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Weisbard, Daniel J. "Imaginary spaces /." Online version of thesis, 2007. http://hdl.handle.net/1850/5869.
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Gustafson, Sean. "Imaginary Interfaces." Phd thesis, Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6896/.
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The size of a mobile device is primarily determined by the size of the touchscreen. As such, researchers have found that the way to achieve ultimate mobility is to abandon the screen altogether. These wearable devices are operated using hand gestures, voice commands or a small number of physical buttons. By abandoning the screen these devices also abandon the currently dominant spatial interaction style (such as tapping on buttons), because, seemingly, there is nothing to tap on. Unfortunately this design prevents users from transferring their learned interaction knowledge gained from traditional touchscreen-based devices.
In this dissertation, I present Imaginary Interfaces, which return spatial interaction to screenless mobile devices. With these interfaces, users point and draw in the empty space in front of them or on the palm of their hands. While they cannot see the results of their interaction, they obtain some visual and tactile feedback by watching and feeling their hands interact. After introducing the concept of Imaginary Interfaces, I present two hardware prototypes that showcase two different forms of interaction with an imaginary interface, each with its own advantages: mid-air imaginary interfaces can be large and expressive, while palm-based imaginary interfaces offer an abundance of tactile features that encourage learning.
Given that imaginary interfaces offer no visual output, one of the key challenges is to enable users to discover the interface's layout. This dissertation offers three main solutions: offline learning with coordinates, browsing with audio feedback and learning by transfer. The latter I demonstrate with the Imaginary Phone, a palm-based imaginary interface that mimics the layout of a physical mobile phone that users are already familiar with.
Although these designs enable interaction with Imaginary Interfaces, they tell us little about why this interaction is possible. In the final part of this dissertation, I present an exploration into which human perceptual abilities are used when interacting with a palm-based imaginary interface and how much each accounts for performance with the interface. These findings deepen our understanding of Imaginary Interfaces and suggest that palm-based Imaginary Interfaces can enable stand-alone eyes-free use for many applications, including interfaces for visually impaired users.Die Größe mobiler Geräte ist vornehmlich bestimmt durch die Größe des Berührungsbildschirms. Forscher haben daher erkannt, dass der Weg zur äußersten Mobilität in der kompletten Aufgabe des Bildschirms liegt. Solche tragbaren Geräte werden durch Handgesten, Sprachbefehle oder eine kleine Anzahl physikalischer Tasten gesteuert. Mit der Aufgabe des Bildschirms geben diese Geräte allerdings auch den momentan weitverbreiteten Stil räumlicher Interaktion auf (zum Beispiel das Betätigen von Tasten), da scheinbar nichts existiert, das man betätigen kann. Leider verhindert diese Entwicklung, dass Benutzer Interaktionswissen, welches sie sich auf herkömmlichen berührungsempflindlichen Geräten angeeignet haben, anwenden können. In dieser Doktorarbeit stelle ich Imaginary Interfaces vor, imaginäre Benutzerschnittstellen, die räumliche Interaktionen auf bildschirmlosen mobilen Geräten ermöglichen. Diese Schnittstellen erlauben Benutzern, im leeren Raum vor ihnen oder auf ihren Handfläche zu zeigen und zu zeichnen. Zwar können Benutzer die Ergebnisse ihrer Interaktion nicht sehen, sie erhalten jedoch visuelle und taktile Rückmeldung dadurch, dass sie ihre Hände während der Interaktion beobachten und fühlen. Nach der Einführung des Imaginary Interfaces Konzepts stelle ich zwei Hardware-Prototypen vor, die zwei verschiedene Arten von Interaktionen mit Imaginary Interfaces demonstrieren, jeweils mit ihren eigenen Vorteilen: Imaginary Interfaces in der Luft können groß und ausdrucksstark sein, während Imaginary Interfaces basierend auf Handflächen eine Fülle von taktilen Merkmalen aufweisen, die das Erlernen unterstützen. Die fehlende visuelle Ausgabe führt zu einer der Hauptherausforderungen von Imaginary Interfaces, nämlich Benutzern zu ermöglichen, die Anordnung der Benutzerschnittstellen herauszufinden. Diese Doktorarbeit stellt drei Lösungen vor: vorheriges Lernen mit Koordinaten, Durchsuchen mit Tonrückmeldung und Lernen durch Transfer. Letztere demonstriere ich mit Imaginary Phone, einem Imaginary Interface basierend auf Handflächen, das die den Benutzern schon vertraute Anordnung eines physikalischen Mobiltelefons imitiert. Obwohl diese Lösungen die Interaktion mit Imaginary Interfaces ermöglichen, können sie keine Aussage darüber treffen, warum eine solche Interaktion möglich ist. Im letzten Teil dieser Doktorarbeit untersuche ich, welche menschlichen Wahrnehmungsfähigkeiten während der Interaktion mit Imaginary Interface basierend auf Handflächen genutzt werden und zu welchem Ausmaß jede dieser Wahrnehmungsfähigkeiten zur Effizienz bei der Benutzung beiträgt. Diese Ergebnisse vertiefen unser Verständnis von Imaginary Interfaces und legen nahe, dass Imaginary Interfaces basierend auf Handflächen die eigenständige und blickfreie Benutzung von vielen Anwendungen ermöglichen können, eingeschlossen Benutzerschnittstellen für sehbehinderte Benutzer.
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Davis, J. F. "Imaginary desires." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1463498/.
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This thesis assesses the case for introducing an imaginative counterpart to desire. The first chapter considers what an imaginative counterpart is, and some initial worries related to introducing an imaginative counterpart to desire. The second chapter considers whether our third person mindreading abilities, and a puzzle about what mental states motivate children’s pretend play, give us reason for introducing i - desires. The third chapter considers whether we have to introduce i - desires to make sense of the desires we apparently direct towards fictional characters. I will argue that introducing i - desires deepens the puzzles related to these three cases, and that genuine desire - based solutions do a better job of making sense of them. I will thus conclude that desire does not have an imaginative counterpart.
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Andrews, Susan Lesley, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "An imaginary other." THESIS_FPFAD_SD_Andrews_S.xml, 1997. http://handle.uws.edu.au:8081/1959.7/458.
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This research paper focuses on a specific period in western art history. The eighteenth and ninteenth centuries held fascination for the author as it marked the beginnings of modern science, a time when the artist and scientist collaborated in a mythical search for a key to unlock the mysterious realm to the unknown. The artist/scientist set on course to discover a new frontier thought to be buried somewhere in woman's body.The paper has been formulated into three chapters. The author has examined how the representation of the body of woman was reduced to a stereotype in both art and science. By examining eight images, she has sought to expose the subjective nature of the artists/anatomists' investigation during this period in history and reveal how art and science formed a complicit alliance in the misrepresentation of the body of woman. Her body became the site and the chosen medium for the projected fears and phantasies of the male imaginaryMaster of Arts (Hons)
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Williams, Bryden John. "'A Hydrological Imaginary’." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17891.
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My work questions the ongoing dialogue between technology and nature. This dialogue is most evident in landscapes and their respective ecosystems, specifically rivers. These bodies of water are a fluid mirror reflecting a wavering view of ourselves, a constructed human presence within the natural environment. This thesis offers a way of understanding these pipelines, dams, canals and attendant infrastructures in a conceptual manner. These encapsulating forms that interrupt, shape and utilise the natural realm are the facades of a hydrological imaginary. ‘A Hydrological Imaginary’ addresses this field of tension between the river and its artificial counterparts - canals, pipelines and human-made containments. The core of the thesis is a discussion of rivers, dams and water-based infrastructure that illustrates how environmentally engaged art discourses respond to the technological and sociocultural elements of water. This paper discusses the strategies of artists that work with bodies of water through photography, such as Australian artist David Stephenson and German artists Bernd and Hilla Becher along with my own photographic work. Multi-disciplinary artists such as UK artists Simon Starling and Rachel Whiteread are also discussed, along with the work of American artist Robert Smithson and American artist John Roloff. These conceptual art practices are to be connected to American writer David E. Nye and Scandinavian Professor Terje Tvedt’s ideas on the underlying histories of geopolitics, the technological sublime and Australian writer Martin Thomas’ ideas on the role of environmentalism in art. Thus, this thesis illustrates how art agitates the hydrological realm and contributes to the creation of new reflections, meanings and possibilities from the narratives of contained water, submerged histories and sociocultural attributes to the landscape. I have used my practice to bring context to these concepts around the ideas of contained nature and the movement of water in two solo exhibitions that featured video, photographic and kinetic sculptures created in a range of staged encounters with rivers in Eastern Australia. Alongside my previous work based on the Yangtze River in China in 2012, and work made within the Blue Mountains in 2012 – 2015 prior to commencing this Masters project, this thesis is a distillation of these seemingly disparate bodies of water. It is a narrative on historic systems, aesthetics and possibilities of the natural and the assisted movement of water.
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Andrews, Susan Lesley. "An imaginary other." Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/458.
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This research paper focuses on a specific period in western art history. The eighteenth and ninteenth centuries held fascination for the author as it marked the beginnings of modern science, a time when the artist and scientist collaborated in a mythical search for a key to unlock the mysterious realm to the unknown. The artist/scientist set on course to discover a new frontier thought to be buried somewhere in woman's body.The paper has been formulated into three chapters. The author has examined how the representation of the body of woman was reduced to a stereotype in both art and science. By examining eight images, she has sought to expose the subjective nature of the artists/anatomists' investigation during this period in history and reveal how art and science formed a complicit alliance in the misrepresentation of the body of woman. Her body became the site and the chosen medium for the projected fears and phantasies of the male imaginary
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Andrews, Susan Lesley. "An imaginary other /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030915.151821/index.html.
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Scaringi, Vanessa Cristina [UNESP]. "Deusa das noites: personagens (des)veladas." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/90138.
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O curso do imaginário vai para uma esfera coletiva, além do individual. É um dinamismo que surgiu desde a mitologia e que perpassa séculos, transformando-se em si mesmo e antecipando aquilo que ainda não foi vivido. Em um mundo de sonhos, fantasias, imagens, memórias de muitas cenas que fascinam, encantam, seduzem, (des)velam, surge Afrodite - a deusa das noites - de diversas faces e personagens dançantes de tempos (ir)reais que se fazem passado, presente e futuro. Muitos são os caminhos para encontrá-la e o rumo optado faz da experiência um lugar mágico que se mistura a um lugar comum. Falar de DEUSA DAS NOITES: Personagens (des)veladas significa adentrar em um mundo de desejos, (des)encantos e seduções, movido por personagens de um paradoxo: realidade e ficção. Como a dançarina de striptease, por meio da dança erótica, cria as suas personagens entre a realidade e a ficção, possibilitando a e/ou interferindo na produção de subjetividade? Nesta perspectiva, pode-se pensar a referida pesquisa como espaço de experiências, de modos de afetação e produção de sentidos nos/pelos sujeitos em um cenário onde as danças da vida e do imaginário se entrelaçam. Tomando como princípio que a dança, inclusive a erótica, invoca a presença da imaginação, constitui-se como objetivo deste estudo discutir relações presentes entre o real e o ficcional que permeiam a criação da personagem da dançarina de striptease como processo de subjetivação. Esta pesquisa foi sendo produzida a partir de sete encontros com uma jovem dançarina de striptease de 21 anos de idade. Portanto, não busca fechar uma definição sobre o trabalho com o striptease, mas busca aliar-se à dançarina com o intuito de apontar variações e relações construídas no caminho que se traça para além da busca por uma meta...
The course of the imaginary goes to a collective domain, beyond the individual. It's a dynamism that has emerged since the mythology and has been running through the centuries, transforming in itself and anticipating what has not been lived. In a world of dreams, fantasies, images, memories of many scenes that fascinate, enchant, seduce, (un)ensure, emerges Aphrodite - the goddess of the love - of many faces and dancing characters of (un)real times that make themselves past, present and future. There are many ways to find her and the chosen path makes the experience a magical place that blends with the commonplace. Speaking of GODDESS OF NIGHTS: Characters (un)veiled means entering a world of desires, (dis)enchantment, seduction and fantasy, driven by characters of a paradox: reality and fiction. How does a stripper, through erotic dance, create her characters between reality and fiction, allowing and/or interfering with the production of subjectivity? In this perspective, one might think of a specific research as a space of experiences, ways of affectation and meaning production in/by the subjects in a scenario where the dances of life and imagination intertwine. Taking the principle that the dance, including the erotic, invokes the presence of the imagination, constitute the aim of this study to discuss present relations between the real and fictional that underlie the creation of the character of the stripper as a process of subjectification. This research is being produced from seven encounters with a young, 21 year old stripper. Therefore, it does not seek for a definition about the work with the striptease, but seeks to ally itself with a dancer in order to point out variations and relationships built in the path that is traced beyond the search for a goal. It's like enjoy the details in a work of art, doubting what is said, building the path to walk, casting off the call ... Do you want to dance with me?
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ARANTES, HAENDEL MOTTA. "THE IMAGINARY IN ANALYSIS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8286@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORO que o curso de uma análise opera no registro Imaginário? Para tratar a questão, a pesquisa parte do exame do conceito freudiano de realidade psíquica, articulando-o à tríade de registros lacaniana - Real, Simbólico, Imaginário. Em seguida, examina o conceito de fantasia em Lacan, amarração matriz por onde é erguida a cena imaginária para um sujeito. Por fim, no interior da experiência clínica, localiza o caminho de uma reconstrução síntese da fantasia, a avançar segundo os passos do recordar, repetir, elaborar apontados em Freud.
What the curse of analysis operates on Imaginary? To treat this issue, this research exams the freudian concept of psychical reality, articulating it to Lacan´s three categories - Real, Symbolic, Imaginary. Next, it exams the concept of fantasy in Lacan´s theory, an essential arrangement where from imaginary scene is built for a person. Finally, inside the clinical experience, it locates a way to reconstruct a fantasy´s synthesis, according to the steps of recollection, repetition, workingthrough indicated by Freud.
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Kazimierczak, Karolina Agata. "Translating Imaginary Aliens,Transgressing Imaginary Scholars : Invented Languages and the Performances of Fan/Scholarship." Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531700.
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Mountian, Ilana. "Drugs, gender and social imaginary." Thesis, Manchester Metropolitan University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409499.
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Kilbourne, Philip E. "The Imaginary Invalid: Directing Project." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392817620.
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Maher, Sean William. "Noir and the urban imaginary." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/42216/1/Sean_Maher_Thesis.pdf.
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Noir and the Urban Imaginary is creative practice based PhD research comprising critical analysis (40%) exegesis (10%) and a twenty-six minute film, The Brisbane Line (50%). The research investigates intersection of four elements; the city, the cinema, history and postmodernity. The thesis discusses relationships between each of the four elements and what cinematic representation of cities reveals about modern and postmodern urban experience and historicisation. Key concepts in the research include, 'urbanism', 'historiography', 'modernity', 'postmodernity', 'neo-noir'.
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Mousset-Becouze, Chloé. "Du symbolisme comme chambre noire de l'imaginaire photographique." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30018/document.
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Évoquer l'existence d'un imaginaire photographique pose un problème d'ordre idéologique quant au statut de la photographie. Pour tenter de démontrer l'existence de cet imaginaire, il faut se pencher sur un mouvement qui, en son temps, réfléchit à cette notion de manière fondamentale: le mouvement symboliste. Aussi est-il nécessaire de se demander en quoi le symbolisme est fondateur de l’imaginaire photographique ? A cette époque la photographie est largement intégrée dans un système positiviste, elle est la technique scientifique d’enregistrement par excellence, ayant pour trait caractéristique la mise hors circuit de la subjectivité de l’observateur. Le symbolisme, quant à lui, est à son apogée, autour des années 1880-90. Il va opposer au principe scientifique de classification, fondé sur la séparation et la différence, une conception philosophique tournée vers la recherche d’unité. Or les symbolistes, vont se servir de l’outil photographique. D’une part, ils réinvestissent d’un imaginaire et d’un esprit critique les photographies les plus scientifiques et « objectives » de l’époque. D’autre part certains deviennent eux-mêmes photographes et vont instituer la photographie comme une véritable expérience créatrice et poétique. Ces concepts demeurent plus ou moins vifs sur le long terme. Un ensemble de symboles et de démarches ont été réinvestis par la révolution surréaliste. Ceux-ci restent présents et fondateurs de la photographie contemporaine par leur réactualisation. Cette dernière ferait véritablement appel aux potentiels de l’imaginaire photographique déjà mis en place par le Symbolisme, remettant dès lors en question la manière impérialiste de voir et concevoir le réel. Le but de cette recherche, n’est pas d’affirmer que toute photographie est symboliste mais de déterminer quelle peut être aujourd’hui l’influence du symbolisme en photographie, à travers la mise en œuvre de concepts communs. Cette recherche se fonde sur une interrogation concernant l’imaginaire photographiqueTo refer to the existence of a photographical imagination arises an ideological issue when bringing the status of photography into question. To try to demonstrate the existence of this imagination; consideration should be given to a movement fundamentally reflecting the notion of the symbolist movement. Therefore, would it be necessary to consider how symbolism is founder of the photographical imagination? At that time, photography widely fits into a positivist system, it is the best recording scientific technique. Hence, photography has emerged from the middle of the 19th century as a new type of objectivity whose main characteristic is the exclusion of the observer's subjectivity. As for Symbolism, it reached its peak around 80-90s. It will oppose a searching for unity philosophical conception with scientific classification principle, based on separation and difference. Despite that, Symbolists have chosen to use the photographical tool. On the one hand, they took into account the most scientific and objective photographs over that period in relation with imagination and critical acumen. On the other hand, some of them became themselves photographers and will even institute photography as a real creative and practical experience. However, these concepts remain more or less alive on the long run. A set of symbols and methods were taken into account by the surrealist revolution. Those remain present at the origin of the contemporary photography by their re-actualization. The contemporary photography would really require the photographical imagination potential that were already set up by Symbolism. Therefore, the imperialist way of feeling and imagining reality would be thrown back into question. The aim of this research is not to assert that photography is symbolist but to determine which influence of symbolism about photography may currently be through the use of common concepts. All in all, this research is based on questioning about the photographical imagination
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Scaringi, Vanessa Cristina. "Deusa das noites : personagens (des)veladas /." Rio Claro : [s.n.], 2011. http://hdl.handle.net/11449/90138.
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Orientador: César Donizetti Pereira LeiteBanca: Romualdo Dias
Banca: Silvio Donizetti de Oliveira Gallo
Resumo: O curso do imaginário vai para uma esfera coletiva, além do individual. É um dinamismo que surgiu desde a mitologia e que perpassa séculos, transformando-se em si mesmo e antecipando aquilo que ainda não foi vivido. Em um mundo de sonhos, fantasias, imagens, memórias de muitas cenas que fascinam, encantam, seduzem, (des)velam, surge Afrodite - a deusa das noites - de diversas faces e personagens dançantes de tempos (ir)reais que se fazem passado, presente e futuro. Muitos são os caminhos para encontrá-la e o rumo optado faz da experiência um lugar mágico que se mistura a um lugar comum. Falar de DEUSA DAS NOITES: Personagens (des)veladas significa adentrar em um mundo de desejos, (des)encantos e seduções, movido por personagens de um paradoxo: realidade e ficção. Como a dançarina de striptease, por meio da dança erótica, cria as suas personagens entre a realidade e a ficção, possibilitando a e/ou interferindo na produção de subjetividade? Nesta perspectiva, pode-se pensar a referida pesquisa como espaço de experiências, de modos de afetação e produção de sentidos nos/pelos sujeitos em um cenário onde as danças da vida e do imaginário se entrelaçam. Tomando como princípio que a dança, inclusive a erótica, invoca a presença da imaginação, constitui-se como objetivo deste estudo discutir relações presentes entre o real e o ficcional que permeiam a criação da personagem da dançarina de striptease como processo de subjetivação. Esta pesquisa foi sendo produzida a partir de sete encontros com uma jovem dançarina de striptease de 21 anos de idade. Portanto, não busca fechar uma definição sobre o trabalho com o striptease, mas busca aliar-se à dançarina com o intuito de apontar variações e relações construídas no caminho que se traça para além da busca por uma meta... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The course of the imaginary goes to a collective domain, beyond the individual. It's a dynamism that has emerged since the mythology and has been running through the centuries, transforming in itself and anticipating what has not been lived. In a world of dreams, fantasies, images, memories of many scenes that fascinate, enchant, seduce, (un)ensure, emerges Aphrodite - the goddess of the love - of many faces and dancing characters of (un)real times that make themselves past, present and future. There are many ways to find her and the chosen path makes the experience a magical place that blends with the commonplace. Speaking of GODDESS OF NIGHTS: Characters (un)veiled means entering a world of desires, (dis)enchantment, seduction and fantasy, driven by characters of a paradox: reality and fiction. How does a stripper, through erotic dance, create her characters between reality and fiction, allowing and/or interfering with the production of subjectivity? In this perspective, one might think of a specific research as a space of experiences, ways of affectation and meaning production in/by the subjects in a scenario where the dances of life and imagination intertwine. Taking the principle that the dance, including the erotic, invokes the presence of the imagination, constitute the aim of this study to discuss present relations between the real and fictional that underlie the creation of the character of the stripper as a process of subjectification. This research is being produced from seven encounters with a young, 21 year old stripper. Therefore, it does not seek for a definition about the work with the striptease, but seeks to ally itself with a dancer in order to point out variations and relationships built in the path that is traced beyond the search for a goal. It's like "enjoy the details" in a work of art, doubting what is said, building the path to walk, casting off the call ... Do you want to dance with me?
Mestre
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Ek, Adam. "Extracting social networks from fiction : Imaginary and invisible friends: Investigating the social world of imaginary friends." Thesis, Stockholms universitet, Institutionen för lingvistik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-145659.
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This thesis develops an approach to extract the social relation between characters in literary text to create a social network. The approach uses co-occurrences of named entities, keywords associated with the named entities, and the dependency relations that exist between the named entities to construct the network. Literary texts contain a large amount of pronouns to represent the named entities, to resolve the antecedents of pronouns, a pronoun resolution system is implemented based on a standard pronoun resolution algorithm. The results indicate that the pronoun resolution system finds the correct named entity in 60,4\% of all cases. The social network is evaluated by comparing character importance rankings based on graph properties with an independently human generated importance rankings. The generated social networks correlate moderately to strongly with the independent character ranking.
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Figueiredo, Luiz Manoel Silva. "Serre's conjecture over imaginary quadratic fields." Thesis, University of Cambridge, 1996. https://www.repository.cam.ac.uk/handle/1810/251594.
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Sherman, Alan James. "The imaginary universe of Jacques Benoit." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/29531.
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This thesis is a study of three of the.literary works of Jacques Benoit: Jos Carbone, Les Princes and Gisèle et le serpent. It will be an attempt to combine different spatial elements of the texts, literal and symbolic, in order to define and explore the imaginary universe of our author.
In our first text, Jos Carbone, we look to establish the role of the unconscious. The background predominance of night and dark elements, unseen invaders, habitations, in short, the forest in general appears as a metaphor for the unconscious mind of the hero Jos Carbone. In our analysis, we attempt to explore this imaginary universe with intent to establish the theme of the territorial quest as it might apply to the central couple Jos and Myrtie.
In our analysis of Benoit's novel, Les Princes, we endeavour to explore the allegorical world with an emphasis on the nonverbal communication of both the topography and the inhabitants of la Ville. We observe the confrontation of men and dogs in an effort to examine the role of what is considered civil or animal, pet or prey. The impotency and frustration of Coquin society coupled with corrupt Grâligean authority evoke the ideas of Jean-Jacques Rousseau on social inequality. We shall, therefore, attempt to apply some of his beliefs to imaginary elements of the novel. Finally, we shall examine the unvoiced refutation of the Grâligean's verbal law and the possible future outcome of la Ville's violent upheaval.
Gisèle et le serpent will be studied in terms of a creative quest to write on the part of the hero and narrator, Gregoire Rabouin. We will take into account the displacement, transformation and constant motion of the text as well as the combination of fantastic and conventional elements. The role of the protagonist Gisèle is to be examined in terms of her capacity as role model, motivation to write and magical force behind the liberation of the hero's creative drive. We shall show the conflict created by the doctor's frustration with his rational profession and examine the unblocking of his creativity as portrayed by his relinquishing of control. Furthermore, an analysis of the parodies of his occupation, the deformation of language and patients as well as the fairy-tale format of the novel will confirm his desire to renounce medicine in favour of literary creation. Finally, we see the completion of Rabouin's narrative voyage in the discovery of his ability to write.
In conclusion we shall state general observations about the imaginary universe as it applies to the comparison of our three texts. Specifically, this will entail the unconscious world, the violent and disruptive element and Benoit's tendency to stray from the rules of standard literary genres.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Punt, Michael. "Early cinema and the technological imaginary." Amsterdam : Amsterdam : [s.n.] ; Universiteit van Amsterdam [Host], 2000. http://dare.uva.nl/document/81706.
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Schindler, Samuel Karl. "The imaginary entities that make science." Thesis, University of Leeds, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491819.
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In this thesis, I investigate the role unobservables play in scientific explanations, the naturalness of explanations, and the fertility (or developmental potential) of theories. Realist accounts (in particular, the causal-mechanistic account) require unobservables to be real for them to fulfil an explanatory function in theories. Antirealist counts do not assign any particular role to unobservables and marginalise the explanatory power of theories, their naturalness, and their developmental potential as merely of pragmatic interest.
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Barry, Desmond. "The escape of the imaginary author." Thesis, University of South Wales, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.591056.
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This creative/critical overview of the novels A Bloody Good Friday, The Chivalry o/Crime and Cressida's Bed by Desmond Barry, and Far South by David Enrique Spellman, will examine some of the literary influences in the composition of the novels, as well as the development of the author from naive dilettante, influenced by the Beats, to heteronymous voice of the Far South Project and the creation of an imaginary author. The overview examines some of the underlying psychological and philosophical matrices out of which the novels were born and the influence of writers such as William S. Burroughs and Jorge Luis Borges. The work will trace a journey from the Aristotelian forms of the published Barry novels to the experimental multi-platform narratives of Far South. It will show how the process of learning in an academic environment influenced an involvement with Aristotelian formal strategies that in turn led to experiments with the use of chance in the production of multiplatform narratives. The exegesis points the way to new literary and creative forms through digital technologies that are widely accessible and open up innovative ways of cooperation among dancers, photographers, filmmakers, web designers, and writers, which can subvert or cooperate with existing publishing paradigms. This self-reflective narrative examination of practice-led research and creative process begins as an examination of the tensions involved in the creation of a classic Aristotelian narrative form and develops into an interrogation and illumination of the potentialities of using cooperation and chance in prose fiction and interdisciplinary multi-platform stories.
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Davis, P. A. J. "The 'imaginary resistance' of Dryden's Virgil." Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598392.
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Locke ridiculed Filmer's account of the monarchist doctrine of passive resistance. Where 'Men may not strike again', he remarked, they are reduced to 'imaginary Resistance'. That 'imaginary' begs a question since when Locke was writing the word could still be used in the neutral sense of 'imaginative', though he himself was using it pejoratively to mean 'fanciful' or 'non-existent'. The question of what 'imaginary' defiance can achieve against real political 'Force' was pertinent at the time Locke's remark was published particularly to John Dryden, who, deprived for his Roman Catholicism of the public employments and salaries he had enjoyed as Poet Laureate and Historiographer-Royal, was committed then, as he said, to 'no Action, but that of the Soul'. This dissertation argues that Dryden put up substantial 'imaginary Resistance' against those 'unhappy Circumstances' in the main action of his soul after the Glorious Revolution - his translation of The Works of Virgil (1697). That resistance is apparent not in a sparse clutch of encoded criticisms of William III and his ministers (as though translating Virgil was just a cover for Dryden's Jacobite propaganda), but as a sustained abstention deep in and throughout the verse from the allurements of a self-involved poetic voice. In the troubled early decades of the seventeenth century English poets had (in common with the rest of their country men) been urged to such self-involvement, towards contracting the public scope of their imaginings, as peace was sought from the cacophony of voices raised in public which was the Civil War.
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Ramirez, Genaro Zalpa. "The imaginary world of Mexican comics." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288065.
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Foley, James Jardine. "Emergence of the Scottish economic imaginary." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23497.
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Scotland’s economic capacity to prosper independently of Britain has become a key political issue, dominating the independence referendum of 2014 and continuing to influence British politics since. Often, that debate centres on the contested terms of how we imagine or construct Scotland as an economic entity. Thus, it offers a major opportunity to study the broader issue in critical social science of how economies are “imagined”. However, to date most studies of Scotland’s economy comes from the discipline of economics or from the policy profession. This study aims to address this gap. It highlights the comparatively recent history of professional interest in the Scottish economy; asks what these professionals are “doing” or “constructing”; and looks at how this influences Scotland’s conformity with and deviance from mainstream British politics. Using Jessop’s concept of “economic imaginary”, and drawing on cultural political economy, I thus examine the current Scottish economic debate’s conditions of possibility. These include the emergence of British regional policy, the discovery of North Sea oil, discourses of competitive regions in Europe and the elective affinities between devolution and “enterprise”. I pay particular attention to a general shift in attitudes away from top-down plans to equalise growth across Britain to a focus on the “spirit” of enterprising regions. My research used critical discourse analysis to analyse 100 key documents that played important roles in or highlight key issues in Scottish economic development. I also drew on 23 in-depth semi-structured interviews with professionals and journalists. My original contribution is to examine the path-shaping role of Scotland’s economic imaginary, how choices were made and how alternative paths were closed off. By looking at one contested case, we can gain insights into broader imaginative processes in national and regional economies.
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Christakos, Yiannis. "Personal mapping : memories and imaginary maps." Thesis, University of East London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532511.
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The discussion in this report considers the framework to my research, my developing methodology and an evaluating synopsis of my professional practice as an artist during my doctorate period. My painting research is approached in the following ways: First is the use of line, as an expressive and visual medium, that is distinct in my work. When I come to the need for pictorial representation, line is perhaps the visual element with the most extensive use in my practice. Second is the development of mapping, viewed as a grid of drawn lines and the use of cartographical language in the drawing practice. Third is the deconstruction of the map towards an imaginary mapped place. Fourth is the concept of the thread in relation to my early memories as child of a seamstress. Thread visually represented by line is influential in my recent art practice. Fifth is doodling and its role into my painting practice. The sixth element is the composition of images that create visual juxtapositions. This is a painting practice that most of the time is an issue of my artistic research. Finally there is my collaboration with other artists and in particular with Group Capsule, my professional practice and the experience I have received participating in a number of exhibitions, art projects, residencies and in teaching. These issues have been at the core of my debate over the past five years and they have played a crucial role in my visual development. It is these issues that I have explored in the context of autobiographical as well as socio cultural references. My current research has been to exploring the processes that give the artist's mark it's meaning in particular the development of the visual reading of cartography. My recent research is a logical extension of ten years interest in image making, particularly exploring the use of line as a way of expression. The changes in my current body of work are developments of my earlier practice. During my practice as a painter deconstruction has been one of the crucial issues. I have a great commitment to drawing and throughout the last ten years the images I have created come from a deconstruction of the outline of form (human figure, a complex of geometric shapes, the organic form of a map, the satellite picture of a city etc). (illustration 30) This is an ongoing process of reworking and redrawing the silhouette of the initial stimulus. I believe that such deconstruction requires an understanding of the original constructed form. Hence drawing has always been vital to and an integral part of my painting practice. I am sometimes asked, "What is your objective? " and this I cannot truthfully answer. I work "from" something rather than "towards" something. It is a process of discovery and I will not impose a convenient dogma, however attractive.
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Leman, Lucia. "Byron's "Manfred" and the Greek imaginary." Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/13972/.
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Using Jerome J. McGann’s suggestion that the earliest fragments of Manfred might have been written during his Levantine Tour (c 2 July 1809 – 14 July 1811), this thesis aims to offer a new perspective on Byron’s Manfred, taking into account issues inherent in Byron’s patrician upbringing, his experience of Ottoman Greece, his notion of a Classical tradition, and his previous Byronic heroes. The majority of motifs previously perceived as “Gothic” can thus be seen in a new light, namely, as “Greek”. Another inspiration for a “Greek” reading of Manfred has been the fact that Western-European formative education and the literary canon have been based on works written by fifth-century BC Athenian writers, works which evoke a model of intellectual and political sophistication which I call, “the Greek imaginary” on the basis of its essentially fictive quality. However, the Greek imaginary formed part of a nobleman’s education from the days of fifth-century Athens until well after Byron’s age, by the time of which “Greekness” was a form of noblesse oblige amongst privileged North-Western Europeans, while “Greece” denoted a sense of the (imaginary) origin of Western-European culture. In effect, this thesis offers an insight into Byron’s Greek imaginary, shaped by the poet’s Classical education, his loyalty to the British patrician class, and his choice of reading matter from childhood onwards, as well as by what I call, his “inner Greek landscape”, namely an inner mental construct formed during his Levantine Grand Tour, wherein the “Oriental” Greek landscape was tempered by the literary landscapes of his Classical primers. This study provides a detailed account of the ideological and cultural traditions in which Byron’s intellect was formed, showing how the landscapes of Western Greece and Switzerland were conflated with the literary landscapes of Pausanias, Longinus and English pastoral poetry. The Introduction surveys the Greek imaginary, its historical dissemination, its respective appropriations by the Roman Empire and by North-Western Europeans, especially by British Whigs, and its legacy within British poetry, especially regarding the description of mountain landscapes. Aiming to facilitate an insight into Byron’s formative experiences, the chapter offers a survey of eighteenth-century Philhellenism and its socio-political conditions, namely the institution of the Grand Tour, burgeoning Orientalism, Winckelmann's aesthetic reassessment of the plastic arts (followed by the trends of antiquarianism and the picturesque in British painting) and the French Revolution. Here, I draw an ideological and aesthetic distinction between the Greek imaginary and Gothicism and then I outline Byron's Greek imaginary. Chapter One assesses Byron’s intellectual formation from the time he was taught to read until the moment of his Grand Tour (c 1794 – 1809), reviewing it within the cultural and ideological framework of the British Whigs, whose education was based on the study of Ancient Greek and Latin and whose adult culture displayed the dissemination of tropes taken from Classical texts, for example the Eleusinian and Bacchic Mysteries, within Whig gentlemen’s clubs, and pastoral and travel writing. In effect, both Byron’s comprehensive knowledge of Ancient Greek history and literature and his Enlightened Orientalism can be read as a product of his patrician upbringing. Chapter Two follows the movements of Byron and John Cam Hobhouse in Western Greece prior to their arrival in Athens (c October – December 1809) with Pausanias and the Arnaout servants of the tyrant Ali Pasha as their guides and protectors. It is argued that Byron’s “inner Greek landscape” (a collection of motifs which appear in all of his works from Childe Harold’s Pilgrimage and which I see epitomized by Manfred) was formed during the initial three months of his Grand Tour. Here, various elements of that “landscape”, both topographical as well as literary and metaphorical, are established. This chapter also surveys Byron’s antiquarianism, scholarly Orientalism (namely his studies in Romaic philology) and his divided attitude to the abstract legacy of Classical Greece and the contemporary Greeks. The last issue was epitomized by the concepts of the “mark of Cain” and the Byronic hero’s tragic love for his other, (apparently a native of Ottoman Greece), which I see as the two leitmotifs of Byron's poetic fictions featuring the Byronic hero (namely from Childe Harold’s Pilgrimage until Manfred). The chapter also charts the Platonic notion of eros and a quest for the Kalon, pivotal to Byron's concept of love as absent presence, and key to the Byronic hero's self-torture and self-sufficiency. Chapter Three considers the events preceding and surrounding the composition of Manfred (April 1816 – May 1817), following Byron on his second Continental Tour, where his Greek imaginary was displaced onto the Belgian plains, German hills, Swiss mountains, the city-state of Venice and the Mekhitarist monastery of St Lazarus. This chapter observes the impact of Thomas Taylor's Neo-Platonist treatise, A Dissertation of the Eleusinian and Bacchic Mysteries, matched by the impact of Byron’s new friend, the poet Percy Bysshe Shelley, on Byron's subsequent composition of Manfred. The influences of Taylor and Shelley are evident in Byron's respective views of suffering in life as a part of the soul’s philosophical journey, and in his approach to the Promethean myth, Classical democracy, and the Gothic trope, the last serving as an excuse for a series of sceptical discussions culminating with the Diodati contest. Lastly, this chapter traces the influence of Shelley and his friend Peacock on Byron's reassessment of the Promethean and Christian myth during the time of his collaboration with the Mekhitarist monks of St Lazarus, when he was simultaneously writing Manfred and translating the apocryphal words of St Paul the Apostle, which can be read as approving of Manfred’s ultimate self-sufficiency. Following insights from the previous chapters, Chapter Four provides a close reading of Manfred, assessing the play as a form of simultaneous dialogue between Aeschylus, Plato, and Byron’s own hero. While the hero’s musings and monologues are seen as a reiteration of Aeschylus’ Prometheus Bound, and while his notion of a (deflected) eros seems inherited from the first two cantos of Childe Harold’s Pilgrimage and Oriental Tales, the plot of the play seems to follow the course of an initiation rite (theoria) evoked in Plato’s (and Taylor’s) notion of the Eleusinian and Bacchic mysteries. During the course of the play, Manfred is seen as an initiate reclaiming his lost eros, which then enables him to behold the highest good, the Kalon, and to come to terms with the fact that he was, and will be, his own destroyer, whereby displacing the Almighty as the (unjust) ruler of the Universe. In the conclusion, I recapitulate the key terms and concept of my thesis, the function and dissemination of Manfred as an ontologically subversive and politically ambitious reading play and as a contemporary myth. Lastly, the conclusion outlines the significance of Manfred within Byron’s subsequent artistic development by ushering in a shift of Byron’s focus onto collective and cosmic forces, and a more and more impersonal hero.
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Kang, Joong-Hoon. "Experiment in Three Imaginary Musical Scenes." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1014845542.
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Peake, Bryce. "The social imaginary and social imagination." Waltham, Mass. : Brandeis University, 2009. http://dcoll.brandeis.edu/handle/10192/23242.
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Clifford, Reginald A. "Critical mediation : tracking the social imaginary." Thesis, Loughborough University, 1999. https://dspace.lboro.ac.uk/2134/35473.
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Since the pioneering work of Harold Innes and Marshal McLuhan, accounts of social and cultural change that assign a key role to innovations in media have enjoyed considerable currency. These Medium Theories, as Joshua Meyrowitz has usefully dubbed them, are particularly concerned with how the shift from oral to literate to electronic media has successively reconfigured both cultural systems and their everyday deployment. This model of mediation suffers from major weaknesses however. It is media-centric, crudely deterministic, ethnocentric, and takes no account of patterns of social inequality. Hence, while this thesis retains Medium Theory's core concern with the impact of different modes of mediation, it draws on work in Critical Sociology and communications studies to address these deficiencies and develop an alternative model of Critical Mediation. Using contemporary Mexico City as a case study, the potential of this approach is pursued through a detailed study of the ways in which different forms of mediation shape the organisation and uses of the communal symbolic spaces that make up the Social Imaginary.
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Rando, Martin Andréa. "Des jeux de miroirs au miroir du prince. : Le traitement des savoirs dans le Roman de Perceforest." Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAL030/document.
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Immense œuvre médiévale, le Roman de Perceforest réinvente la généalogie arthurienne en montrant la mise en place progressive d’une monarchie chrétienne. Celle-ci émerge sur une île peuplée d’enchanteurs et de fées, célèbre pour ses merveilles et ses monstres et sur laquelle règnent deux nouveaux rois, Betis et Gadiffer. Pourtant, les passages merveilleux recèlent de multiples références aux savoirs antiques et médiévaux qui permettent au lecteur averti de voir l’habile illusionniste derrière le magicien, la femme médecin derrière la fée et le phénomène naturel derrière le pouvoir fabuleux d’un animal inconnu, ce qui fait de ces savoirs l’un des principaux moteurs du mouvement de christianisation du roman. En rationalisant les épisodes merveilleux, en démasquant les impostures, les savoirs mettent au premier plan la notion de Nature et préparent non seulement l’arrivée du culte chrétien mais aussi la consolidation du pouvoir royal. A travers le roi et la noblesse, c’est en effet l’exercice d’un pouvoir naturel et chrétien qui se met en placeVast work of medieval literature, the Roman de Perceforest retells the arthurian genealogy and the progressive rise of a christian monarchy. This christian power emerges on an island populated with wizards and faeries, renowned for its marvels and its creatures, and upon which two kings reign, Betis and Gadiffer. Yet, supernatural events are narrated with numerous allusions to ancient and medieval sciences, which allow an educated reader to uncover the illusionist behind the wizard, the female physician behind the faerie, and the natural phenomenon behind the unfathomable power of a mysterious beast. These sciences then account among the most potent forces that drive the novel toward Christendom. Giving reasons behind supernatural events, revealing impostors, sciences put forth the concept of Nature, and set the stage not only for the advent of christianity, but also for the strengthening of the royal power. Through the king and noblemen and women, it is in fact the power of nature and christianity that is constructed
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Ashcroft, Catherine. "Imaginary companions : phenomenology and the child's response." Thesis, University of Southampton, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268650.
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Wiszniewski, Witold Roman School of Philosophy UNSW. "Time, quasi-temporal change and imaginary numbers." Awarded by:University of New South Wales. School of Philosophy, 2006. http://handle.unsw.edu.au/1959.4/23401.
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The thesis is mainly concerned with the argument for dynamic time. Accepting McTaggart???s proof of the unreality of time, it is argued however, that any description of dynamic time involving static concepts must lead to a contradiction. It is shown that the contradiction arising from this proof is equivalent to the contradiction posed by Aristotle???s definition of change: change is the possession of incompatible properties. A special case of such a change is quasi-temporal change, defined as the possession of incomparable properties at the same time. Furthermore it is claimed that change is a primitive entity. The Block Universe view that three-dimensional dynamic and four-dimensional static representations of the world are equivalent to each other is rejected because of the unknown nature of imaginary numbers describing the time-like dimension of spacetime. It is proposed that the imaginary number i is an mathematical embodiment of change, expressed in the form of quasi-temporal variable: i = [1,-1]. As such i is a scalar variable with two numbers, 1 and ???1, assigned to it. To develop further this idea the Special Theory of Relativity and Hamilton???s theory of the complex numbers are used. It is claimed that the natures of imaginary numbers the time-like dimension are the same. It is shown that this dimension can be given by two opposite displacements of light occurring at the same time. To use Hamilton???s theory a pair of two times is proposed: normal time and dimensional time. The moments of these times are identified with the Hamilton???s primary and secondary moments of time respectively. It is shown that Hamilton???s theory is invariant upon such identification. This allows the extension of the argument forming the theory of the complex numbers. The second theme of the thesis is an argument for multiplicity of times. It is proposed that every being of a natural kind exists in its own time. Individual time is taken as a composition of topologically open time and topologically closed time. Such a composition allows an explanation of the convolution of change and permanence and also formulation of a new interpretation of Quantum Mechanics.
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Bök, Christian. "Pataphysics, the poetics of an imaginary science." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0020/NQ27282.pdf.
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Martini, Chandra. "Alien others : speculative hybrids in imaginary worlds." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43381.
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Hybridity plays a principal role in both J. R. R. Tolkien’s The Silmarillion and Octavia E. Butler’s Xenogenesis trilogy, crystallizing in the treatment of the origin of species. Through these texts I investigate how the generic condition of speculative fiction (SF), in its claims to unreality, opens up an imaginative space in which to excavate hybridity as a site of tension between the concepts of race and species. I draw on the theoretical constructs of hybridity and posthumanism, particularly as formulated by Robert Young in the first case and Cary Wolfe in the second, to argue that these concepts are fundamentally interdependent in post-Enlightenment Western humanism. Both Young and Wolfe show how a tradition of Western humanism has enabled, justified and managed the oppression of both animal and racial Others by casting them as subhuman. Tolkien’s and Butler’s representations of hybridity are haunted by historical manifestations of this logic; Tolkien’s Half Elves are informed by the threat of the Nazi programme of racial purification, and Butler’s human-alien hybrids recall a legacy of slavery and a contemporary discourse of genetics. By blurring the boundary between race and species, they expose the fact that race and species are always already mutually constituting. Drawing on Butler’s and Tolkien’s texts, I argue the importance of integrating an analysis of race into the efforts begun in posthumanist animal studies to build a more honest and ethical way of thinking through the relationship between our species and others.
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Gustafson, Sean [Verfasser], and Patrick [Akademischer Betreuer] Baudisch. "Imaginary Interfaces / Sean Gustafson. Betreuer: Patrick Baudisch." Potsdam : Universitätsbibliothek der Universität Potsdam, 2013. http://d-nb.info/1045443239/34.
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Bordoni, Silvia. "Imaginary homeland : romantic women writers and Italy." Thesis, University of Nottingham, 2004. http://eprints.nottingham.ac.uk/13190/.
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The aim of this work is to investigate the importance of Italy, as a real and imaginary country, in British Romanticism, particularly in women's writings. Since the heyday of the Grand Tour, Italy has been approached as an alien and distant country, but also as a liberating and stimulating reality. Italy as an 'other country' constitutes an important element in the delineation of British Romanticism. The opposition between North and South, which was developed and consolidated by Romantic authors, constitutes the theoretical frame for this work. As part of southern Europe, Italy stands in opposition to Northern societies. North and South, however, are not simply in opposition; they merge and interconnect in the literary production of the time. Italy and Great Britain exemplify the dialogical connection between apparently irreconcilable opposites. In women's writings, Italy is exploited as an alternative imaginary setting onto which they can project their anxieties, their artistic ambitions and their dreams of literary success. The role of Italy in women's writings is important to demonstrate their participation in contemporary social, national and political issues. The work focuses first on travel reports and the real encounter with Italy. Then it analyses the imaginary figurations of Italy in Gothic literature and in poetry at the end of the eighteenth century. With the beginning of the nineteenth century, the idea of Italy as a morally liberating and artistically stimulating country is consolidated in the works of Stael and Byron. The representation of Italy as an ideal country for women artists makes their support of the Italian fight for independence particularly important. Since Italy represents a feminised and politically enslaved country, women associate its effort to gain freedom with their own struggle for political and social emancipation.
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Barker, David. "Imaginary readers : the novels of Alison Lurie." Thesis, University of Newcastle Upon Tyne, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245711.
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Oda, Yukari. "The formation of Emily Brontës imaginary world." Thesis, University of Liverpool, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441937.
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Gaffney, Eamonn Andrew. "Aspects of imaginary time thermal field theory." Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627526.
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Skeen, Michael P., and L. Lee Glenn. "Imaginary Link Between Alcoholism and Energy Drinks." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/7505.
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Gallo, Sara C. "Lost Horizon : Domestic, cartographic and imaginary space." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1283894506.
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Stenner, Rachel. "The typographic imaginary in early modern literature." Thesis, University of Bristol, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.681347.
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This thesis contributes to critical discussions of the changes wrought by developing print technologies on the literary cultures of England in the late fifteenth and sixteenth centuries. It adds to these discussions by attending specifically to the ways in which the figurative content of texts was altered by the technology of printing. The thesis argues that certain texts describe the people, places, and processes of printing in ways that can be characterised as developing and engaging a typographic imaginary. The typographic imaginary is posited as a literary phenomenon shared by different writers, a wider cultural understanding of printing, and a means to conceptualize and describe the imaginative otherness that printing introduced to literature. It is suggested that over the course of the sixteenth century printing develops a powerful figurative authority with varied, but recognizable, characteristics. Alongside discussion of early printers' manuals, the thesis particularly addresses works by William Caxton, Robert Copland, William Baldwin, Edmund Spenser and Thomas Nashe. This study proposes that the ways in which printing is figured by these authors constitute a lineage that foreshadows the representation of printing in later works, including Alexander Pope's The Dunciad.
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Bidgood, Lee. "Real Imaginary Place in Czech Bluegrass Songs." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1081.
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Bluegrass is a music form often considered to be necessarily or uniquely connected to Appalachia. Significant popular and scholarly discourses (Malone, Negus, etc.) support the sense of a homological relationship (Middleton, Born, Murphy) linking certain rural spaces with country musics. At the same time, bluegrass has a broad and varied global appeal. Abroad, bluegrass is often a part of "Americanism," the negotiation of cultural elements from the United States--and is subject to an array of different cultural politics. This presentation presents an analysis and contextualization of three Czech bluegrass-related songs to indicate some ways in which bluegrass music makers can create a sense of place far afield from the music's putative geographic roots. During their long history of Americanism Czechs have inscribed "real imaginary" elements of Americana on their environment, laying a foundation for the current interest in bluegrass music. Czech articulations of this imagined "Amerika" in translated, newly-created, and recontextualized bluegrass songs reveals a playful ambiguity. Czechs have cultivated this music and sense of place through Americanisms that blur boundaries between what is American and what is Czech. These cases challenge homologies of sound and geography, and provide new ways to consider music and place in Appalachia.
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Mathé, Jean-Gérard. "L'imaginaire français dans la littérature coloniale de la Tunisie (1881-1956)." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30030.
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L’imaginaire des français ayant émigré en Tunisie au cours de la période coloniale dite du Protectorat fut particulièrement riche ; en attestent les témoignages des nombreux auteurs qui se sont essayés à le traduire sur le papier. La présente thèse se propose de mettre à l’étude l’ère coloniale de la Tunisie d’un point de vue littéraire, via une approche systémique des textes et du regard posé par les auteurs sur un exil consenti dans la Tunisie française. Un exil, mais aussi un retour en Métropole, pour nombre d’entre eux, qui vécurent la fin du Protectorat et la difficulté d’un nouvel exil dans un pays qui était leur sans l’être tout à fait. Le choix analytique s’est porté sur une étude imagologique de la question, qui envisagera la notion complexe d’imaginaire du point de vue de la mythanalyse, avant d’en vérifier les composantes, appliquées à la thématique de la Tunisie coloniale. A ce sujet, la littérature apparaît comme l’objet d’étude idéal pour mettre en exergue la richesse de l’imaginaire des français de Tunisie, à travers la grande diversité des types de supports : mémoires, témoignages,romans, documents personnels, documents photographiques, etc. Enfin, l’expérience personnelle de l’auteur de cette thèse dans le contexte du Protectorat français en Tunisie permettra d’envisager la question entre objectivité analytique et analyse subjectivéeThe imaginary of the French people who emigrated in Tunisia during the colonial period called the French protectorate was particularly rich as indicated by the myriad of testimonies from many authors who dabbled in writing it down on paper. This thesis seeks to study the Tunisian colonial era from a literary perspective through a systematic approach of the texts and the vision of the authors on the assented exile of French Tunisia. An exile, but also a return to the main land. For many of them who lived the end of the French protectorate, the difficulty was to move to a country which was their own, but not entirely. The choice of the analytical method relies on an imagology study of this matter which will assess the complex notion of imaginary from the myth-analysis point of view. Then the different components will be verified and applied to the context of colonial Tunisia. Regarding the latter topic, literature seems to be the ideal approach to study and highlight the richness of the imaginary of the French Tunisians through the great diversity of texts available : memoirs, testimonies, novels, personal documents, photographes, etc. Finally, the personal experience of the author in the context of the French protectorate in Tunisia will allow to consider the topic via analytical objectivity and a subjective analysis
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Boukhris, Linda. "Imaginaire national et imaginaire touristique au Costa Rica : le tourisme comme fabrique du territoire et de la nation." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010702.
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Le Costa Rica a connu un véritable tournant touristique de son économie à partir des années 1990, fort d'une identité basée sur la représentation d'un petit État pacifique sans armée ainsi que la représentation mythifiée d'une nature sauvage et préservée. Ce travail interroge le discours sur 1'« exception» costaricienne déployé dans le cadre de la mise en tourisme du pays. Une généalogie de la composition de ces images permet d'établir l'étroite relation entre l'imaginaire touristique et l'imaginaire national. En effet, l'imaginaire touristique se nourrit des principaux attributs historiques de la nation costaricienne forgés au moment de l'indépendance du pays, mais participe également de l'incorporation du paradigme environnemental dans l'imaginaire national. Ce travail examine ainsi la dimension instituante de l'imaginaire touristique qui participe de la production du territoire et de la production d'une image de la nation associée à des figures de la nature. Cet imaginaire touristique se veut toutefois hégémonique et exclusif, à l'instar de l'imaginaire national au XIXe siècle véhiculant l'idée d'une nation costaricienne démocratique et pacifique basée sur la théorie de la race blanche. Du discours historique sur la blanchitude au discours contemporain sur la nature, ce travail examine également le rôle de l'imaginaire touristique dans la reproduction de processus de racialisation spatiale à l'encontre des populations indigènes et afro-caribéennes du Costa Rica. L'imaginaire touristique devient ainsi le lieu où non seulement se dessinent mais également se négocient les figures de la nation et de l'altérité et l'appartenance à la communauté politique nationaleCosta Rica has undergone a touristic turn of its economy since the 1990s, with a tourism identity based on the representations of a peaceful state without armed forces as well as the wilderness. This research examines the discourse on the Costa Rican exception deployed within the context of tourism development. A genealogy of the composition of these images reveals the deep relation between the tourism imaginary and the national imaginary. Indeed, the tourism imaginary takes on the main historical characteristics of the Costa Rican national ideology shaped within the context of its independence, but also entails the incorporation of an environmental paradigm into the national imaginary. This work analyzes the instituting dimension of the tourism imaginary as participating in the production of space and place, and the production of an image of the nation associated with figures of nature. However, this tourism imaginary is also hegemonic and exclusive, as was the national imaginary in the nineteenth century, which promoted the idea of a democratic and peaceful Costa Rican nation based on the theory of the white race. From the historical discourse on whiteness to the contemporary discourse on nature, this study investigates the role of the tourism imaginary in the reproduction of spatial racialization processes against the Costa Rican indigenous and Afro-Caribbean populations. Thus, the tourism imaginary becomes the space where figures of the nation are defined, and where their belonging to the national political community are negotiated
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Palmer, Ryan. "Enchanting Irruptions : Wonder, Noir, and the Environmental Imaginary." Doctoral thesis, Uppsala universitet, Engelska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-334648.
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This thesis investigates narratives of re-enchantment and disenchantment in three contemporary U.S. novels, Lydia Millet’s Mermaids in Paradise, Karen Tei Yamashita’s Tropic of Orange, and Thomas Pynchon’s Inherent Vice. Drawing on key concepts from ecocritcism and affect theory, I argue that these novels interrogate narratives and affects associated with questions central to the Anthropocene: climate-related dilemmas, questions of environmental justice, and animal ethics. Situating these texts in relation to environmental discourses, I show how affects of wonder and re-enchantment are produced within them through the insertion of anti-mimetic narrative objects into otherwise representationally realistic fictional worlds. These incursions, and the affective shifts they produce, challenge and interrupt in the novels narratives of ecological dread and disenchantment, which I link to the techniques and affects of noir. In each chapter of this study, I show how the dialogical interplay between disenchantment and re-enchantment disrupts preconceptions and assumptions about aspects of ecological crisis, and engenders or reinforces political commitments to environmentally related issues. Chapter One focuses on interspecies politics and animal rights in Mermaids in Paradise, environmental justice is central to the analysis of Tropic of Orange in Chapter Two, and the political dynamics of countercultural environmentalism inform my reading of Inherent Vice in Chapter Three. Throughout, I explore the potential of re-enchantment to suggest an alternative to disenchanted and apocalyptic narratives concerning the environment, and to articulate a productive politics for contemporary ecofiction.
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Ho, Andy C. T. "Imaginary charge quantum electrodynamics : a running coupling analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/NQ34551.pdf.
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Christian, Laura. "Perverse implantations : cinema, seduction and the Foucaultian imaginary /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2006. http://uclibs.org/PID/11984.
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Bloom, Emily. "The impact of imaginary companions on social development." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.
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Joseph, Maia. "Urban change and the literary imaginary in Vancouver." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/38137.
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In this dissertation, I examine literary responses to socioeconomic and spatial change in Vancouver, Canada—a city that has undergone recurrent, rapid, and intensive restructuring over the course of its history. Vancouver has received a significant amount of attention from urban studies scholars, and is home to a well-respected local planning culture. A vibrant, diverse, and critically engaged literary community has also long thrived in the city, with many authors writing about major issues related to Vancouver’s transformation, including population displacement, socioeconomic polarization, the increasing commodification of urbanity, and the mediation of cultural trauma.
Despite this engagement with key urban issues, literary texts are often ignored or given only cursory treatment in the broader scholarly and popular conversation about the city. Form, style, and epistemological difference all make literary texts difficult to integrate into this conversation. They are, however, carriers of a certain kind of knowledge—subjective, experiential, affective, interactive, often reflexive—that deserves more widespread attention because it expands and complicates our understanding of what the city is and might be.
I propose and enact an approach to reading urban fiction and poetry that privileges the space of the literary while still also attending to the ways in which literary texts, and the authors who produce them, are wrapped up in processes of socioeconomic and spatial change. I focus especially on what literary texts themselves have to say about the contexts informing their production, foregrounding and investigating the heightened self-consciousness of particular pieces of Vancouver-based writing. I argue that these texts not only enrich and diversify the local urban imaginary, but also encourage a reconceptualization of the role of writers and other cultural workers in the city.