de cérémonies, solo d’un revenant" de Kossi Efoui." Thesis, Paris Est, 2012. http://www.theses.fr/2012PEST0021.
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Ce travail porte sur les conditions d’élaboration d’un savoir anthropologique à partir des formes discursives du roman contemporain et la représentation du personnage qui en découle. Il dresse un statut de ce savoir en mettant ces formes en relation avec le contexte socio-anthropologique qui détermine leur émergence, renvoyant le phénomène esthétique à sa réception et à sa signification sociale.Ainsi, par le concept de théâtralité, nous désignons un bouleversement de l’identité du roman ainsi que la modalité par lesquelles la crise du personnage s’énonce en « refigurant » l’image de l’individu et de la société. Les trois parties de la thèse répondent à la triple articulation de la méthode socio-anthropologique du Texte. La première partie revient sur les influences mutuelles entre littérature et anthropologie et montre, à partir du concept de mimésis, que la fiction propose à son tour une vision de l’homme. La seconde partie localise deux niveaux de théâtralité dans le roman : celle qui met l’identité de ce dernier en crise et l’autre qui réélabore la mimésis en « représentant » un personnage de roman totalement morcelé. La troisième partie, enfin, cherche à établir des correspondances entre cette double crise du roman et du personnage et les figures de l’hommeThis work concerns the conditions of elaboration of an anthropological knowledge from the discursive forms of the contemporary novel and the representation of the character which this one sets up. It raises a status of this knowledge by putting these forms in connection with the socio-anthropological context which determines their emergence, referring to the aesthetic phenomenon of its reception and its social significance. So, the theatricality concept indicates a disruption of the novel identity as well as the method by which the character crisis expresses itself, "refiguring" the vision of human being and the society. The dissertation is divided in three parts all in accordance with the triple articulation of the Text socio-anthropological method. The first part’s dealing with the mutual influence between literature and anthropology. With the mimesis concept, that first part shows that the novel proposes its own vision of the human being. The second part localizes two levels of theatricality in the novel: the one that puts the identity of that one in the crisis and the over that re-elaborates the mimesis by representing a character totally split. The third part tries to establish correspondences between this double crisis of the character and human beings
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Vidal, Filho Elias. "L’ombre de l’obscurité dans Récit d’un certain Orient, Deux frères et Cendres d’Amazonie, de Milton Hatoum." Thesis, Paris 3, 2020. https://bsnum.sorbonne-nouvelle.fr/files/original/1338/6773/These_en_cours_de_traitement.pdf.
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Du fait de la récurrence des faits diégétiques (tels que des images agissantes, des scènes, des projections et des croisements de personnages) dans Récit d’un certain Orient, Deux frères et Cendres d’Amazonie, le présent ouvrage considère que ces trois romans constituent ce que nous appelons la première triade romanesque de Milton Hatoum. Certains micronœuds existent en effet entre les tissus qui les relient comme dans une macrostructure qui se différencie pour se tenir, dans un processus de totalisation et de vide, de révolte et de reprise infinie des débuts depuis la fin. Ces faits diégétiques sont des représentations du vide qui retracent les restes d'un chemin en ruine. Ainsi, en s'opposant au courant d'études qui estime que le roman hatoumien est mémorialiste, et se montre désireux de combler ses lacunes, notre analyse, pour sa part, guidée par le tissu littéraire, traite des multiples entrelacements dérivés de l'économie des états de mémoire (en nuances d’inconscience), essentiellement de l’état de la mémoire oubliée, de l'économie de l'oubli. Elle se penche également sur d’autres faisceaux de cette triade et de ce fait de notre travail, à savoir : la mort et la vie, les présences et les absences du corps, celles du père et du fils, la précision et l'exigence de l'élaboration du deuil et de l'héritage, du pardon de l'impardonnable (la bâtardise et la filiation), spécifiés dans les problématiques concernant les territorialités, appartenances et positions éthico-politiques, socio-écologiques. Le vide structure les récits analysés, tendus entre les espaces-temps de l'énonciation et de l'énoncé jusqu'à la fragmentation (scission infinie du double, dissemblable, répété et différent, enfin rejoint à l'indifférence chaotique) des voix narratives (et des faits diégétiques). L’événement grave, traumatique, oublié ou à oublier, établit la discontinuité, la chose invisible, le besoin d'élaboration du roman qui demeure cependant continuellement ouvert, germinal. La réduction structurelle opérée par notre thèse, traverse les zones de la surface pour plonger jusqu'à l’essence des œuvres hatoumiennes. Cette réduction vise à accéder à leurs particularités et universalités, à fuir la dichotomie partie-tout et à “l'exotisation”, en s’attelant à la compréhension de leur processus infini de totalisation à travers l'élément vide: l’instabilité de l'inconnu, de l’immémorial des romans de cette triade qui en fait des romans de l'oubli, définit le projet littéraire de l'auteur, et identifie ses filiations et ancestralités pour l'insérer dans un paysage littéraire transnationalDue to the recurrence of diegetic elements – such as active images, scenes, projections and meetings of characters – in Tale of a Certain Orient, The Brothers and Ashes of the Amazon, our work considers these three novels to what shall be referred here as Milton Hatoum’s first fictional trilogy. Indeed, there are certain micro-knots linked together within a fabric, as in a macro-structure that differs in order to be sustainable, in a process of filling and draining, of rebellion from end to beginning. These diegetic elements are representations of emptiness that recount the remains of a ruined path. Guided by the literary fabric, thus confronting the study researches which consider Hatoum’s fictional work as memorialist – and summon up the willingness to address his shortcomings – our analysis deals with the multiple knots stemming from the economy of memory conditions (shades of unconsciousness), mainly the condition of forgotten memory, the economy of forgetfulness. Our work also focuses on other converging lines in Hatoum’s trilogy plot, namely life and death, presence and absence of the body (the father’s and the son’s), accuracy and requirement as to the process of bereavement and legacy, forgiving the unforgivable (illegitimacy and affiliation), all pointed out in questions regarding territoriality, ethnicity and ethico-political/socio-ecological stances. Emptiness shapes the analysed narratives, standing stretched in the space-time continuum of enunciation and utterance until the breaking up (infinite split of the double – unalike, recurred and different – joining at last the chaotic indifference) of narrative voices (and diegetic elements). The serious, traumatic, forgotten or to be forgotten event creates the discontinuity, the unseen, the need to develop the novel, which remains continuously open and germinal. The structural reduction undertaken here by our analysis travels through the surface and plunges into the essence of Hatoum’s works. This reduction aims to reach their specificity and universality, to avoid the part-whole dichotomy and exoticisation, by engaging to understand their infinite process of filling through empty elements. The unsteadiness of the unknown – of the immemorial in the three novels which makes them a trilogy of forgetfulness – characterises the author’s literary project, identifies its lineage and ancestrality in order to integrate it in a transnational literary landscape
A partir da reincidência de fatos diegéticos (tais como imagens agentes, cenas, projeções e atravessamentos de personagens) em Relato de um certo Oriente, Dois irmãos e Cinzas do Norte, o presente trabalho os reconhece como a primeira tríade romanesca de Milton Hatoum – ao encontrar alguns dos micronós entre seus tecidos a reuni-los em uma macroestrutura que se diferencia para se manter, um processo de totalização e esvaziamento, da revolta, do fim ao começo. Tais fatos diegéticos são representações de vazio que traçam os vestígios de um percurso em ruína. Assim, nossa análise opõe-se à corrente de estudos que vê o romance hatoumiano como memorialista, sob sugestão do preenchimento de suas lacunas; antes, orientada pelo tecido literário, trata dos múltiplos entrelaçamentos derivados da economia dos estados da memória (em nuances de inconsciência), essencialmente do estado da memória esquecida, a economia do esquecimento – dos outros feixes dessa trama tríade e, por isso, de nosso trabalho: de morte e de vida, das presenças e ausências do corpo, do pai e do filho, da precisão e exigência pela elaboração do luto e da herança, do perdão do imperdóavel (a bastardia e a filiação), particularizados em problemáticas de territorialidades, pertencimentos e posicionamentos ético-políticos, social-ecológicos. O vazio determina as narrativas analisadas, tensionadas entre os espaço-tempos da enunciação e do enunciado até a fragmentação (a cisão infinita do duplo, dessemelhante, repetido e diferente, finalmente recongregado à indiferença caótica) das vozes narrativas (e dos fatos diegéticos): o acontecimento grave, traumático, esquecido ou a esquecer, que instaura a descontinuidade, a coisa invisível, a necessidade de elaboração, do romance que permanece, contudo, aberto, vão-grão germinal. A redução estrutural que opera nossa tese, atravessados os âmbitos da superfície até o essencial das obras hatoumianas, quer acessar suas particularidades e universalidades, escapar da dicotomia parte-todo e da exotização, lançando-se à compreensão de seu processo infinito de totalização através do elemento vazio: a instabilidade do desconhecido e imemorado dos romances da tríade que os configura romances de esquecimento, define o projeto literário do autor, suas filiações e ancestralidades a inseri-lo em uma paisagem literária transnacional
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Weber, Undine S. "Wolfgang Koeppens auseinandersetzung mit der tradition: aspekte der intertextualität in der so genannten nachkriegs‐trilogie." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020833.
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Wolfgang Koeppen’s three post‐war novels have often been called a trilogy, purely based on their publication in rapid succession in the early 1950s. This study establishes a connection between the works by looking at their roots in Irish, Anglo‐American, French and German modernism, and shows up links between Wolfgang Koeppen, James Joyce, E.E. Cummings, Charles Baudelaire and Thomas Mann. This comparative analysis concludes, by integrating socio‐political factors of life in West Germany after World War II, that Koeppen transcends the modernist tradition – the fact that modernism has become tradition, i.e. it has become “classic”, in contradiction to being “modern”. Koeppen’s texts do not only allude to and build on classic texts and refer to stylistic and narrative modernist elements such as stream‐of‐consciousness and sketching a fragmented society in turmoil; the very act of recurring to myths and texts of the Western canon in order to depict the disaffected individual is an almost post‐modern one.
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Al, Suraihi Abdulrahman. "Le rapport entre l’Histoire et le roman dans les deux derniers volumes des Thibault de Roger Martin du Gard et La Trilogie de Naguib Mahfouz." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030044.
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Comment l’historique s’incorpore-il dans le projet romanesque et comment cette incorporation vient-elle répondre à l’ambition romanesque de deux auteurs qui, malgré leur appartenance à deux cultures différentes, écrivent une fiction qui raconte l’histoire d’une famille à travers l’Histoire, plus précisément pendant la première moitié du XXe siècle ?Comment comprendre les rapports entre roman et Histoire ? Notre recherche étudie commenta pu s’opérer la contamination entre les deux : contamination mutuelle entre l’historique et l’inventé qui sert d’une part à authentifier le monde fictif élaboré par l’écrivain mais aussi à questionner l’Histoire. L’étude détaillée des marqueurs de l’historicité à savoir les dates, les personnages historiques et les documents nous montre que la fiction s’historicise non pas en rapport avec le genre de l’histoire académique mais en rapport avec les formes nouvelles de l’écriture de la presse comme le reportage dans le cas de Roger Martin du Gard et le feuilleton dans le cas de Naguib MahfouzHow is the historical incorporated in the novel and how does this incorporation serve theambition of two novelists who, even though belonging to different cultures, write fictionswhich tell the story of a family through history, and more precisely during the first half of theXXe century? How to understand the relationship between novel and history? Our researchinvestigates how the contamination between them proceeds: between historical facts and theinvented ones, a mutual contamination is used to authenticate the fictive world created by thenovelist, but also to question history. The detailed study of the marks of historicity, namelydates, historical characters and documents, shows us that the fiction historicizes itself, not inrelation to history as an academic genre, but in relation to new writing forms of the press likethe reportage in the case of Roger Martin du Gard and the feuilleton in the case of NaguibMahfouz
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Bui, Thi Thu Thuy. "La crise de l’exil chez Linda Lê : l’itinéraire du deuil dans la trilogie consacrée à la mort du père." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20024.
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L’exil et le deuil, en relation dialectique, sont très présents dans l’œuvre sombre et peuplée de personnages misanthropes de Linda Lê. La trilogie est nourrie par le traumatisme de la perte du père, du pays et de la langue. La question de la langue affecte profondément l’écrivaine. En effet, son abandon voulu de la langue natale pour celle du pays d’adoption engendre un sentiment de trahison. A partir de son exil du langage, Linda Lê construit un langage de l’exil : celui de l’obscurité, du trouble, de la crise, aggravée par la mort du père abandonné. L’écriture lui est une nécessité pour faire le deuil et un pharmakon contre la folie. Hétérogène dans leur forme, chacun des livres de la trilogie correspond à une étape du deuil. Homogène dans le fond, ils représentent différents aspects de la quête du père. Imprégnée du vécu de l’auteure, la trilogie est néanmoins une œuvre de fiction avec une part d’extravagance et d’onirisme. La construction du récit reflète donc une indécision générique, marquée par la cohérence entre mémoire et imagination, conscient et inconscient. De plus, la trilogie témoigne d’une dualité culturelle : un pan tourné vers le passé vietnamien et l’autre vers le présent européen. Enfin, la dualité sentimentale entre amour et colère fait apparaître une idéologie très lêesque, apparemment paradoxale mais en réalité logique et philosophique : la vie naît de la mort, la mort est cachée au sein de la vieExile and mourning, in dialectical relation, are of paramount importance in Linda Lê’s books which are populated by misanthropic characters. The trilogy is nourished by the traumatic loss of the father, the country and the language. The writer is deeply affected by the issue of the language. In fact, she deliberately abandoned her native tongue for that of her adopted country thus generating a feeling of betrayal. From her “exile of language”, Linda Lê constructs a “language of exile”: one of obscurity, of confusion, of crisis, aggravated by the death of her abandoned father. Writing is necessary for her in order to go through mourning and is a pharmakon against madness. Heterogeneous in their form, each book of the trilogy corresponds to one stage of grief. Homogeneous in their substance, they represent the different aspects of the father’s quest. Steeped in the personal experience of the author, the trilogy is nevertheless a work of fiction with a part of extravagance and onirism. The construction of the story also reflects the generic indecision, marked by the coherence between memory and imagination, conscious and unconscious. In addition, the trilogy is a testimony to a cultural duality with the Vietnamese past on the one hand and the European present on the other. Finally, the sentimental duality between love and anger is a mark of the “lê-esque” ideology: paradoxical in appearance but logical and philosophical in reality: life is born from death and death is hidden within life
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Légaré, Isabelle. "Épistémocritique des insectes sociaux dans les essais de Michelet et de Maeterlinck suivi de La trilogie Antennes et L’Excès." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39639.
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Ce projet de thèse en création littéraire, divisé en trois parties, vise à poursuivre dans la veine entomologique et littéraire présente dans L’Insecte, de l’historien Jules Michelet, et dans La Vie des Abeilles, La Vie des Fourmis et La Vie des Termites, du poète symboliste Maurice Maeterlinck. Dans un premier temps, nous analyserons la teneur du discours scientifique de ces deux écrivains reconnus par l’institution littéraire en adoptant une approche épistémocritique. Nous chercherons à comprendre comment les connaissances entomologiques au sujet de l’abeille, de la fourmi et du termite servent les textes de notre corpus et à quel point elles diffèrent d’un écrivain à l’autre. Nous examinerons également leur utilisation des références scientifiques, de la terminologie, des figures et des représentations abstraites afin de mieux nous outiller pour la création. Dans un deuxième temps, nous présenterons la trilogie de nouvelles Antennes qui traite des mêmes connaissances entomologiques que Michelet et Maeterlinck, mais d’une façon imagée et à une échelle différente, car nous y transposons les qualités animales aux humains. L’ensemble est construit en fonction de la hiérarchie établie par Maeterlinck au sujet des espèces qu’il a étudiées pour déterminer si cet ordre tient toujours, un siècle plus tard. Nous retrouvons ainsi les qualités de l’indestructible fourmi (L’Organe) qui, par son altruisme, serait supérieure à l’abeille asservie et à la santé fragile (L’Extrudeuse), qui elle-même serait supérieure à l’impitoyable termite (La Termitière). En changeant les proportions et les acteurs, nous expérimentons avec la fiction pour tenter de comprendre ce que signifient la nature, l’intelligence, l’altruisme et la mort pour l’être humain au XXIe siècle. Dans la dernière partie, forte de notre analyse et de notre création, nous aborderons dans L’Excès le comportement de l’espèce humaine et la place qu’elle se croit en droit d’occuper au sein de la nature.
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劉天枝. "論金庸武俠小說的絕境書寫 :以"射鵰"三部曲為例 = Research on the desperation narrative of Jin Yong's Martial Arts novels : taking the Condor Trilogy for instance." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954251.
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Couture, Diana Maude. "Se reconstruire après une fin du monde : analyse des sociétés post-apocalyptiques dans trois fictions anglo-saxonne récentes." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/33997.
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En nous appuyant sur un corpus composé de Silo de Hugh Howey, de la série Divergent de Veronica Roth et finalement de la série The 100 de Morgan Kass, nous analyserons la reconstruction d’une société après l’impact d’un cataclysme ayant de nombreuses conséquences : la chute d’un monde tel que connu jusqu’alors, l’isolation, la perte de structures et la décimation de la majorité de la population. Les œuvres choisies mettent en scène des sociétés déjà reconstruites, où l’apocalypse s’est produite il y a plusieurs générations. Les choix de sociétés mises en place devient alors significatif d’une volonté de mettre de l’avant un certain type de réorganisation postérieure au cataclysme. Nous nous intéresserons donc à cette reconstruction en observant d’abord les éléments qui indiquent ce qu’était la vie sur Terre avant l’apocalypse ; l’apparence et l’état de la Terre avant la catastrophe, mais aussi le type de sociétés établies dans ce monde futuriste. Nous analyserons également le choix des catastrophes en nous questionnant sur les causes et les impacts des cataclysmes choisis (attaque nucléaire, arme biologique, bombardements, etc.). Par la suite, nous nous attarderons à l’instauration et au fonctionnement des sociétés établies dans les différents domaines (politique, économique, judiciaire). Dans notre dernier chapitre, nous nous questionnerons sur les sources de conflits qui viennent troubler le statu quo traduit par l’immobilisme de la société, notamment en ce qui a trait aux événements entourant l’apocalypse (par exemple, les causes du cataclysme sont souvent gardées sous silence par les dirigeants). Finalement, nous interpréterons les thèmes récurrents que partagent les œuvres du corpus.
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鄺雯怡. "格非復歸傳統的理論建構與文學實踐研究 :以"江南三部曲"為例 =;"Return to the tradition" of Ge Fei : his theoretical exploration and creation practice : a case from Jiang Nan Trilogy." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954182.
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Chappell, Shelley Bess. "Werewolves, wings, and other weird transformations fantastic metamorphosis in children's and young adult fantasy literature /." Doctoral thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/226.
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Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2007.Bibliography: p. 239-289.
Introduction -- Fantastic metamorphosis as childhood 'otherness' -- The metamorphic growth of wings : deviant development and adolescent hybridity -- Tenors of maturation: developing powers and changing identities -- Changing representations of werewolves: ideologies of racial and ethnic otherness -- The desire for transcendence: jouissance in selkie narratives -- Conclusion -- Bibliography -- Appendix: "The great Silkie of Sule Skerry": three versions.
My central thesis is that fantastic motifs work on a metaphorical level to encapsulate and express ideologies that have frequently been naturalised as 'truths'. I develop a theory of motif metaphors in order to examine the ideologies generated by the fantastic motif of metamorphosis in a range of contemporary children's and young adult fantasy texts. Although fantastic metamorphosis is an exceptionally prevalent and powerful motif in children's and young adult fantasy literature, symbolising important ideas about change and otherness in relation to childhood, adolescence, and maturation, and conveying important ideologies about the world in which we live, it has been little analysed in children's literature criticism. The detailed analyses of particular metamorphosis motif metaphors in this study expand and refine our academic understanding of the metamorphosis figure and consequently provide insight into the underlying principles and particular forms of a variety of significant ideologies.
By examining several principal metamorphosis motif metaphors I investigate how a number of specific cultural beliefs are constructed and represented in contemporary children's and young adult fantasy literature. I particularly focus upon metamorphosis as a metaphor for childhood otherness; adolescent hybridity and deviant development; maturation as a process of self-change and physical empowerment; racial and ethnic difference and otherness; and desire and jouissance. I apply a range of pertinent cultural theories to explore these motif metaphors fully, drawing on the interpretive frameworks most appropriate to the concepts under consideration. I thus employ general psychoanalytic theories of embodiment, development, language, subjectivity, projection, and abjection; poststructuralist, social constructionist, and sociological theories; and wide-ranging literary theories, philosophical theories, gender and feminist theories, race and ethnicity theories, developmental theories, and theories of fantasy and animality. The use of such theories allows for incisive explorations of the explicit and implicit ideologies metaphorically conveyed by the motif of metamorphosis in different fantasy texts.
In this study, I present a number of specific analyses that enhance our knowledge of the motif of fantastic metamorphosis and of significant cultural ideologies. In doing so, I provide a model for a new and precise approach to the analysis of fantasy literature.
Mode of access: World Wide Web.
[12], 294 p
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Huang, Han-Chiang, and 黃漢強. "Translating Science Fictions: A Criticism of Two Translations of Isaac Asimov’s Foundation Trilogy." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/84079682666928423991.
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碩士輔仁大學
跨文化研究所翻譯學碩士班
99
This thesis focuses on the comparison and analysis of two Chinese translations of Isaac Asimov’s classical science fiction (SF) work: the Foundation Trilogy. The two translations were published in Taiwan in 1980 and 2004, and they were translated by Chang Shih and Yeh Leehwa, respectively. Three aspects are examined: literary, sci-fictional and colloquial. First, when examining the literary aspect, the thesis finds that Yeh’s translation is more complete and accurate. It has vivid dialogues as well as more detailed descriptions of the scenes and characters. Secondly, from the sci-fictional aspect, the imaginary galactic world in the original text is well-illustrated in Yeh’s translation. In order to strengthen the estrangement effect, Yeh deploys some translation strategies, such as coining proper nouns, using correct scientific terms, explicitation, and adopting obsolete words to create novelty. Finally, from the colloquial aspect, translationese is felt more or less in both translations. The thesis also finds that foreignizing translation is a proper strategy to create equivalent effect of estrangement when translating names, exotic expressions, and exclamations. Domesticating translation is preferable to translating units, used to measure length or weight, and symbols. The thesis concludes that the differences between the two translations may stem from the translators’ view of how to translate SF. Chang’s translation is probably affected by Chinese SF writers and norms in his time. Therefore he focuses on the meanings and thoughts while neglecting descriptions and novelty. As a SF writer and promoter, Yeh aims to promote SF in Taiwan and his translation is a step towards his goal. Therefore he follows the original text as close as he could to bring novelty and entertainment to readers.
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Liu, Chao-Pi, and 劉朝弼. "Communicating with the Other in Science Fiction: A Case Study of “Ants Trilogy”." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/63207987628495139895.
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碩士世新大學
口語傳播學研究所
95
The ideal interaction is the human deepest hope, but when the 21st century has arrived, many kinds of communication technologies weed through the old to bring forth the new, the communication difficult position certainly has not reduced, the peoples’ distance also doesn’t have therefore to pull closer. From the concern about communication phenomenon, this study takes the "ants trilogy" as an analytic text by science fiction writer Bernard Werber, to discourse the communication’s social process, essential factor, and concrete connotation in Chinese glossary. In the general science fictions, communicate with the natural myriad things, the alien and so on are always the attention cores, the communication machines which invented are also regarded as good tools to clarify the misunderstanding; But in a case study of "ants trilogy", the communication technology Rosetta Stone is only a link by many plots. It is unable to exhaust the complex story which grown by strange, suspected, likes and lots kinds of desires. However, it actually causes the communication process between the humanity, people and ants, as well as between ants to be inspected. The knowledge and connotation of communication study are the foundations while this research carries on, and communicating with the other is the emerging vocabulary to describe this kind of phenomenon in this article. The latter’s concept has facilitated the author to introspect the knowledge of communication study further. The conclusion pointed out that we should cooperate and respect for all things outside of us, it’s more fundamental than the thought fusion and the mutual recognition. Just open our mind, sincerely listen, and experience more possibility about otherness, that is the realistic manner what we face the communication difficult position.
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Sawyerr, Oluwatosin E. "The representation of women's experiences in Eastern Nigeria as porayed in Akachi Adimora-Ezeigbo's trilogy." Diss., 2015. http://hdl.handle.net/11602/290.
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Monfette-Fortin, Kristina. "Les usages du récit dans la fiction biographique : le cas de la trilogie 1984 d'Éric Plamondon." Thèse, 2019. http://depot-e.uqtr.ca/8847/1/032273451.pdf.
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Chamberlain, Marlize. "The carceral in literary dystopia: social conformity in Aldous Huxley’s Brave new world, Jasper Fford’s Shades of grey and Veronica Roth’s Divergent trilogy." Diss., 2020. http://hdl.handle.net/10500/26525.
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Includes bibliographical references (leaves 123-127)This dissertation examines how three dystopian texts, namely Aldous Huxley’s Brave New World, Jasper Fforde’s Shades of Grey and Veronica Roth’s Divergent trilogy, exhibit social conformity as a disciplinary mechanism of the ‘carceral’ – a notion introduced by poststructuralist thinker Michel Foucault. Employing poststructuralist discourse and deconstructive theory as a theoretical framework, the study investigates how each novel establishes its world as a successful carceral city that incorporates most, if not all, the elements of the incarceration system that Foucault highlights in Discipline and Punish. It establishes that the societies of the texts present potentially nightmarish future societies in which social and political “improvements” result in a seemingly better world, yet some essential part of human existence has been sacrificed. This study of these fictional worlds reflects on the carceral nature of modern society and highlights the problematic nature of the social and political practices to which individuals are expected to conform. Finally, in line with Foucault, it postulates that individuals need not be enclosed behind prison walls to be imprisoned; the very nature of our social systems imposes the restrictive power that incarcerates societies
English Studies
M.A. (English Studies)
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Šafrová, Zuzana. "Jean-Claude Izzo - "marseilleský polar" v českých překladech." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-397913.
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This diploma thesis focuses on the most popular representative of the so-called "polar marseillais", which is Jean-Claude Izzo. The theoretical part briefly describes the development of the detective genre and the place of the detective novel in the framework of French literary production. It also deals with the position of the detective novel in the context of Czech literature and publishing. Secondly, Jean-Claude Izzo and his works will be presented in detail. Based on the information already presented, it will be possible to characterize the place of this author in connection to the French literary scene and to describe his function in the Czech environment. The main part of the work will be devoted to the translatological analysis and the critique of two Czech translations of Izzo's novels Totální chaos and Chourmo that together with Solea belong to his so-called 'Marseilles trilogy'.
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Kadlec, Daniel. "K vymezení žánru fantastiky na příkladu románové trilogie Inkoustový svět od Cornelie Funkeové." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-324182.
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Autor: Daniel Kadlec Vedoucí práce: PhDr. Tamara Bučková, Ph.D. Univerzita Karlova v Praze Název práce: K vymezení žánru fantastiky na příkladu románové trilogie Inkoustový svět od Cornelie Funkeové Počet stran: 77 Název: K vymezení žánru fantastiky na příkladu románové trilogie Inkoustový svět od Cornelie Funkeové Abstrakt: Práce se zabývá fantastickou literaturou a na příkladu románové trilogie "Inkoustový svět" od CORNELIE FUNKEOVÉ poukazuje na některá specifika dvoudimenzionálních příběhů. V teoretické části je nejprve na základě rešerše definován pojem fantastická literatura / fantastika a posléze blíže popsány čtyři k ní náležející žánry - fantasy, science fiction, pohádka a fantastická povídka resp. fantastický román. Vlastní analýza trilogie "Inkoustový svět" je zaměřena na pojetí dvoudimenzionality a roli osudu v tomto díle. Předpoklad, že v "Inkoustovém světě" vytváří autorka dvě rovnocenné autonomní roviny světa reality a světa fantasie, se podařilo prokázat, stejně jako premisu výrazné role osudu, jenž lze změnit jen za pomoci vlastností jako jsou láska, přátelství a ochota k sebeobětování. Klíčová slova: fantastická literatura / fantastika; fantasy; dimenze reality vs. dimenze fantasie; Inkoustový svět; Cornelia Funkeová Author: Daniel Kadlec Supervisor: PhDr. Tamara Bučková, Ph.D. Charles...