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Dissertations / Theses on the topic 'Gentry studies'

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Published: 4 June 2021
Last updated: 3 February 2022

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1

Payling, Simon John. "Political society in Lancastrian Nottinghamshire." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385629.

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2

陳熾洪 and Chi-hung Chan. "A study of Shen Wansan's legal case in the Early Ming period." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31950218.

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3

Abrahams, Shathley Q. "Sedimentations : reading genre, reading across genre." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/7815.

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Bibliography: leaves 69-73.
This thesis argues for, citing the example of four novels published at or near to the millennium, the establishment of antirely new genre. But implicit in this is an investigstion into what is meant by term 'genre'. Further the nature of these novels makes central the way in which these novels should be grouped over the grouping itself.
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4

Articus, Kristina. "Phylogenetic Studies in Usnea (Parmeliaceae) and Allied Genera." Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-3974.

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5

Garza, Maria Alicia 1957. "El genero y la sexualidad en la cuentistica de Ines Arredondo." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290641.

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The narrative of Ines Arredondo presents a wide range of themes that include insanity, the gaze, loneliness, revisionary representations of biblical and mythological stories and various representations of sexuality. This study considers gender and sexuality as ideological constructs in the following themes: male homosexuality, revisionary writing as a subversive discourse and the grotesque body presented as a subversion of the social order. An analysis of the following stories is provided: "La senal," "Las mariposas nocturnas," "Opus 123," "Estio," "La sunamita," "Lo que no se comprende," "Cancion de cuna," "Sahara," and "Orfandad". Each of these stories presents an unstable zone where there is always a social and/or moral conflict. A combination of theoretical perspectives by Louis Althusser, Lucia Guerra Cunningham, Mary Daly, Bernard McElroy, Alicia Ostriker, Tey Diana Rebolledo, Mary Russo and other critics was utilized to examine the aforementioned themes. Male homosexuality is one representation of sexuality that is apparent in the narrative of Arredondo. Homosexuality is presented as social conflict rather than in an erotic manner. The theme of male homosexuality serves as a criticism of how society demands the binary opposition of gender. Arredondo's stories show how there exists a conflict between what is accepted and rejected. Nevertheless, Arredondo's stories also present a feminine discourse that is subversive. This strategy is evident in her stories that are revised versions of biblical and mythological stories. The purpose of these stories is to subvert masculine texts that have dictated women's behavior and have constructed feminine subjectivities from a patriarchal point of view. Another subversive aspect of Arredondo's writing is through the presentation of the female grotesque. Arredondo gives a voice to characters who have been marginalized because of their appearance by their families. The families represent a microsociety which oppresses both men and women. Arredondo's stories exhibit the struggle between Self and other to portray a framework of societal conflict. The narrative of Ines Arredondo presents gender and sexuality as ideological constructs and through this perspective the complexity of human relationships is easily observed.
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6

Harvey, Wayne John. "Systematic studies in Bubbia van Tieghem and related genera." Thesis, University of Reading, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303981.

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7

Cooke, Maureen Lynch. "The Great Escape: Modern Women and the Chick Lit Genre." Thesis, Boston College, 2006. http://hdl.handle.net/2345/418.

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Thesis advisor: Elizabeth K. Wallace
This thesis uses a cultural studies approach to study the contemporary "chick lit" genre. These novels written by women, for women may be dismissed as frivolous, but their immense popularity proves that they have tapped into a cultural tension. Their target readers are young women who have grown up in a post-feminist revolution society and face unique issues unknown to any other generation of women. Blending feminist, Marxist, and formalist theories, this thesis attempts to discover how this genre functions in contemporary society – what does it do to its readers? While trying to respect the readers at all times, this thesis will discuss the failure of the genre to provide a new space for women to escape to. The conclusion discusses the potential of chick lit to do more; the genre has captured a "zeitgeist" among young women and its popularity reaches a wide audience. In the future, chick lit could serve as a genre that discusses women's issues, prompting its readers to question gender roles, consumerism, and the global status of women
Thesis (BA) — Boston College, 2006
Submitted to: Boston College. College of Arts and Sciences
Discipline: English
Discipline: College Honors Program
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8

Blake, Eric Michael. "Genre, Justice & Quentin Tarantino." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5911.

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The films of Quentin Tarantino have held a significant influence on modern cinema, and therefore on cinema studies. As such, studies on the social and philosophical implications of his work have appeared over the years, mostly in regards to content. However, with the exception of references to his use of cinematic violence, studies of his technique—i.e., his cinematic style—have been rare, and rarer still have been studies of the social implications that arise from the patterns of his style as well as those his subject matter. The following thesis seeks to use the concept of Auteur Theory—specifically, that Tarantino is the primary artist of the films directed by him—to propose that a specific artistic style conveys a specific worldview: namely, that the artistic choices made by the director, in content and technique, can and do convey a viewpoint regarding “real life” and the world. Specifically, this work will culminate in analyzing and determining tenants to be gleaned from the Tarantino canon regarding issues of justice, both on an individual and societal basis. With his focus on crime—again, both societal and individual—Tarantino makes commentary on societal breakdown; the audience’s emotional support (or lack thereof) for characters and their actions corresponds with identification, and therefore draws real-life parallels. Such refers to the concept of “Realism”, which will be discussed in detail. Further, Tarantino’s trend of recycling elements from prior films refers to artistic “Postmodernism”—use of “pastiche” and sampling to create a “new” work. The thesis will analyze the value and meaning of the major samplings in Tarantino’s films—particularly in regards to genre--and concludes that, far from a simple conglomeration, a Tarantino “Genre-Blender” forms a cohesive whole, oriented towards specific impact of the audience. From the above two issues of Realism and Postmodernism in art, and establishing the existence of a cohesive artistic vision in Tarantino’s work, this thesis identifies patterns in such that identify specific viewpoints on questions of “Good”, “Evil”, and “Justice”. Key to this is the dichotomy between objective principles and subjectivity in human interaction amid the applications of principles. Tarantino’s work conveys a belief in certain objective tenants; however, the applications that arise through interaction cause complications, arising through human limitations in perspective. The ultimate purpose of this study is to link studies of social implications of film to not merely content, but in choices in cinematic style. It is a contribution at once to studies of film and to studies of artistic theory (in particular Realism and Postmodernism), using both to analyze how a specific, popular, mainstream artist reflects a worldview through the sensibilities that are channeled in creating his works.
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9

Barker, Cory Andrew. "Genre Welcome?: Formula, Genre and Branding in USA Network's Programming and Promotional Content." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1332972861.

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10

Bidgood, Lee. "Place, Space, and Genre: Making Bluegrass Boundaries Czech." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1101.

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Bluegrass music was formed, in part, to be part of the soundtrack of emigration from the American South to industrial centers. The texts of some widely enjoyed bluegrass songs express the losses in this transition, often in longing for far-off, idealized places. Through a decade of ethnographic research on bluegrass in the Czech Republic, I have found Czech bluegrass - related music makers articulate a more globally expanded experience of dislocation and desire. Czech fans and musicians alike (bluegrassers") have blurred some genre and style boundaries as they have adapted American forms for local usage. Infusing the European landscape with "far away" ideas and tropes, Czech bluegrassers create "country" spaces that have flourished and diversified through political and social changes since the introduction of the music in the 1950s. These idealized “real-imaginary” spaces allow participants to reinterpret and reshape their social and natural environments. Part of today¹s global bluegrass scene, Czech bluegrass projects also connect with local folk and folklore milieus, as well as Czech musical and political history. Balancing a sense of locality with cosmopolitan elements bluegrassers shape the particular ‘country’ in which their music resounds. Following Melinda Reidinger and Ruth Gruber in addressing questions of self-realization through "real-imaginary" recreation in the Czech lands, I describe how bluegrass-related music-making has persisted, flourishing, through political and social changes, affording participants a way of interpreting and reshaping their physical and social environments through the idealized soundscapes connected to American music."
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11

Heglind, Mikael. "Functional studies of two forkhead genes /." Göteborg : Institute of Biomedicine, Department of Medical and Clinical Genetics, The Sahlgrenska Academy at University of Gothenburg, 2010. http://hdl.handle.net/2077/21481.

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12

Chen, X. Y. "Systematic studies in Angelica L. and related genera, north east China." Thesis, University of Reading, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356085.

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13

Middleton, David J. "Taxonomic studies in the genus Gaultheria L. and related genera (Ericaceae)." Thesis, University of Aberdeen, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253666.

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The genera of the Gaultheria group of the tribe Andromedeae (Ericaceae) have been studied. These genera are Gaultheria L. (including Chiogenes Salis.), Pernettya Gaud., Leucothoe Don, Zenobia Don, Diplycosia Bl., Pernettyopsis King et Gamble and Tepuia Camp. Morphological, anatomical, chemical and cytological characters have been used to clarify generic limits and to construct a subgeneric classification of Gaultheria. Chemical and cytological characters were found to be of limited taxonomic use because of the unpredictable infraspecific variation of the former and the virtual absence of variation in the base chromosome number for the latter. Chiogenes and Pernettya are not sufficiently distinct from Gaultheria to be maintained as separate genera. Appropriate binomials have been proposed, within the genus Gaultheria, for all of the species of Pernettya. Leucothoe and Zenobia, although undoubtedly close to Gaultheria, are maintained as separate genera. The genus Gaultheria has been classified into ten sections (one with two subsections) and 22 series. Each taxon has been described and a diagnostic key to the sections and series has been provided. Field studies in Ecuador have highlighted aspects of the ecology of Gaultheria and Pernettya, particularly their preference for highly disturbed habitats. A previously undescribed hybrid between Gaultheria reticulata and Pernettya prostrata has been found. Closer study of the stamens and anthers of a number of species of Gaultheria has revealed a high incidence of male sterility indicating that gynodioecism may be more common in the genus than previously suspected. Previous studies and observations in the field suggest a high incidence of self-pollination.
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14

Gorman, Holly R. "Captivity and conflict| A study of gender, genre, and religious others." Thesis, Temple University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3702995.

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This project considers questions of religious othering in the contemporary United States through the lens of popular post-religious narratives. These narratives salaciously depict mistreated women in order to demarcate certain religions as deviant; authors and pundits then use these narratives in order to justify outside intervention in specific religious communities. By closely analyzing a selection of contemporary narratives written about women from Muslim and fundamentalist Mormon communities with special attention to both the feminist enactments and tropes of captivity which permeate these texts, this project challenges simplistic portrayals of religious Others. In doing so, the analysis draws the reader's attention to the uncanny imitations in many of these texts: in arguing that certain religions "capture" their female adherents, authors of contemporary captivity narratives silence the voices of women whose stories they seek to illuminate. The dissertation also explores the ambivalent content of many of these narratives. When read against the grain, captivity literature offers surprising opportunities for nuanced explorations of religion, gender and agency.

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15

Wetterberg, Ingela. "Biochemical and structural studies of pre-mRNA splicing /." Stockholm : Karolinska Univ. Press, 2001. http://diss.kib.ki.se/2001/91-7349-017-2/.

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16

Mandro, Marion. ""Per una nuova filosofia dei sessi"." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7092/.

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La finalità di questa tesi è un excursus a posteriori sulle derive degli estremismi ideologici come il femminismo e la misoginia. Ci si è avvalsi delle teorie di studiosi quali Freud, Lacan, Weininger, Simone de Beauvoir, come anche Maria Zambrano, Adriana Cavarero, John Berger, Judith Butler, Luce Irigay, Camille Paglia e altri esponenti pertinenti alla materia analizzata. Si è infine concluso con le teorie innovative di Silvia Montefoschi, formulando una soluzione ipotetica alle discriminazioni di genere, applicabile al campo socio-linguistico.
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17

Wennerstrom, Ann K. "Discourse intonation and second language acquisition : three genre-based studies /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9493.

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18

Henry, Claire. "Rape-revenge revisions : case studies in the contemporary film genre." Thesis, Anglia Ruskin University, 2012. http://arro.anglia.ac.uk/701525/.

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Rape-revenge is one of cinema studies' neglected genres, even in spite of the plethora of examples globally over the past decade. This thesis redresses the lack of critical attention with an account of the contemporary genre that analyses the politics, ethics, and affects at play in the filmic construction of rape and its reponse. Each chapter examines a significant trend or aspect of the contemporary genre through in-depth case studies, expanding the study of rape-revenge from socio-political or psychoanalytic perspectives to also include embodied, phenomenological perspectives and ethical issues. The case studies - including 'The Last House on the Left' (Wes Craven, 1972/Dennis Iliadis, 2009), 'I Spit on Your Grave' (Meir Zarchi, 1978/Steven R. Monroe, 2010), 'Kill Bill Vol. 1 & 2' (Quentin Tarantino, 2003/2004), 'Sympathy for Lady Vengeance' (Park Chan-Wook, 2005), 'Teeth' (Mitchell Lichtenstein, 2007), 'Hard Candy' (David Slade, 2005), 'The Girl with the Dragon Tattoo' ('Män som hatar kvinnor') (Niels Arden Oplev, 2009), 'Descent' (Talia Lugacy, 2007), 'Katalin Varga' (Peter Strickland, 2009), and 'Twilight Portrait' ('Portret v sumerkakh') (Angelina Nikonova, 2011) - are framed in terms of rape-revenge's temporal, cross-media, and cross-cultural shifts, and also placed within the broader cultural myths and media narratives about rape. The contemporary genre reinscribes dominant, conservative cultural myths about rape and the appropriate response (eye for an eye revenge), while at the same time presenting interesting explorations of rape trauma and ethics and self-reflexive challenges to spectating violence. Ambivalence also manifests in these films in that they both attest to the ongoing cultural relevance and popularity of rape-revenge narratives, and yet push the genre's limits and explore the possibility of responses to rape other than revenge. This research finds the rape-revenge genre to be a flexible format with certain limitations but also great potential for political, affective, and ethical exploration of rape and responses to rape.
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Vegas, Maria Luz. "Actores politicos, funcionarias y activistas| El desarrollo de las politicas de genero en el municipio de moron." Thesis, Georgetown University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10636437.

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Gender equality is part of the public policy agenda in Latin America. During the last twenty years, there have been several discussions on the scope of equality policies between women and men, their content and possibilities of action. In Latin America, important progresses have been made, mainly in the legal field but also in different government areas. Many subnational levels of government have their own gender offices and have developed local experiences in promoting equality measures. Argentina registers some outstanding experiences in incorporating the gender perspective at the local level. The decentralization processes reconfigured the capacities and responsibilities of subnational governments and presented potential elements for gender mainstreaming. In addition, the closeness to citizenship and the possibility of articulating demands offered by this scale are important for the promotion of gender policies.

Morón is one of the 135 Municipalities of Buenos Aires Province, Argentina. Between 1999 and 2015 the political party Nuevo Encuentro ran the Municipality. The administration encouraged citizen participation and transparency in management, proposing new forms of linkage between the State and society. In this context, more horizontal management structures were framed and they opened up the possibility of promoting equal opportunities and gender equality in Morón. This thesis examines the evolution of the gender equality policy under the management of Nuevo Encuentro in the Municipality of Morón. It aimed at characterizing gender policy and its sustainability over time. Also, it seeks to analyze the role of social and political actors in the implementation of this policy, as well as in its development and expansion. For these purposes, a case study was conducted and the research involved fieldwork based on interviews with different government agents and civil society’s members.

The results obtained demonstrate that gender equality policies in Morón have progressively evolved from the rise of the issue in the public agenda in 1999 to the end of Nuevo Encuentro’s administration in 2015. The increasing maturation of the gender equality policy in Morón’s local government and its sustainability was due to the convergence of the four key elements: political commitment, presence of a network of women politicians sensitized with gender issues, articulation of local government with social organizations committed to women’s rights and international cooperation with resources and interests in supporting local initiatives on gender policies.

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Taylor, Tyler Norris. "Italy's American West: Brava Gente, American Indians, and the Circulation of Settler Colonialism." W&M ScholarWorks, 2019. https://scholarworks.wm.edu/etd/1563898989.

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The racialized logics that uphold and perpetuate U.S. settler colonialism are not confined within U.S. borders. Instead, the legacies of white settler colonization and American Indian resistance are woven into processes of Americanization, globalization, transnational migrations, and cultural exchange. The role of white settler cultural production in the ongoing process of U.S. settler colonialism is well-established, as well as the advent of mass culture in facilitating cultural exchange between the U.S. and Europe. Regarding the specific relationship between the United States and Italy, many studies have noted the immense influence of the mythology of the American West in Italian cultural production and, conversely, the impact Italian emigrants to the United States left on American culture and society. The ways in which U.S. settler colonialism intersects with and connects these histories brings to light how U.S. settler colonialism has evolved into an international, rather than solely American, project. “Italy’s American West: Brava Gente, American Indians, and the Circulation of Settler Colonialism” positions the Italian state and Italians as settlers-from-afar of the American West in this evolution. The simultaneity of circulations of American mass culture in Italy, Italian colonialism in Africa, and mass Italian emigration to the United States imbued the development of Italian national identity with U.S. settler colonial logics and expanded the global influence of U.S. settler colonialism. Buffalo Bill’s two tours of Italy in 1890 and 1906, the World’s Columbian Exposition in Chicago in 1893, and Western-themed Italian comic books published from 1948 to today intertwined U.S. white settler cultural production with Italian cultural production. Viewing this cultural production under the umbrella of “transnational settler colonialism”—the circulation of U.S. settler logics and Native resistance in the movements of people and ideas between Italy and the United States—frames them as evidence that U.S. settler colonialism helped construct Italian national identity in the nineteenth and twentieth centuries and continues to inform Italian expressions of colonial desires.
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Duckett, Morgan Paige. "DISPROVING BRAVA GENTE: THE MYTH AND REALITY OF THE SHOAH IN ITALY." Kent State University Honors College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1525620727434865.

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Hobson, Amanda Jo. "Envisioning Feminist Genre Film: Relational Epistemology, Catharsis, and Erotic Intersubjects." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1604074749500538.

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23

Stafford, Peter Jeremy. "Taxonomic and ecological studies on Middle American snakes : a selection of colubrid genera." Thesis, Oxford Brookes University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444323.

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Heidemaa, Mikk. "Systematic studies on sawflies of the genera Dolerus, Empria, and Caliroa (Hymenoptera, Tenthredinidae) /." Tartu, Estonia : Tartu University Press, 2004. http://dspace.utlib.ee/dspace/bitstream/10062/554/5/Heidemaa.pdf.

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25

O'Neill, Patrick. "Investigating the 1980s Hollywood teen genre : adolescence, character, space." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/35777/.

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The 1980s Hollywood teen genre is a topic which has not attracted significant academic interest in the context of doctoral research. Only recently have writers focused on this period in wider scholarly texts, often positioned in relation to other periods of the teen genre, but not extensively concentrating on the 1980s. This research will address what is a lack of detailed analysis of this cinematic era and offer a contribution to knowledge in terms of Hollywood genre cinema. The aim of this thesis is to argue that teen films produced during the 1980s effectively represent youth concerns and the coming-of-age process, for example, in terms of adolescent identity, the different 'roles' the characters play, sexuality, gender, relationships, class issues and the generational divide. These concerns will often resonate with the wider sociopolitical and economic landscape of the Reagan era. The research will investigate these themes in individual films and then go on to analyse them using several films across the generic spectrum to show how the genre achieves a unity and synergy, despite differences in tone and attitude of the films under scrutiny. The films covered herein will be a selection from the subgenres of the 1980s teen films: the teen sex comedies examined were produced during the first half of the decade; the more romantic comedies and dramas were generally made from the mid-1980s onwards. Also scrutinised will be several delinquent teen films. One of the methodologies used to underpin the central argument is related to the structuralist theories and their binary oppositional factors. This will attempt to make sense of the portrayal of a youth culture by exposing its contradictions. This approach will be merged with film genre theories, for instance, in relation to a film's semantic/syntactic axis and the symbolic use of generic sites and iconography. Ideas relating to adolescence and its phases will also form part of the analysis. The principal conclusions from this debate will be that the 1980s teen genre is a topic worthy of rigorous academic interrogation, despite often being critically neglected and sometimes maligned. The genre has the potential to represent and articulate youth cultural concerns and wider societal implications, and the films therein should be considered important media documents.
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Rogers, Jessie Leigh. "Evolving a Genre: Doctor Strange Comics as Post-Fantasy." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/101077.

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This thesis demonstrates that Doctor Strange comics incorporate established tropes of the fantastic canon while also incorporating postmodern techniques that modernize the genre. Strange's debut series, Strange Tales, begins this development of stylistic changes, but it still relies heavily on standard uses of the fantastic. The 2015 series, Doctor Strange, builds on the evolution of the fantastic apparent in its predecessor while evidencing an even stronger presence of the postmodern. Such use of postmodern strategies disrupts the suspension of disbelief on which popular fantasy often relies. To show this disruption and its effects, this thesis examines Strange Tales and Doctor Strange (2015) as they relate to the fantastic cornerstones of Tolkien's The Hobbit and The Lord of the Rings and Rowling's Harry Potter series. It begins by defining the genre of fantasy and the tenets of postmodernism, then it combines these definitions to explain the new genre of postmodern fantasy, or post-fantasy, which Doctor Strange comics develop. To show how these comics evolve the fantasy genre through applications of postmodernism, this thesis examines their use of otherworldliness and supernaturalism, as well as their characterization and narrative strategies, examining how these facets subvert our expectations of fantasy texts.
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Nyström, Catharina. "Gymnasisters skrivande : En studie av genre, textstruktur och sammanhang." Doctoral thesis, Uppsala universitet, Institutionen för nordiska språk, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:du-11019.

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Students in upper secondary school write in a number of different genres, and do this in school contexts as well as in their spare time. The study presented here is an overview of this activity and the genres concerned. The theoretical framework of the study is that of genre theory whereby genre is understood as a socially situated concept. The study is based on 2 000 texts gathered from students on different study programmes all over Sweden in the school year of 1996-97. The texts were written in different situations. The most important distinction made here is between test texts (i.e. texts from national tests) and self-chosen texts, which may come from schoolwriting or spare-time writing. The texts are categorized according to genre. This text inventory shows a repertoire of 33 different genres in the text material. A small number of genres, such as story, book-review and expository essay dominate the school writing. The test genres differ from this pattern in that they clearly imitate texts with a genuine communicative intent. The most frequent genres are studied further and each of them is demonstrated by an interpretative reading. This reading shows that the genres differ considerably with respect to genre character and stability of text structure. A quantitative study of text length and variation in vocabulary further shows that texts written by two categories of students, those on vocationally oriented programmes and those on programmes preparing for higher education, differ significantly. Reference cohesion is studied in a smaller sample of the texts. This lexico-semantic mechanism of cohesion proves to exhibit an interrelation with variation in vocabulary as well as with text type. One particular cohesive tie, inference, shows different patterns in texts written by the two categories of students mentioned above.
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Porst, Luke. "The Last of the Romantic Comedies: The Death and the Eventual Rebirth of the Genre." Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1461077800.

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Mulcahy, Robert Alan. "A Hero of Two Times: Erast Fandorin and the Refurbishment of Genre." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1369768067.

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Näsling, Beatrice. "“Just a Coin” : Genre in Cormac McCarthy’s No Country for Old Men." Thesis, Högskolan Dalarna, Engelska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30481.

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Kirkpatrick, Ellen. "Recovering the radical promise of the superhero genre : transformation, representation, worldmaking." Thesis, Kingston University, 2017. http://eprints.kingston.ac.uk/40865/.

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This thesis responds to a question: if the Western mainstream superhero genre is so radical then why does it feel so reactionary in practice? The framing of this distinctive question points to the genre's ideologically unstable and contradictory meaningscape. Genre meaning is polysemous and shaped by official and unofficial meaning-makers, and yet, it routinely falls into duality. The genre tells, and facilitates, an astonishingly seamless tale of opposing ideologies. But, how? This thesis, innovatively maps this untheorised ideological divergence through three fronts: transformation, representation, and worldmaking. It is sited outside the conventional parameters of genre discourse and knowledge production. It makes several contributions to knowledge, as indicated below, and introduces some new terms and tools. It demonstrates, for instance, the value in reconceoptialising the concept of escape as 'e-scape' and worldmaking as 'world-un/making'. It asserts that genre meaning (and our perception of transformation) is shaped by a nexus of divergent forces: concept (how we think about it), representation (how we show/see it), and practice (how we do it). It draws the idea of 'promise' from Haraway (1992) and Cohen (2012) and institutes the idea that superheroes, as well as monsters, possess 'promise' (radical or otherwise). It reveals superheroic transformation as an omnipresent source of radicalism. It goes on to identify and theorise a disconnect between the (radical) concept of a superhero and its mainstream representation (conservative). It asserts that even though portraying transforming figures, superhero representation stays firmly within hegemonic lines, and it concludes that the radicalism of transformation, and superheroes, is lost in the telling. But it does not stop there; to do so would be to mark an area of the genre's meaning-map, 'Here Be Monsters'. Fans and audiences, particularly minority fans, are the final, critical, worldmaking element of this thesis. Whilst the genre talks about fantastic transformations, transgressive minority superhero fans perform them. This thesis illuminates continuing minority engagement with a beloved, but exclusionary and often hostile, genre. It reconceptualises this transgressive mode of textual engagement as a form of textual escapology, or 'texcapology'; a practice that not only keeps the genre 'alive' for excluded audiences and fans, but aids the recovery of the genre's lost radical promise. Theorising the genre's multivocal meaningscape allows the assertion that genre meaning is promissory rather than binary. This thesis asserts that genre meaning is a case of 'both/and' (radical and conservative) rather than 'either/or'. It concludes that the genre's unstable and contradictory meaningscape is itself a site of radical promise.
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Jacobs, Susan (Susan Mary). "Constructing a woman: gender, genre, and subjectivity in the autobiographical works of Sibilla Aleramo." Thesis, University of Auckland, 1994. http://hdl.handle.net/2292/1972.

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Both Sibilla Aleramo (1876-1960), one of Italy's most renowned and controversial women writers, and autobiography, as a generic minefield for debates on theories of the subject, have received a good deal of critical attention over the past fifteen years. The uncompromisingly autobiographical nature of Sibilla's work has been, at various times, revered and reviled, be it for what she says, or how she says it. My focus is precisely on the different forms she uses to write her self in four texts - a fictional autobiography, lyrical novel, epistolary novel and a diary - and how these construct, modify and deconstruct her self-representations in a continual process of intertextual reading and revising. Yet her texts resist easy classification. While sometimes confirming boundaries of genre and gender, they also constantly call them into question by exposing their limits, their intersection with fictional norms, and their shifting discursive affiliations. Because Sibilla was all her life concerned with gender, and the relationship of femininity to her writing, many aspects of her work appear relevant today. I explore how they anticipate feminist theories on the construction of female subjectivity in a combination of theory and autobiographical practice which highlights the interrelationship of the two. Here Sibilla's focus on the maternal is particularly indicative of this tendency, where it is woven into the generic structures of her texts as well as being an important focus of the autobiographical "story". Furthermore, her texts challenge the notion of self defined by male bias, and present opportunities for critical testing of autobiographical theories themselves by offering not one, but several, works for examination.
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Weiss, Katherine. "“… gentle light unfading…”: Claire-Lise Holy and “Neither”." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/2304.

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Menemen, Yusuf. "Systematic studies in the genus Malabaila Hoffm. and closely related genera of the Umbelliferae." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297703.

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Paik, Jin-Hyub. "Systematic studies of Heracleum L. (Umbelliferae) and related genera in the Sino-Himalayan region." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3513.

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The genus Heracleum (Apiaceae) includes 65-70 species, and is distributed across the Northern Hemisphere from North America to East Asia (Pimenov & Leonov, 1993). The Sino-Himalaya region (Nepal eastwards to SW China) is one of the most important distribution areas of Heracleum (with 10 species in the Himalaya and about 30 species in China). This thesis integrates a series of studies on the systematics of Sino-Himalayan Heracleum including allied taxa and a taxonomic revision of Nepalese Heracleum species. The taxonomic value of the various morphological characters used in Heracleum is generally discussed and potentially important fruit morphological characters investigated alongside. Several characters were found to be distinctive, constant out of taxonomic importance. These included extent of development of the lateral wings, presence/absence of epidermal hairs, hair types, and the transverse sectional arrangement of the mericarp, including position of sclerenchyma of vascular bundles, rib development, pattern of endosperm, distribution of vittae and thickening of wing margins. Based on these characters, Heracleum was divided into at least 5 types that are also supported by molecular data (ITS DNA sequences). In order to evaluate the monophyly of Sino-Himalayan Heracleum, and clarify the species relationships within this group, sequences of ITS, rps16 intron, and psbAtrnH spacer of Heracleum and related genera were studied. The resulting data matrix was analyzed using Maximum Parsimony and Bayesian analysis. Both ITS and rps16 intron regions show a good resolution of phylogenetic relationships down to species level. However, although psbA-trnH region has been successively tested in other plant families, it failed to resolve relationships among the major Heracleum clade. Only higher level resolution was successful. The results of our comparative phylogenetic study confirmed that the “Major Heracleum clade” (Sensu Downie) remains monophyletic. Within this clade at least six major lineages are defined: Heracleum, Malabaila-Pastinaca, Zosima, Semenovia, Tordylium, and Tordyliopsis. The Sino-Himalayan Heracleum lineage is seen to comprise three distinct sub-lineages (Heracleum group I, II and III) including several European Heracleum species. Heracleum is thus not monophyletic. Generic segregates of Heracleum proposed in past classifications,such as Tetrataenium, can be correlated with these subclades. These phylogenies also helped resolve the taxonomic placement of some enigmatic taxa such as Tordyliopsis brunonis and Heracleum millefolium. These molecular data provide valuable characters for inferring relationships within the Sino-Himalayan Heracleum. A taxonomic account of the species of Heracleum in Nepal is presented including a key to identification of the species is produced. A reinterpretation of the taxonomy of Sino-Himalaya Heracleum is presented based on these results including an account of the Nepalese species.
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Clokie, Martha Rebecca Jane. "Molecular studies of Southern Hemisphere disjunction in three plant genera, Eucryphia, Griselinia and Coriaria." Thesis, University of Leicester, 2001. http://hdl.handle.net/2381/29823.

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Three plant genera with South American-Australasian disjunctive distributions were studied: Eucryphia, Griselinia and Coriaria . The aims of the project were: a) to assess the utility of different chloroplast and nuclear DNA sequences for phylogenetic reconstruction and b) by means of molecular clocks to establish whether or not this distribution is due to vicariance (continental drift) or more recent dispersal events. DNA was extracted, and regions of interest were amplified and sequenced. These were rpoA, trnL-F and trnU-K from the chloroplast genome, and rDNA 5.8S and intergenic spacers 1 and 2, Adh and two loci of the G3pdh gene from the nuclear genome. In each of the three genera, a single trans-Antarctic disjunction was indicated. Molecular phylogenies were produced using parsimony. Individual base pair variation was analysed in detail, and graphs were drawn to highlight variable regions. Sequences providing the most resolution were trnL-F, ITS and the two loci of the G3pdh. Robust molecular phylogenies were produced which are consistent with morphological, fossil and biogeographical evidence. Constancy of mutation rate across the different branches of the trees was checked using the Tajima test. Where constancy was established, the rate of evolution for the different gene regions was used to estimate the divergence times within each genera. Calibrations were performed using fossil data for Eucryphia and Coriaria average mutation rates derived from Eucryphia were applied to the Griselinia data set, owing to the absence of fossils. New Zealand became separated from Antarctica (and therefore South America) 95 - 80 million years ago, whereas average divergence times for Coriaria and Griselinia were found to be around 3 and 50 million years respectively. Similiarly, with respect to Eucryphia, Australia split from Antarctica 40 million years ago but the divergence time is 23.23 million years. The disjunction therefore must have arisen by dispersal which may have occurred either in the water by rafting or floating, or in the air in wind currents ( Eucryphia has winged seeds) or by means of birds (Coriaria and Griselinia have fleshy diaspores). A review of similar disjunctions in other plants and animals revealed that vicariance explanations were more likely to apply to groups at the taxonomic ranks of genus and above, whereas dispersal explanations were more likely to apply at the level of genus and below. The generic level is consequently of great interest.
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37

Del, Romano Martina. "The Importance of Quality LGBT Representation in Popular Television Shows: Orange Is the New Black and Orphan Black." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8165/.

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Il seguente elaborato analizza l'importanza di un'adeguata rappresentazione di personaggi appartenenti allo spettro LGBT all'interno di programmi televisivi nordamericani, in particolare Orange Is The New Black e Orphan Black. Lo scopo della tesi è quello di provare l'importanza della rappresentazione nella costruzione dell'identità personale di ognuno, e nella lotta contro le discriminazioni di genere e orientamento sessuale. Le tesi si apre con un excursus teorico sul termine e il concetto di rappresentazione, soprattutto relativo all'ambito della televisione. Successivamente, vengono analizzati i vari tipi di rappresentazione all'interno nei due programmi televisivi presi in esame. La ricerca si conclude con una valutazione degli effetti e delle reazioni del pubblico a entrambi i telefilm e, infine, con alcune considerazioni personali.
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Berkum, Johannes Josephus Augustinus van. "The psycholinguistics of grammatical gender : studies in language comprehension and production /." Nijmegen : Max Planck Instituut voor Psycholinguïstiek, 1996. http://catalogue.bnf.fr/ark:/12148/cb37535829z.

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39

Isaac, Alexis N. "Expressions in Genrelessness: Genre in the Netflix Era of Television." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1587127717977521.

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Brånäs, Klara, and Camilla Rudvall. "På tal om genre - En studie av genreförståelsen i svenskundervisningen." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36501.

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Syftet med uppsatsen är att undersöka hur begreppen genre och texttyp används i gymnasieskolans nationella samt lokala styrdokument för kurserna svenska A och svenska B och att undersöka hur fem gymnasielärare i svenska tolkar begreppen och ser på begreppens roll i undervisning. Detta undersöks genom kvalitativa intervjuer med fem verksamma gymnasielärare i svenska samt genom textanalys av styrdokumenten: svenskämnets beskrivning, nationella kursplaner för svenska A och svenska B samt lokala arbetsplaner för samma kurser. Resultatet visar att lärarnas förståelse av begreppen genre och texttyp samt deras innebörd varierar vilket speglar forskningsläget. Lärarna har även en skiftande syn på huruvida begreppen är relevanta i undervisningen. En anledning till att genrekunskap anses väsentlig är att elever bör kunna förstå att olika texter har olika funktion. I motsats till detta menar vissa lärare att de inte arbetar med genre då det i stor utsträckning handlar om formaspekter och att de hellre fokuserar innehållet. När det gäller styrdokumenten används begreppen texttyp och genre men främst används varierande omskrivningar och exempel på texter. Vår slutsats är att tydliga definitioner, exempelvis i styrdokumenten, av hur begreppen genre och texttyp bör förstås i svenskämnet hade kunnat fungera som ett professionellt yrkesspråk som kan användas lärare emellan samt mellan lärare och elev.
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41

Jones, Jacqueline Adrienne. "At the cliff's edge: studies of the single Heroides." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5527.

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My dissertation explores several topics recurring throughout Ovid’s single Heroides. When, how, and why does Ovid restructure tragic, epic, or pastoral stories into elegy? How do his heroines deal with their lovers starting relationships with new women, and what method of coping with abandonment is the most effective? What is the role of magic in the Heroides, what rules does it follow, and who uses it successfully? How does Ovid capitalize on the connection between elegy and lament, and which heroines does he use to do so? Finally, what is the role of writing in the Heroides, how does Ovid use the character of Sappho in the collection, and how does the Sappho epistle help readers interpret the rest of the Heroides? The letters of Briseis (3), Phaedra (4), Hermione (8), and Oenone (5) transform previously epic, tragic, and pastoral worlds and inhabitants into elegiac contexts to show how they wish their men to accept the role of the elegiac lover. Ovid uses these reclassifications to explore the boundaries of elegy and show how thorough knowledge of audience and the genre are necessary for success. Oenone (5), Hypsipyle (6), Deianira (9), and Medea (12) each see their lovers replace them with another woman; Ovid uses their different methods—emulating the new woman’s qualities, attempting to regain the lover’s affection, and seeking revenge—to discover which approach will achieve its desired purpose. Ovid’s construction of magic as a practical tool is established in the letter of Medea (12), and can be applied to the epistles of Deianira (9), Hypsipyle (6), and Laodamia (13) to interpret the magical practices in those epistles. Ovid explores a different facet of the elegiac genre by using the traditional link between elegy and epitaph in the letters of Phyllis (2), Dido (7), and Hypermnestra (14), but alludes to it in the epistles of Canace (11), Ariadne (10), and Deianira (9) to bridge the gap between literary characters and his readers’ reality. Finally, the Sappho epistle (15) provides a tool for interpreting both the individual letters of the Heroides and Ovid’s own concerns. By using the famous poetess as one of his heroines, Ovid connects himself and his reputation to hers. His character Sappho provides a lens through which we can examine all of the heroines who are at a crisis point, a metaphorical cliff’s edge, as they write.
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Kares, Julie Lorraine. "Margaret Mitchell's Gone With the Wind: The Everyday Southern Epic." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/386.

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Margaret Mitchell's Gone With the Wind (GWTW) has long been termed an "epic" of the American South. The implications of that term, however, have not been fully investigated, particularly as they concern generic criteria. How can we assign the generic characteristics of the epic narrative to GWTW? Using theories of the epic as postulated by Hegel, Lukács, Merchant, and Bakhtin, this study examines the ways in which GWTW writes the Southern nation into history, and how the objective portrayal of its epic heroine reflects the emergence of the New Southern nation. More specifically, it looks at how the depiction of Scarlett O'Hara's "everyday" existence reflects the larger New Southern identity and consciousness. The "everyday" or quotidian experience has been defined by such scholars as Henri Lefebvre, Michel deCerteau and Joe Moran as the space in which the life as lived is developed in all its minutia and the manner by which the state acts upon that existence. Using these ideas as a framework, we begin to see how the narrative of Scarlett's day-to-day existence functions as a voice for the New South. Finally, questions of how GWTW enters into the "everyday" of contemporary American culture are explored.
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43

Rosales, Lauren N. ""Dismissed outright": creating a space for contemporary genre fiction within neo-Victorian studies." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6259.

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Neo-Victorian studies is a burgeoning subfield which seeks to examine contemporary representations of the Victorian period. For the last decade, neo-Victorian scholars have offered up definitions of what makes a text “neo-Victorian”; often, this has been via a description of what the neo-Victorian is not. The ‘ruling’ definition—i.e., the definition most consistently repeated—hails from the introduction to Neo-Victorianism: The Victorians in the Twenty-First Century by Ann Heilmann and Mark Llewellyn: “the Neo-Victorian is more than historical fiction set in the nineteenth century. […] texts (literary, filmic, audio/visual) must in some respect be self-consciously engaged with the act of (re)interpretation, (re)discovery and (re)vision concerning the Victorians” (4). This short delineation significantly comes at the expense of historical fiction, which is a move repeated throughout neo-Victorian efforts to define itself. Neo-Victorian studies has largely concerned itself with literary novels, operating with a heavy anxiety that ‘other’ fiction set in the nineteenth century is escapist and nostalgic in the sense that it simply perpetuates problematic past systems of oppression while evoking the fashionable aesthetic trappings of the Victorian. My dissertation argues that contemporary genre fiction, long derided as ‘simply’ escapist in nature, can also be neo-Victorian. In each of my chapters I analyze texts from a specific genre—steampunk, popular romance, detective fiction, and Sherlock Holmes pastiche—in order to offer a basis for investigating genre fiction with a neo-Victorian lens. I analyze the depiction of corsets and feminist protagonists in three steampunk novels, explore the exhibition of unlikely romantic heroines and Romany romantic heroes in Lisa Kleypas’ historical romance series about the Hathaway family, examine representations of class and gender as well as germane social issues in Anne Perry’s William Monk detective series, and highlight the feminist potential of Carole Nelson Douglas’ series of Sherlock Holmes pastiche featuring Irene Adler. Each chapter considers the Victorian period as represented alongside Victorian novels and literary periodicals in order to demonstrate the shape of these neo-Victorian revisions and make the case the genre fiction can be self-conscious despite its lack of metafictional content.
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Bucknell, Clare. "Poetic genre and economic thought in the long eighteenth century : three case studies." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:71e97b4d-c009-487c-8efb-fdb71eefa080.

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During the eighteenth century, the dominant rhetorical and explanatory power of civic humanism was gradually challenged by the rise of a new organising language in political economy. Political economic thought permitted radically different descriptions of what laudable private and public behaviour might be: it proposed that self-interest was often more beneficial to society at large than public-mindedness; that luxury had its uses and might not be a threat to liberty and political integrity; that landownership was no particular guarantee of virtue or disinterest; and that there was nothing inherently superior about frugality and self-sufficiency. These new ideas about civil society formed the intellectual basis of a large body of verse written during the long eighteenth century (at mid-century in particular), in which poets engaged enthusiastically with political economic arguments and defences of commercial activity, and celebrated the wealth and plenty of Britain as a modern trading nation. The work of my thesis is to examine a contradiction in the way in which these political economic ideas were handled. Forward-looking and confident poetry on public themes did not develop pioneering forms to suit the modernity of its outlook: instead, poets articulated such themes in verse by appropriating and reframing traditional genres, which in some cases involved engaging with inherited moral values and philosophical preferences entirely at odds with the intellectual material in hand. This inventive kind of generic revision is the central interest of the thesis. It aims to describe a number of problematic meeting points between new political economic thought and handed-down poetic formulae, and it will focus attention on some of the ways in which poets manipulated the forms and tropes they inherited in order to manage – and make the most of – the resulting contradictions.
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Leung, Yuen Pik Michelle. "Genre analysis of tenancy agreements of a chain store in Hong Kong." HKBU Institutional Repository, 1997. http://repository.hkbu.edu.hk/etd_ra/117.

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46

Eastlick, Anne C. "Genre criticism : an application of BP's image restoration campaign to the crisis communication genre." Scholarly Commons, 2011. https://scholarlycommons.pacific.edu/uop_etds/767.

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Within two months of its emergence, the BP Gulf Oil spill had become the worst environmental disaster in United States history. However, for those studying public relations the oil spill brought more than ecological disaster, by providing a case study of crisis communication. Although there were a number of crisis responses from BP throughout the course of the oil spill, the primary crisis response crafted by BP was an image restoration campaign which premiered in early June 2010. This campaign, though it exhibits qualities of a standard crisis response, was wildly unpopular with the United States Government and citizenry. This rhetorical analysis attempts to uncover the reasons behind the campaign's failure through an application of the genre model of criticism. By defining the crisis communication genre and applying it to the artifact, the current study uncovers the reasons behind the failure of the campaign. Through this discussion, this analysis identifies that BP did not address all necessary exigencies, nor did it consider the influence a rhetor can have on a message. An explanation for the failure of BP' s campaign provided a plethora of implications to the fields of public . relations and rhetorical criticism, while beginning a discussion to help define the crisis communication genre.
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Kulbaga, Theresa A. "Trans/national subjects genre, gender, and geopolitics in contemporary American autobiography /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150386546.

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48

Zackery, Shane M. "The Genre Formerly Known As Punk: A Queer Person of Color's Perspective on the Scene." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/334.

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This video is a visual representation of the frustrations that I suffered from when I, a queer, gender non-conforming, person of color, went to “pasty normals” (a term defined by Jose Esteban Munoz to describe normative, non-exotic individuals) to get a definition of what Punk meant and where I fit into it. In this video, I personify the Punk music movement. Through my actions, I depart from the grainy, low-quality, amateur aesthetics of the Punk film and music genres and create a new world where the Queer Person of Color defines Punk. In the piece, Punk definitively says, “Don’t try to define me. Shut up and leave me to rest.”
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Morris, Emily. "Breaking Down Masculinity in Breaking Bad and the Western Genre: Performance and Disruption." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/192.

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I am proposing a critical inquiry into the structural function of the character of Skyler White in AMC’s Breaking Bad as well as a further investigation of show’s relationship to the Western genre and the construction of masculinity.
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Oxenhall, Johan. "The Thin Man och Film Noir : En Jämförande Studie i Genre." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-66857.

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Syftet med den här uppsatsen är att genomföra en jämförande studie av den klassiska Hollywood-deckaren, representerad av de tre första filmerna i Thin Man-serien, och film noir. Analysen utgår ifrån Thin Man-filmerna The Thin Man (1934), After the Thin Man (1936) och Another Thin Man (1939) och noir filmerna The Maltese Falcon (1941), Laura (1944), The Big Sleep (1946) och Dark Passage (1947). Den grundläggande teorin för uppsatsen är genreteori och hur den klassiska Hollywood-deckarfilmen skilde sig ifrån film noir. Analysen är uppdelad i fyra kapitel, i vilka olika delar av innehållet i både Thin Man-filmerna och de fyra exemplen av film noir analyseras. De olika kapitlen handlar om manliga huvudkaraktären, den kvinnliga huvudkaraktären, hur de olika filmerna hanterade ämnen berörande sex och sexualitet och hur samhället och människorna representeras i filmerna. Slutsats omfattar sedan en diskussion om uppsatsens resultat och svaret på varför Thin Man-filmerna inte räknas som film noir.
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