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1
Melvin, Jacob. "Heroes." Birmingham, Ala. : University of Alabama at Birmingham, 2008. https://www.mhsl.uab.edu/dt/2008m/melvin.pdf.
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Thesis (M.A.)--University of Alabama at Birmingham, 2008.Additional advisors: Ted Benditt, Sue Kim, Lawrence Wharton. Description based on contents viewed Feb. 11, 2009; title from PDF t.p. Includes bibliographical references (p. 9).
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Creeden, Michael. "Broken heroes." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2666.
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BROKEN HEROES is a mystery novel set in the modem day Southern California rock music scene. The protagonist is Declan St. James, 35, an alcoholic ex-musician and frustrated music journalist who, with friend and former bandmate, Stevie Richards, investigates the mysterious death of mentor Art Schulman. The search ultimately leads them to PowerTrash, a cult favorite band which, years earlier, suffered a mysterious death of its own. The novel is told in Declan's first-person voice looking back on these events. Like A.S. Byatt's Possession, the book uses the study of artists and their work to connect past and present storylines and ultimately rewrite history. And like Erskine Childers's classic spy novel, The Riddle of the Sands, the novel employs an amateur detective called to action for his special skills.
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Pollard, Linda Kristine. "Heroes & harmony." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/45607/1/Linda_Pollard_Thesis.pdf.
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The first practice-led research project 'Heroes of the Club', through collaboration with business and community, involved portraying the stories on canvas of heroes of the Australian Surf Life Saving movement. The second project 'Crossing the intersection… art and life' researched a post-modernist approach to a fusion of the aesthetics of Abstract Expressionism and Pop Art. This study resulted in a body of work 'Long Playing' which sought to harmoniously reconcile two apparent polarities of style and context between high and low art characteristics, through personal narrative and with reference to artistic tradition.
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Manzini, Jens Francesco Quirino. "Stendhal's parallel lives : dupes, fripons and great souls 1829-42." Thesis, University College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312877.
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Shidlovskiy, Kirill. "Heroes of New Russia." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-392813.
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Diplomová práce “Hrdinové nové Rusi: Analýza archetypů postav v díle Alexeje Balabanova“ představuje život a dílo jednoho z nejpozoruhodnějších režisérů nové ruské kinematografie Alexeje Balabanova. Užitím kvalitativní obsahové analýzy pojednává o všech jeho celovečerních filmech, jak těch dokončených, tak i těch nedokončených, a soustředí se na archetypy hrdinů, které režisér/scenárista Balabanov ve svých dílech soustavně využívá. Kromě toho práce rovněž popisuje, jak se tyto archetypy v průběhu času měnily, stejně tak jako se Ruská federace měnila po pádu Sovětského svazu a jak Balabanov sám tyto změny vnímal, ať už ve svém životě či ve svém díle. Zjištěné poznatky práce dále zasazuje do širšího kontextu postaveného na národních, historických a kulturních aspektech tak, aby poskytla pro čistě subjektivní přístup slavného režiséra také ryze objektivní rámec.
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Ahonen, Milkovic Victor. "The Purpose of a Hero : Forms of heroes in Joe Abercrombie’s 'The Heroes'." Thesis, Stockholms universitet, Engelska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-191451.
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Davis, Jolene Marion. "Margaret Laurence's Manawaka heroes, Hagar, Rachel, Stacey, and Morag as archetypal and feminist heroes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0025/MQ33360.pdf.
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Murphree, Hyon Joo Yoo. "Cowboys, Postmodern Heroes, and Anti-heroes: The Many Faces of the Alterized White Man." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2620/.
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This thesis investigates how hegemonic white masculinity adopts a new mode of material accumulation by entering into an ambivalent existence as a historical agent and metahistory at the same time and continues to function as a performative identity that offers a point of identification for the working class white man suggesting that bourgeois identity is obtainable through the performance of bourgeois ethics. The thesis postulates that the phenomenal transitions brought on by industrialization and deindustrialization of 50's through 90's coincide with the representational changes of white masculinity from paradigmatic cowboy incarnations to the postmodern action heroes, specifically as embodied by Bruce Willis. The thesis also examines how postmodern heroes' "intero-alterity" is further problematized by antiheroes in Tim Burton's films.
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Thompson, Mary C. "Volunteer firefighters, our silent heroes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0002/NQ31077.pdf.
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Henriquez, Ariel F. "All My Heroes Are Broke." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3266.
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ALL MY HEROES ARE BROKE is a poetry collection written from the perspective of a first generation American coming to terms with the implicit struggles and disillusionment of the American Dream. The first section takes place in New York, both implicitly and explicitly, and serves to introduce the speaker and reveal aspects of his family’s history. The second section takes place in Florida, and continues to further exemplify the speaker’s growing cynicism towards the circumstances of his life, and the peculiar atmosphere of solitude that it creates.
ALL MY HEROES ARE BROKE primarily uses two forms: short, image driven poems inspired by the works of Robert Bly and Po Chu-I; and longer narrative poems that reveal more personal information about the speaker, in the manner of Li-Young Lee and Frank O’Hara, allowing the speaker to project his own life onto his surroundings and the people of those larger communities.
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Vandrovec, Geoffrey. "Ukraine: A Nation Without Heroes." Thesis, North Dakota State University, 2013. https://hdl.handle.net/10365/26883.
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Ukraine's creation of national heroes reflects the challenges of nation-building after the fall of the Soviet Union. Since its independence in 1991, Ukraine has attempted to "rehabilitate" controversial political figures into national heroes in order to create a united national history. Nations have always depended on symbols and perhaps one of the most important symbols is that of a national hero. A person who fought and possibly died fighting for a national cause can unite and inspire future generations while legitimizing the necessity of the state. Along with inspiring faith and courage, the focus on national heroes manifests norms, goals, and are a medium for imposing those beliefs upon a society. While Ukraine has literary heroes, political figures are controversial. My research has focused on five figures: Bohdan Khmelnytskyi, Ivan Mazepa, Mykhailo Hrushevsky, Symon Petliura, and Stepan Bandera due to their attempts to build an independent state in Ukrainian history.
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Miesak, Edward. "Heroes Are Born Then Made." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc504458/.
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Heroes Are Born Then Made is a theatre piece involving live actors on stage, and live music originating from an orchestra pit. The script and music is original. The music is meant to literally depict actions and emotions on stage whether the actors are present or not. The duration of the entire production is about two and one-half hours long. Six main actors are used with additional walk-ons. Sixteen musicians are required to make up the orchestra which is organized into a woodwind quartet, a brass trio, a string quartet, a piano, and a percussion quartet. The play is based on the author's conception of how people tend to treat each other when someone is caught at a disadvantage. Specifically it is a depiction of the conflict involved when the minor characters discover that the main character is trying to do something quite different from their definition of "normal."
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Онищенко, С. В. "Мобільний ігровий додаток "Heroes of Eternal"." Master's thesis, Сумський державний університет, 2021. https://essuir.sumdu.edu.ua/handle/123456789/81426.
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Дипломний проект присвячений розробці мобільного ігрового додатку "Heroes of Eternal" з файлами подальшого представлення. В роботі проведено аналіз предметної області з дослідженням існуючих аналогів, визначення мети та задач проекту, обрані методи та засоби реалізації, виконане планування та проектування роботи. Виконано поетапну розробку ігрового додатка, реалізовані базові механіки, процедурна генерація рівнів, мета гра, створені 3D-моделі та анімації, візуальні ефекти, інтерфейс, локалізація, звук, та ігрові предмети. Результатом проведеної роботи є готовий ігровий додаток "Heroes of Eternal" з файлами подальшого представлення.
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Clayton, Leigh. "Authentic heroes : existentialism and film noir." Thesis, University of Aberdeen, 1996. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU099168.
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Film exhibits an existential time structure. It presents characters and events in the present moment and as the film progresses the future of the characters is built from their past within the film. Characterisation in film differs from that of the novel primarily in that characters are seen as they become what they are through their actions. In the novel a character is already fixed. Film also differs from theatre in that the differing use of space allows for a more intimate acting style on the part of the actor and more involvement on the part of the viewer. Film noir, in particular, manifests existential themes in its plot lines and characterisation, e.g. alienation, anxiety and the developmental nature of personality. A number of theorists have attempted to define film noir and to account for its distinctive look. These include David Bordwell, Borde and Chaumeton and Christine Gledhill. So far no definition has successfully accounted for all the features present in these films. An existential analysis offers a new way to approach this problem. Due to its distinctive use of philosophical themes film noir constitutes a separate and continuing genre. A noir paradigm can be established by isolating these philosophical themes and the stylistic methods which express them. This can be used as a criterion to identify noir films. Noirs can be divided into different periods by identifying the dominant theme of various decades. These reflect the social conditions of the time as well as popular response to existential philosophers, for instance, Sartre and Nietzsche who have both been considerable popularised. In addition noir can be seen as a response to restrictive Hollywood practices.
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Currie, Bruno. "Pindar and the cult of heroes /." Oxford : Oxford university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb40141980p.
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Whittle, Maria Karen. "Subverting Socialist Realism: Vasily Grossman's Marginal Heroes." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/pomona_theses/70.
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Soviet writer Vasilii Grossman has been renowned in the West as a dissident author of Life and Fate, which multiple sources, including The New York Times have called "arguably the greatest Russian novel of the 20th century." Grossman, however, was not a dissident, but an official state writer attempting to publish for a Soviet audience. Grossman's work was criticized by Soviets as being "too Jewish", while Jewish scholars have called it "not Jewish enough." And, despite his modern critical acclaim, little scholarship on Grossman exists. In my thesis, I explore these paradoxes. I argue that Grossman attempts to reinterpret traditional state ideas of Sovietness into a more inclusive, democratic version by creating heroes from traditionally marginalized groups. To do this, he reinterprets and inverts traditional tropes of the Socialist Realist genre. Genric limitations on his worldview, however, prevent this vision from being completely realized in the course of his work. I trace Grossman's work from his early short fiction to his Khruschev era novels and show how this trope develops during his career as a Soviet writer and citizen.
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Lebel, Udi. "Private versus public heroes : politics of commemoration." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/private-versus-public-heroes--politics-of-commemoration(4fcdfc90-0e70-4f93-bb59-71a14b199137).html.
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Acosta, Robert. "Machiavellian heroes through the prism of Aristotle." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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White, Robyn C. "Heroes from the past : their beliefs and practices, and influence on current science education practice." Thesis, Curtin University, 1998. http://hdl.handle.net/20.500.11937/2590.
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This study reflects my own search to clarify the process of cultural change in an educational setting. In particular it clarifies for me the process through which State-wide science curriculum reform was enacted in the late 1950s and into the 1970s. This period is interesting because of a continuing perception amongst science teachers that the system-wide changes of the time were widely supported by teachers and influenced classroom practice. My aim in this study was to explore how the characteristics of this cultural change process may be applied in the current climate of school reform.The members of the local science teacher community of the 1950s, 1960s and 1970s engaged in similar activities and conversations as they attended the same University then continued to enter into similar school-based activities. As a group of people with shared experiences and values, who made decisions based on similar understandings and priorities, this group may be regarded as an identifiable culture.The day to day activities of this community of science teachers were underpinned by each teacher's beliefs about scientific knowledge and processes and school science, as well as understandings about the teaching and learning process. Many of these beliefs were so fundamental as to be unquestioned, and may be referred to as referents, or myths. For the members of a culture to change their practice then, new referents must be introduced, or existing referents modified.In searching for the process by which this culture was able to access new understandings, this study examined the comparative influence of two highly visible science educators who promoted science curriculum change in the State. As a result of data collection involving interviews with twenty-five key informants and the examination of private and public archival records; the crucial role of these unique personalities emerged consistently: Each of these men have been characterised as a Hero because each brought new understandings to their existing culture (Campbell, 1949).In reviewing the extended career of each Hero it was possible to draw strong parallels with mythical Greek heroes, Perseus and Theseus. This metaphorical representation not only effectively mirrored the life history of the modern-day heroes but also served to reconnect the logic of science along with that of the emotion of art - a balance well understood by the Greeks.The study found that the successful Heroes promoted significant long term change by instituting new rituals, ceremonies and artefacts throughout the science education community. Over time, these activities effectively modified older referents and created new ones, leading to new practice in the curriculum enacted by science teachers.In drawing together the stories of Perseus and Theseus, it was possible to recognise common elements in the processes by which these influential individuals were able to effect new practice in their community. Thus the study provides a template for the cultural change process in the future.In the final discussion, focus shifts to the relevance of this research to the everyday enterprise of schools and school systems. As a school practitioner z always read scholarly papers with the underpinning question; "See What?" The final chapter then, is largely hypothetical as it poses possibilities, makes predications and offers advice for readers seeking to improve the change process in their own context.
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Davis, Jason Larry. "Heroes, Gods, and Virtues: a comparison and contrast of the heroes in the Aeneid and The Lord of the Rings." NCSU, 2002. http://www.lib.ncsu.edu/theses/available/etd-12162002-104157/.
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The heroes in Virgil?s Aeneid and Tolkien?s The Lord of the Rings are compared and contrasted. Some of the heroic characteristics that Tolkien instills in his characters are similar to Aeneas?s, but the primary heroes?Frodo, Sam, Aragorn, and Gandalf?display particularly Christian virtues that complement and fulfill Virgil?s pre-Christian ideals. The comparison begins with Aeneas?s and Frodo?s choices to leave Carthage and Lothlorien because those two cities pose similar temptations. However the protagonists? decisions have differing motivations. Motive marks the beginning of the contrast which then proceeds to analyze goals and hopes of the characters. The virtues advocated by the two authors are directly connected to the theologies at work in their plots, and the varying celestial powers and forces of evil are contrasted as well. Finally, the conclusions of the two works reveal the greatest difference between the heroes?the power and importance of mercy rather than strength.
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McKagen, Elizabeth Leigh. "Re-Defining C.S. Lewis and Philip Pullman: Conventional and Progressive Heroes and Heroines in The Lion, The Witch, and The Wardrobe, and The Golden Compass." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/32592.
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C.S. Lewis and Philip Pullman are two very popular authors of British Childrenâ s Fantasy. Their books The Lion, The Witch, and The Wardrobe and The Golden Compass straddle the period of writing that Karen Patricia Smith calls the Dynamic Stage of British Fantasy: from 1950 to the present. Both of these books are part of a larger series and both have been made into recent motion pictures by Hollywood. This paper explores these two books through the lens of their conventional and progressive authors. I discuss in detail the gifts that the heroes and heroines are given, the setting of these books, and the function of destiny and prophecy in order to explore the irony of these books: C.S. Lewis, often viewed as the more conventional author by scholars, is in fact more progressive than his contemporary counterpart.Master of Arts
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Domotor, Teodora. "Hemingway's In Our Time : masks, silences and heroes." Thesis, University of Surrey, 2012. http://epubs.surrey.ac.uk/804062/.
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This thesis sets out to explore the ambiguous concept of American heroism in Ernest Hemingway's short story collection e~titled In Our Time (1925), We shall investigate the author's interpretation of Americanness in its social context during the Roaring Twenties, Because visions of manliness have always been crucial in defining what it means to be an American (Kimmel, 2006, p. ix), the study also gives prominence to Hemingway's representation of masculinity. The surface of his text conforms to contemporary Midwestern defmition of manhood. Accordingly, as existing scholarship asserts, Hemingway's American hero is traumatised in physical and emotional terms, but he conceals his weakness and he comes to terms with his loss, which essentially signifies his American optimism. With the help of men's studies, psychoanalysis and narrative theory, our analysis of In Our Time reveals a different type of man existent in Hemingway's literature. The central protagonist, Nick Adams, displays the characteristics of the inherently melancholic American man. Examining him as a travelling correspondent, we can see how his journey enables him to investigate the meaning of identity and alterity. He comes to acknowledge the shortcomings of his native society. He identifies gaps and hiatuses in the American patriarchal tradition. Nevertheless, Hemingway's innovative narrative style disguises overt criticism about the United States. He manipulates the text and therefore confuses the reader. He applies redundancy - a form of repetition of details --and silencing - a conscious concealment of knowledge - in his narration in order to guide the reader to uncover the truth about preconceived ideals of American heroism and manliness. The American hero emerges as a representative of everything that he is not supposed to be: vulnerable, effeminate, homosexual and open-minded. Nick's "reports" thus deliver an austere critique of the American condition in the 1920s.
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Benson, Josef D. "Failed Heroes: Hypermasculinity in the Contemporary American Novel." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/3975.
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My study highlights a link of U.S. American hypermasculinity running through Cormac McCarthy's two novels Blood Meridian (1985) and All the Pretty Horses (1992), Toni Morrison's Song of Solomon (1977), and James Baldwin's Another Country (1960). My literary interpretations of these texts suggest that U.S. American hypermasculine man originated in the American frontier and transformed into a definition of hegemonic masculinity embraced by many southern rural American men. These southern rural American men then concocted the myth of the black rapist in order to justify the mass murder of African American men after Reconstruction, inadvertently creating a figure more hypermasculine than themselves. Many black men embraced the myth of the black rapist as well as the baser patriarchal aspects of white male southern power. Consequently, black hypermasculinity evolved into the paragon of American hypermasculinity.
Failed Heroes further argues that some protagonists in postwar American literature heroically fail in order not to perpetuate hypermasculinities. Continuing a modernist trend of anti-heroism, the selected protagonists develop into marginalized men due to their failure to live up to hypermasculine societal expectations. The protagonists' failure to perpetuate hypermasculinities proves heroic since it illustrates the destructiveness of these sensibilities; as a result, a sense of ironic heroism emerges from the narratives.
In Blood Meridian, set in the mid-nineteenth century U.S. American West, the kid fails heroically to construct a masculine identity outside of the textual order of the judge, indicting the hypermasculine philosophies of the judge and calling into question the book's violence. In no way is the kid a classic hero; rather, his collapse exists as a direct critique of the judge's destructive philosophies.
In All the Pretty Horses, set in the mid-twentieth century U.S. American South, John Grady fails to actualize his cowboy fantasy, but proves heroic in exposing its danger and destructiveness. At the end of the novel he vanishes into the countryside a failure, but unlike the mythic cowboy, he assumes the role of heroic failure because his narrative contributes to the relinquishment of a destructive male myth.
In Song of Solomon, set in Ohio and Virginia during Reconstruction and the Civil Rights and Black Liberation Movements, Milkman Dead functions as a black man who has the opportunity to break free from choking definitions of black masculinity. In the end he fails to break free and flies to Africa, leaving his family and his only hope at real freedom, his aunt Pilate, to die. Continuing a cycle of male flight at the expense of his family, community, and cultural guide renders him a failure. Morrison's final critique of hypermasculinity positions Pilate as the failed hero and shifts the emphasis of the novel to the women who represent victims of kinship systems and the incest taboo. The incest in the novel functions as a metaphor for Pilate's philosophy that black identity ought to come from black culture, a notion I call cultural incest.
Another Country, set in New York City during the 1940s and 1950s, details the plight of an urban African American man struggling to reconcile his homosexual desire with the black hypermasculine cool pose he dons as overcompensation. Rufus Scott's death proves heroic as a critique of the rigid definitions of urban black masculinity.
African Americans, and by extension all Americans, might employ their U.S. American history of oppression as a platform for a new vision of masculinity based on heteronormative failure and queerness. The association of blackness with oppression, and as a result non-normative sexuality, presents an opportunity to redefine blackness as abjection. The very failure of African Americans in measuring up to destructive notions of hypermasculinity might exist as a new definition of blackness and masculinity for all Americans.
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Lidström, Johan, and Jenni Laiho. "Self-Initiated Expatriates - Disloyal Adventurers or Misunderstood Heroes?" Thesis, Umeå universitet, Företagsekonomi, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-91033.
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China is growing as an economic power leading to more and more foreign organizations taking the opportunity of its future potential and hence opening up their subsidies there. Companies nowadays, have several options when it comes to what type of workforce they should recruit. Self-Initiated Expatriates (SIEs) are a growing group in the international workforce who goes to work in another country on their own initiative as compared to the traditional expatriates that are sent by companies. Our literature research indicated that SIEs are perceived as a group of people who lack organizational commitment and tend to switch jobs often, which makes organizations reluctant to employ and invest in them.Inspired by this, we have a performed a study, which investigated SIEs’ experiences in China. The purpose of the study was to develop recommendations for organizations on how to better leverage SIEs as human resource. To fulfill the purpose of our thesis, we conducted a qualitative study, where we interviewed ten Westerners who currently had a job or previously had been employed in China. Our empirical findings revealed that SIEs perceive themselves as developing better cross-cultural skills and improving their language proficiency more than traditional expatriates as well as being much cheaper to employ. They do however need challenges, freedom and career development possibilities in order to stay satisfied. The failure to provide these from the company side results in them quitting their job or if the costs of quitting are too high, they stay on but performing only what they absolutely have to. As for the existing definitions, we found that a definition that only includes individuals with clear plans of return is not suitable since some SIEs have a “for now” mindset and only considering SIEs who intend to leave in the near future might lead to an overrepresentation of “failed” SIEs in the population. A more suitable definition should allow for less definite plans for staying in the host country.
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East, Vincent. "Angels, saints and heroes : candidates for ethical exemplarity." Thesis, University of Sheffield, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408345.
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Mehrer, Helmut, and Nicolaas A. Stolwijk. "Heroes and highlights in the history of diffusion." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-188591.
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The science of diffusion had its beginnings in the nineteenth century, although the blacksmiths and metal artisans of antiquity already, used diffusion phenomena to make such objects as hardened iron swords and gilded bronze wares. Diffusion as a scientific discipline is based on several cornerstones. The most important ones are: (i) The continuum theory of diffusion originating from the work of the German physiologist Adolf Fick, who was inspired by elegant experiments on diffusion in gases and of salt in water performed by the Scotsman Thomas Graham. (ii) The Brownian motion, observed for the first time by the Scotish botanist Robert Brown, was interpreted decades later by the famous German-Jewish physicist Albert Einstein and almost at the same time by the Polish physicist Marian von Smoluchowski. Their theory related the mean square displacement of atoms to the diffusion coefficient. This provided the statistical cornerstone of diffusion and bridged the gap between mechanics and thermodynamics. The Einstein-Smoluchowski relation was verified in tedious experiments by the French Nobel laureate Jean Baptiste Perrin and his coworkers. (iii) Solid-state diffusion was first studied systematically on the example of gold in lead by the British metallurgist Roberts-Austen in 1896. Using a natural radioisotope of lead the Austro-Hungarian Georg von Hevesy and his coworkers performed for the first time studies of self-diffusion in liquid and solid lead around 1920. (iv) The atomistics of diffusion in materials had to wait for the birthday of solid-state physics, heralded by the experiments of the German Nobel laureate Max von Laue. Equally important was the perception of the Russian and German scientists Jakov Frenkel and Walter Schottky, reinforced by the experiments of the American metallurgist Ernest Kirkendall, that point defects play an important role for the properties of crystalline substances, most notably for those controlling diffusion and the many properties that stem from it. (v) The American physicist and twofold Nobel laureate John Bardeen was the first who pointed out the role of correlation in defect-mediated diffusion in solids, an aspect, which was treated in great detail by the American physicist John Manning. (vi) The first systematic studies of grain-boundary diffusion, a transport phenomenon of fundamental as well as technological importance, were initiated by the American materials scientist David Turnbull.
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Mehrer, Helmut, and Nicolaas A. Stolwijk. "Heroes and highlights in the history of diffusion." Diffusion fundamentals 11 (2009) 1, S. 1-32, 2009. https://ul.qucosa.de/id/qucosa%3A13917.
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The science of diffusion had its beginnings in the nineteenth century, although the blacksmiths and metal artisans of antiquity already, used diffusion phenomena to make such objects as hardened iron swords and gilded bronze wares. Diffusion as a scientific discipline is based on several cornerstones. The most important ones are: (i) The continuum theory of diffusion originating from the work of the German physiologist Adolf Fick, who was inspired by elegant experiments on diffusion in gases and of salt in water performed by the Scotsman Thomas Graham. (ii) The Brownian motion, observed for the first time by the Scotish botanist Robert Brown, was interpreted decades later by the famous German-Jewish physicist Albert Einstein and almost at the same time by the Polish physicist Marian von Smoluchowski. Their theory related the mean square displacement of atoms to the diffusion coefficient. This provided the statistical cornerstone of diffusion and bridged the gap between mechanics and thermodynamics. The Einstein-Smoluchowski relation was verified in tedious experiments by the French Nobel laureate Jean Baptiste Perrin and his coworkers. (iii) Solid-state diffusion was first studied systematically on the example of gold in lead by the British metallurgist Roberts-Austen in 1896. Using a natural radioisotope of lead the Austro-Hungarian Georg von Hevesy and his coworkers performed for the first time studies of self-diffusion in liquid and solid lead around 1920. (iv) The atomistics of diffusion in materials had to wait for the birthday of solid-state physics, heralded by the experiments of the German Nobel laureate Max von Laue. Equally important was the perception of the Russian and German scientists Jakov Frenkel and Walter Schottky, reinforced by the experiments of the American metallurgist Ernest Kirkendall, that point defects play an important role for the properties of crystalline substances, most notably for those controlling diffusion and the many properties that stem from it. (v) The American physicist and twofold Nobel laureate John Bardeen was the first who pointed out the role of correlation in defect-mediated diffusion in solids, an aspect, which was treated in great detail by the American physicist John Manning. (vi) The first systematic studies of grain-boundary diffusion, a transport phenomenon of fundamental as well as technological importance, were initiated by the American materials scientist David Turnbull.
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Wanat, Matthew Stephen. ""Feels Like Times Have Changed": Sixties Western Heroes." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364225401.
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Nelson, William George. "The public school teacher as national hero/heroine in the decade of the 1980's." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/897469.
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This research focuses on the public school teacher in the social role of national hero/heroine in the decade of the 1980's. Using historical background which highlights the traditional attitudes of United States' society toward the school and teacher, the phenomenon of the teacher as a national hero figure in the 1980's is examined. Sociologist Orrin Klapp's theory of the process used to create the heroic social type in society is employed to analyze case studies of teachers Christa McAuliffe and Jaime Escalante in an attempt to determine what factors contribute to or inhibit the elevation of the teacher to national hero/heroine status. The factors identified are then used to suggest a possible heroic conceptionalization of teaching.The position taken by the researcher is that the idea of teaching as vocation should be given re-consideration as a basis for the development of a heroic paradigm of instructional endeavor. Teaching at its best is more than a job. Teaching can be viewed as a humane and compassionate response to the calling of the children of society. The desire to make a difference in the lives of students by meeting their educational needs is a compelling motivation for those who enter teaching. The willingness of teachers to persevere in the pursuit of their students' best interest while facing significant social and occupational impediments not only serves the greater good of the whole society but displays the act of teaching as an intrinsically heroic endeavor.Department of Secondary, Higher, and Foundations of Education
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陳以德 and Yee-tak Chan. "The epic of sentiment: Hongloumeng and the fictionality of heoric selves." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31215002.
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Felce, Ian. "William Morris and the development of a heroic ideal : Old Norse works 1868-1876." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709075.
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Brown, Jeffrey A. "New heroes, gender, race, fans and comic book superheroes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27882.pdf.
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Kilicci, Esra. "J.D. Salinger's characters as existential heroes encountering 1950s America /." Open access to IUP's theses and dissertations, 2008. http://hdl.handle.net/2069/103.
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Huff, Kimberly D. "Rhetorical Failures, Psychoanalytic Heroes: A Psychorhetoric of Social Change." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/communication_diss/28.
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This dissertation confronts the rhetorical discipline with the Real of an antagonism illuminated through its encounter with Lacanian psychoanalysis. Rather than eliding the desire of subjects in favor of traditional discursive rhetorical solutions, the pschorhetorical response I will propose locates desire and the subject in the moments where communication fails and seeks to make public the realization of desire. Through the psychoanalytic analysis of three acts of agency that comprise rhetorical failure, I will argue that rhetorical analyses of social change are actually not persuasive enough in their acceptance that social reality is entirely mediated. The cases will show that rhetorical failure is tantamount to psychoanalytic heroism. Utilizing what I call psychorhetoric, I will argue that rhetoric’s investment in social change can be much enhanced by opening to the concept of a nonsymbolizable ethics of the Real.
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李芸磯 and Wan-kay Kay Li. "Shaw's heroes: varieties of imagination and the shavian protagonists." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31209324.
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Kvanli, Erik, and Eirik M. Hammerstad. "A Coalition based Agent Design for Heroes of Newerth." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for datateknikk og informasjonsvitenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-26762.
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Video games have become more and more advanced, yet their artificial intelli-gence components are often a source of criticism. Even though academic AI hascome very far, it is rarely seen in video games due to computational complexity.Video games usually use most of their computation time on graphics and physics,and since they require quick response times, the AI is left with scarce resources touse advanced techniques. This project examines the use of case-based reasoningand multi-agent cooperation to improve the existing AI in a commercial videogame. The game is called Heroes of Newerth and is developed by S2Games. Wefocus on making group decisions in this real-time environment which is partiallyobservable. We also use case-based reasoning techniques to improve agents’ de-cisions. Our goal is to implement an agent with these properties, which is bothmore challenging and fun to play against.
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Latham, C. J. K. "Mwari and the divine heroes: guardians of the Shona." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1004666.
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Gould, Gaye Elizabeth. "Constructing lyrical heroes : Verdian tenors and their literary sources /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19912286.
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Bisco, Matteo <1995>. "Heroes and Monsters: The Faerie Queene Foreshadowing Modern Fantasy." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/16089.
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The present study is concerned with the relationship between The Faerie Queene and modern fantasy literature; Spenser's poem, a "continued Allegory, or darke conceit", repeatedly alludes to historical, political and religious issues that were objects of controversy at the time when it was written. Initially conceived as a twelve-book epic poem, it is set in the magical Faerie Land, where the Faerie Queene has sent her knights on various quests.
More specifically, the issue addressed is whether, and to what extent, The Faerie Queene can be considered an ancestor of fully-developed modern fantasy. While there is general consensus that fantasy is a phenomenon that begins in the nineteenth century, some critical studies of the history of the genre mention The Faerie Queene in passing, but they do not dwell on this association.
The first chapter presents a survey of the most compelling critical approaches to the genre, as well as an outline of its recurring themes; the second chapter attempts to chart the allegorical subtext of the poem, and analyzes the characters of Arthur, Redcrosse, Britomart and Calidore, concentrating on the aspects that put them in conversation with modern fantasy; in the last chapter the focus will shift to animals and fantastic creatures, another recurrent presence in The Faerie Queene and a stock feature of fantasy literature.
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Pike, Mitchell Edward. "George Drouillard and John Colter: Heroes of the American West." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/444.
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A study of George Drouillard's and John Colter's involvement in the expansion and exploration of the American West. This thesis looks at their contributions as a part of the Corps of Discovery and during the American fur trade. The thesis will also look into why men such as Drouillard and Colter and their contributions have been overlooked in recent history.
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Limmer, Katherine Anne. "Heroes and heels : investigating the star enactments of Charlton Heston." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3524.
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This investigation undertakes to re-centre the figure of the film star and their film appearances in the field of star study. To this end it uses Charlton Heston as its focus in a re-appraisal of existing methods of accounting for the star phenomenon in cinema. It also concomitantly re-assesses existing accounts of the significance of Charlton Heston as a film star. This thesis posits a robust method for identifying the specificities of the star’s contribution to a film’s meanings and effects across the body of their work by drawing on Andrew Britton’s understanding of the ‘star enactment’. Present approaches through which to engage with the details of a star’s performance are considered in detail and the weaknesses of those that seek to impose external schemas onto such discussions are highlighted. The difficulties with approaches that attempt to account for the star as a signifying phenomenon through the concepts of acting and performance are also considered. Existing methods which may allow for a fruitful investigation into the significance of the star enactment, such as the commutation test, are re- formulated in this study and their benefits are demonstrated through their application to key Heston star enactments. These new understandings are also made possible through the application of an ‘ekphrastic’ method of rendering film moments. Previous readings of Heston’s star figure are also re- appraised, and their conclusions questioned, through closer reference to the evidence of details from films. The fruitfulness of this method for analysing and commenting on film is thus demonstrated and Heston’s relationship to genre and its effect on performance style is also considered in order to be able to confidently assert the specific features of the Heston aesthetic.
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Henley, Mary. "The boy heroes of Henri Bosco : their genesis and characteristics." Thesis, Keele University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295802.
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Fox, Noela Mary. "Fear under their feet: An icon of heroes, regional perspectives." Thesis, Australian Catholic University, 1998. https://acuresearchbank.acu.edu.au/download/9e65d9439f53282fc0b6758f3b961c84fdc4a734850233277968ad2b82deb3ea/15148165/64869_downloaded_stream_94.pdf.
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Aims: This thesis is centred in the question of the Australian image of the heroic. The European settlement in a land geographically alien to, and distanced from, those lands which had been left, and the convict beginnings of the Australian society would have had an impact on the Colonials, their view of themselves, and their relationships between each other and the land. The often violent nature of the contact between the new arrivals and the original inhabitants, and the various turning points of history, such as their involvement in World War 1, have all influenced Australia's concept of the heroic. This thesis examines an historic event to which Australians turn again and again, an event which has become mythologised and ritualised to give Australians their heroes, and a ""blue-print"" for living. Some of the questions, which emerge, are: What is the Australian experience of the heroic? Does this differ from that of other countries'? Does the celebration of the heroes have the potential to provide Australians with a mystical experience? Could it enable them to live in an ""I-Thou"" relationship with each other?
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Dunlap, Robert. "Ordinary Heroes: Depictions of Masculinity in World War II Film." Miami University Honors Theses / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1177682964.
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Balkum, Katelyn Colleen. "Disabled Heroes: Disabilities in Rick Riordan's Greek and Roman Retellings." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1588335037313493.
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Darling, Rachel Jane. "Fools and heroes : the changing representation of the novelist-character." Thesis, King's College London (University of London), 2014. http://kclpure.kcl.ac.uk/portal/en/theses/fools-and-heroes(66cd097c-13fa-4511-a47c-9aab7c777f7c).html.
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This thesis analyses the representation of the novelist as a fictional character in British and Irish literary fiction from the late 1920s, when the character first began to appear concurrently in the work of numerous authors, until the end of the twentieth-century. In the twenty-firstcentury the character has retained its prominence, which is why selected supplementary novels written post-2000 have been included in the early chapters (although not the case studies) in order to demonstrate ongoing critical issues and suggest opportunities for further study. The most recently written novel to appear centrally – that is as a case study – is William Boyd’s Any Human Heart – which was actually published in 2002. However, as Logan Mountstuart was originally conceived as part of Boyd’s 1998 Nat Tate: An American Artist, 1928-1960, I believe that Logan’s inclusion is justified within the twentieth-century time frame. Although the specific novelist-character (as opposed to the more general artistcharacter) does feature within the nineteenth-century British novel, notably in Charles Dickens’s David Copperfield (1850) and George Gissing’s New Grub Street (1891), the character only begins to appear with increased regularity at the end of the 1920s with Aldous Huxley’s Point Counter Point (1928) and W. Somerset Maugham’s Cakes and Ale (1930). The aim of this thesis is to interrogate the variety of metafictional purposes and metaphorical which the novelist-character can serve within the narrative, and to explore a range of critical issues that the presence of this character raises. This thesis also argues that the specific novelist-character is subject to a more cynical portrayal than the idealised artist-character/hero found in eighteenth and nineteenth-century novels, and examines causes behind this contrasting treatment. In order to qualify as a novelist-character, the character in question must identify or define themself explicitly as a novelist rather than as any other kind of writer or artist. They must also demonstrate evidence of (or a preoccupation with) undertaking the process of writing a novel, and awareness of their position as a novelist. Many of the novelist-characters looked at are also the first person narrators of their novels; however it does not necessarily follow that all first person narrators are also novelist-characters. Although first person narrators may be seen to be telling a story, the novelist-narrators selected for this thesis explicitly identify as novelists, and repeated references are made throughout the novel to their own writing. In several instances they also appear to author some or all of the narrative in which they feature. Post-WWI, instances of generally artistic protagonists diminish, whilst the novelist-character begins to proliferate and continues to do so throughout the twentieth-century and into the twenty-first. This thesis will look at a range of historical, critical, and cultural reasons to sug-gest why this shift – from artist to novelist-character – occurs and why the novelist-character comes to be represented in such a distinct way. Depictions of the novelist-character are seen to be influenced by various, often contradictory, theoretical and historical thinking on the fig-ure of the novelist, in comparison with the figures of the artist, the author, and the writer. These are explored in Chapters One and Two. Preliminary study indicated that there was no true progressive chronological deterioration of the novelist-character. Although appearances of the character in the 1980s-90s are seen as increasingly ambiguous, the character’s representation does not necessarily become more negative towards the end of the century. Instead it becomes apparent that the character was, from the outset, typically depicted with derision – in fact the earliest novel looked at, Hux-ley’s Point Counter Point, contains one of the most negative portraits. Whilst this does not preclude the impact of certain historical factors upon the portrayal of the novelist-character it dictated a thematic rather than chronological organisation of the case studies, which make up Chapters Three, Four, and Five. The scope of this study, along with the lack of preceding work on the analysis of the novelist-character, has necessitated the wide range of novels ex-plored within this thesis. Each of the case study chapters focuses on a particular purpose which the novelist-character is seen to serve within the novel and examines it along with similar or comparative utilisations of the character. The three different aspects of the novelist-character’s function explored in Chapters Three-Five are (i) autobiographical – in which the writer utilises their own biographical material in the depiction of the novelist-character; (ii) framing device – in which the novelist-character is employed as part of a metafictional frame narrative; (iii) metaphorical – in which the novelist-character is seen to perform a role which acts as a metaphor for the function of the novelist.
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Kerr, Andrew. "Heroes and enemies : American Second World War comics and propaganda." Thesis, University of Lincoln, 2016. http://eprints.lincoln.ac.uk/27880/.
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During the Second World War, American comic books were put to use for the war effort as carriers of propaganda. This thesis explores the propaganda in comics that were published with the cooperation of government and military institutions such as the Office of War Information and the United States Marine Corps. The propaganda contained within titles published in tandem with government institutions was primarily communicated through the interplay of the characters of the hero and the enemy or villain. Grouping these characters into recurrent types according to their characterisation allows for close reading of their particular propaganda function. This thesis establishes a connection between the Office of War Information, The Dell Publishing Company, Parents’ Magazine Press and Street and Smith Publications, carrying forward the work of Paul Hirsch (2014). Each of these publishers produced comics that included war related propaganda, as did the Office of War Information itself. Added to this sample are the war comics produced by Vincent Sullivan, the editor of Magazine Enterprises and its subsidiaries, that were published with the cooperation of the US Marine Corps and other military institutions. In addition, a sample of the comics of William Eisner are included in order to demonstrate that the same groupings of hero and enemy occur in fictional comic narratives as well as those that purport to be non-fictional. Similar to Joe Simon and Jack Kirby’s famous creation of Captain America, Eisner produced Uncle Sam in response to the rising patriotic fervour in 1941 as the country increasingly debated and prepared for war. Eisner was later enlisted to produce comics for the Pentagon on war related issues. There is also a discussion of Milton Caniff’s contribution to the US military publication Pocket Guide To China and the Office of War Information publication The Life of Franklin D. Roosevelt, 32nd President of the United States (1943). 6 As a counterpoint to the propaganda function of each type of hero and enemy contained within the commercially published sample, this thesis analyses a selection of unpublished, soldier-illustrated comics from the Second World War thanks to privileged access to the Veterans History Project (2013) at the Library of Congress. These unpublished artefacts demonstrate that the comics medium allowed space for alternative voices to express their reaction to the conflict, resisting the wider propaganda narrative exhibited by the commercial sample and reacting to the loss of individuality and authoritarian structure of the military, while stylistically demonstrating the soldiers’ affinity for comics such as George Baker’s Sad Sack and anti-heroes such as Bill Mauldin’s ‘Willie and Joe’. In this way these soldier-illustrated comics presented a democratic counter-point to the lack of democracy within the armed forces (Alpers, 2003, 158) and exhibit a form of patriotism focused on the ‘grassroots’ elements of American everyday life and culture as opposed to the jingoistic and ideological patriotism of the commercial comics. Methodologically, application of close reading to the content of comics’ narratives, on the level of a particular panel, story, advertisement, or other content, reveals comics to be significant historical sources that offer insight into the propaganda embedded in the popular culture of the period. Critical discourse analysis is applied to the rhetorical elements of the comics in order to explore how many of them served to marganilise particular groups, identifying them as the ‘enemy’ in contrast with the ‘hero’ (Brundage, 2008). Similarly, a semiotic approach informed by the work of Roland Barthes (1973; 1987) is undertaken in order to understand the significance of both visual and rhetorical elements of the texts. Alongside this approach is the methodological assumption of the ‘implied reader’ advocated by Wolfgang Iser’s (1978) that allows the analysis the virtual scope to discuss an idealised reader’s potential response to each text. This notion of the ‘implied reader’ is counterbalanced by a consideration of Stuart Hall’s (1980, 1997) three potential decoding positions in tandem with a consideration of the wider historical context. 7 Once the groups of hero and enemy are identified, subsets of both groups are developed according to their characterisation and the attributes they display. This is done in order to facilitate analysis of the ideology communicated by each of these character types. Identifying the function of each type of hero and enemy makes a new contribution to the wider field of propaganda studies. This contribution encourages a greater understanding of the role played by comics during the Second World War in encouraging ideological propaganda as well as allowing for resistance to it.
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Falkenstern, Rachel C. "Hegel’s Theory Of Tragic Heroes: The Historical Progress Of Subjectivity." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/381708.
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PhilosophyPh.D.
This dissertation argues that Hegel’s theory of tragedy is best understood in combination with his theory of the historical progress of subjective freedom, and that this progress is manifested as the heroes of tragic drama in its different stages of antiquity, early modernity, and late modernity. The truth of tragedy for Hegel, like the content of all art, progresses concomitantly with human freedom, reason, and subjectivity. Likewise, humanity’s self-understanding of these aspects of itself also historically progresses. In this light, I further argue that Hegel’s theory shows tragedy to be not only a historically contextualized cultural practice and form of self-understanding but also a presentation of absolute truth: the truth of a culture at a particular historical moment is presented in its tragedy, yet that culture is a part of a larger narrative, so that a common thread running through tragic drama of all eras comes to light when tragedy is examined through the lens of Hegel’s philosophy. Specifically, I show that Hegel views self-contradiction, alienation, and the drive to reconcile these as underlying universal human conditions, and in tragedy this universal truth is embodied in the tragic hero. This appears in tragic heroes as they take responsibility for unintentional actions, or as they remain fixed to their cause although it brings about their own downfall. In consideration of our own historical standpoint and of my agreement with Hegel’s view that tragedy retains an important role in our cultural self-understanding, this dissertation shifts the focus from ancient Greek tragedy, the prevailing theme in Hegel scholarship and in wider discussions of Hegel’s theory of tragedy, and instead directs more attention to modern tragedy. According to Hegel, a key aspect of all tragic heroes is that they either freely will their actions or take responsibility for them, or both. Additionally, as subjective freedom historically progresses, so does our awareness of our freedom to choose our actions or to take responsibility for them. I show how this progress is manifested in ancient, early modern, and late modern tragic heroes—in works by Sophocles, Shakespeare, and Schiller, respectively—and, finally, in the tragic heroes of some contemporary works of film. The historical grounding of my reading of Hegel’s theory of tragedy combined with my focus on the tragic hero lends a unique perspective to our understanding of Hegel’s theories of tragedy and of subjectivity, and to our interpretations of the tragic works themselves. This dissertation thus sheds new light on Hegel’s theory of tragedy, an important endeavor in itself, with the larger aim of showing how Hegel’s philosophy of tragedy helps us better understand both tragedy and ourselves, as inheritors of and participants in philosophical discussions of tragedy, and as contemporary audiences that engage with tragic dramas in a variety of venues.
Temple University--Theses
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Zhang, Ye. "The marsh and the bush : outlaw hero traditions of China and the West." Thesis, Curtin University, 1998. http://hdl.handle.net/20.500.11937/2392.
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This thesis makes a comparative study of cultural differences and similarities between Chinese and Western outlaw heroes. It examines this cultural phenomenon from eight angles: the outlaw hero as constructed by history, literature and folklore; outlaws constructed as archetypal heroes; social and cultural contexts; outlaw heroes and revolution; a comparative case study of outlaws in Northeast China and Australia; underground cultural products (the "lore" and 'law"); ballads and proverbs reflecting values of outlaw heroism; and the fate of outlaws and the outlaw hero.Historical and folkloric explanatory frameworks are applied to outlaw hero traditions. Archetypal outlaw heroes and their successors, praised or criticised, are all constructed through a long process which combines reality recreated and fiction made real. Characteristics of archetypal outlaw heroes are inherited by later outlaws in China and the West. Though there are common codes and values of outlaw heroes in China and the West, different attributes are manifested in their attitudes towards brotherhood, organisation and women, and also in bandit sources and bandit categories.Western outlaw heroes are seldom involved in revolution, but their Chinese counterparts are connected with the Taiping revolutionary movement, the republican revolution and the Communist revolution. Some Communists are no more than outlaw heroes in the eyes of the poor and bandits in the eyes of the Kuomintang However, the alliance between outlaw heroes and revolutionaries is a fragile one.Northeast China and Australia have some parallels in their outlaw hero traditions. Convicts and immigrants play an important part in frontier banditry. The environment of both provides fertile soil for banditry and immigration. Among modem outlaws in Northeast China are chivalrous bandits and bandits who heroically fight against foreign Invaders. Bandit culture is valuable heritage in China. Bandits' ceremonies, argot, internal regulations, worship and superstition, and routine and recreational activities are all important facets of Chinese outlaw culture.Outlaw heroes never bend their bodies under pressure; they rebel rather than wait for death; and they never rob the locals. This is all reflected in bandit ballads, proverbs and other lore discussed in the thesis. Death is what most outlaws have to face, and how to fade it is a significant element in the construction of the outlaw hero. The arguments of this thesis are based on folkloric, historic and literary sources, many of which are here translated into English for the first time.
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Varty, Anne. "Diaphaneité in Walter Pater's delineation of the hero." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670369.
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