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Little, Laura Grace. "Response of a NEIL1 deficient murine epithelial cell line to chromate." CONNECT TO THIS TITLE ONLINE, 2008. http://etd.lib.umt.edu/theses/available/etd-04172008-090537/.
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Wanschoor, Paul. "Impact de la déficience de NEIL1 sur l'inflammation médiée par la voie des senseurs des ADNs cytosoliques." Electronic Thesis or Diss., université Paris-Saclay, 2024. http://www.theses.fr/2024UPASL032.
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Des recherches récentes ont établi des liens essentiels entre les dommages à l'ADN, le stress réplicatif et l'inflammation, révélant ainsi un mécanisme complexe dans lequel les fragments d'acides nucléiques résultants sont exportés dans le cytosol. Une fois dans le cytosol, ces fragments peuvent être détecté par des senseurs cellulaires tels que cGAS et RIG1, qui, avec l'aide respective de STING ou MAVS, déclenche la production de cytokines inflammatoires et l'activation des réponses immunitaires innées ou des voies de la mort cellulaire. Cette découverte souligne l'importance cruciale des voies de signalisation des senseurs pour la compréhension des interactions entre dommages à l'ADN, inflammation et réponse immunitaire. La capacité à cibler spécifiquement ces voies de signalisation dans la thérapie anticancéreuse, offre des possibilités d'élimination ciblée des cellules cancéreuses et contribue aux effets abscopaux observés après irradiation grâce à l'activation du système immunitaire. La compréhension approfondie des mécanismes sous-jacents à la production de ces fragments d'acides nucléiques pourrait permettre d'identifier de nouvelles cibles thérapeutiques pour moduler l'inflammation et renforcer les réponses thérapeutiques.Le stress oxydatif induit par des traitements anticancéreux tels que la radiothérapie, peut entraîner des dommages à l'ADN et provoquer un stress réplicatif. Cette thèse se concentre sur le rôle du mécanisme de réparation par excision de base (BER). Au sein du BER, j'ai porté une attention particulière au rôle d'une glycosylase, protéine clef qui initie la voie du BER en reconnaissant les bases endommagées et en les excisant notamment lors de la réplication de l'ADN. En étudiant l'interaction entre le BER et les voies de signalisation des senseurs de l'ADN cytosolique, cette recherche vise à approfondir notre compréhension de l'impact de la gestion des dommages oxydatifs et de l'inflammation dans le contexte du cancer.Une meilleure compréhension de ces interactions pourrait non seulement permettre d'améliorer les réponses thérapeutiques anticancéreuses, mais également contribuer à prédire les résultats des traitements chez les patients. En conclusion, l'étude de ces mécanismes complexes ouvre la voie à de nouvelles perspectives thérapeutiques dans la lutte contre le cancer, en exploitant les liens intimes entre dommages à l'ADN, inflammation et réponse immunitaire pour développer des thérapies plus ciblées et efficacesRecent studies have established essential links between DNA damage, replicative stress, and inflammation, revealing a complex mechanism in which the resulting nucleic acid fragments are exported into the cytosol. Once in the cytosol, these fragments can be detected by cellular sensors such as cGAS and RIG1, which, with the help of STING or MAVS repectively, trigger the production of inflammatory cytokines and activation of innate immune responses or cell death pathways. This discovery underlines the crucial importance of sensor signaling pathways for understanding the interactions between DNA damage, inflammation and immune response. The ability to specifically target these signaling pathways in cancer therapy, offers possibilities for targeted elimination of cancer cells and contributes to the abscopal effects observed after irradiation through activation of the immune system. A deeper understanding of the mechanisms underlying the production of these nucleic acid fragments could lead to the identification of new therapeutic targets to modulate inflammation and enhance therapeutic responses.Oxidative stress induced by anticancer treatments such as radiotherapy, can lead to DNA damage and cause replicative stress. This thesis focuses on the role of the base excision repair (BER) mechanism. Within BER, special attention has been paid to the role of a glycosylase, a key protein that initiates the BER pathway by recognizing damaged bases and excising them, notably during DNA replication. By elucidating the interaction between BER and cytosolic DNA sensor signaling pathways, this research aims to deepen our understanding of the impact of oxidative damage management and inflammation in the context of cancer.A better understanding of these interactions could not only lead to improve anticancer therapeutic responses, but also help predict treatment outcomes in patients. In conclusion, the study of these complex mechanisms opens the way to new therapeutic perspectives in the fight against cancer, by exploiting the intimate links between DNA damage, inflammation, and immune response to develop more targeted and effective therapies
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Cros, Julien. "OGG1 et NEIL1, de nouvelles cibles pour la lutte contre le cancer : recherche et caractérisation fonctionnelle et structurale d’inhibiteurs." Thesis, Orléans, 2021. https://theses.univ-orleans.fr/prive/accesESR/2021ORLE3145_va.pdf.
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L’ADN de tout organisme est continuellement endommagé par des agents physiques ou chimiques d’origines endogène ou exogène. Les dommages de l’ADN qui en résultent peuvent être à l’origine de l’apparition de mutations ou de mort cellulaire. Pour pallier à ces effets délétères, les organismes ont développé des systèmes de réparation de l’ADN. Le système de réparation par excision de base (BER) est la voie majeure de réparation des bases endommagées et est initié par des ADN glycosylases telles que hOGG1 et hNEIL1. Ces enzymes reconnaissent spécifiquement les bases lésées et les éliminent. Paradoxalement, les réparations initiées par ces protéines peuvent diminuer l’effet thérapeutique de certains traitements, notamment anti-cancéreux. En exploitant le principe de létalité synthétique, le ciblage thérapeutique de hOGG1 et hNEIL1 pourrait être pertinent pour lutter contre certains cancers, mais aussi contre des maladies neurodégénératives (Huntington) ou des processus inflammatoires pathologiques. Au travers du criblage « moyen débit » de banques de petites molécules naturelles ou synthétiques, mon travail de thèse a consisté en l’identification de nouveaux inhibiteurs sélectifs de hNEIL1 et hOGG1 et en la caractérisation de leur mode d’action par des études biochimiques et structurales. Si nous avons pu mettre en lumière des fonctions chimiques essentielles et quelques déterminants structuraux et fonctionnels relatifs à leurs modes d’action, de nombreuses zones d’ombre demeurent et mériterons d’être explorés dans le futur. En revanche, l’utilisation d’un homologue archéen de hOGG1, l’enzyme PabAGOG, a permis de proposer un modèle tridimensionnel cohérent d’un complexe hOGG1/inhibiteur pour l’un des meilleurs inhibiteurs que nous avons identifiés. Finalement, ces nouveaux composés comptent parmi les meilleurs inhibiteurs de hOGG1 et hNEIL1 identifiés à ce jour et certains d’entre eux devraient bénéficier d’une évaluation in celluloDNA is continuously damaged by physical or chemical agents from endogenous or exogenous sources. These damages can induce mutation or cell death. To counteract these deleterious effects, organisms have developed DNA repair systems. The Base Excision Repair System (BER) is the major pathway to repair damaged bases. It is initiated by DNA Glycosylases such as hNEIL1 and hOGG1 which specifically recognize and remove oxidized bases. However, in some situation like conventional cancer treatment, the repairs initiated by these enzymes can lead to therapeutic resistance. Therefore, based on the synthetic lethality concept, selective inhibition of hNEIL1 and hOGG1 could be relevant in some pathologic contexts like cancer, but also against neurodegenerative diseases (Huntington) or pathological inflammatory processes. This thesis work aimed to identify new selective inhibitors of hNEIL1 and hOGG1 with a "medium throughput" screening of natural or synthetic small molecule libraries, and to characterize their mode of action through biochemical and structural studies. Although we identified some essentials chemicals functions and some leads to understand the action mode of our inhibitors, many areas remains unveiled and deserve to be explored in the future. However, the use of an archaeal homologue of hOGG1, the enzyme PabAGOG, has allowed us to propose a coherent three-dimensional model of an hOGG1/inhibitor complex for one of the best inhibitors we have identified. Finally, these new inhibitors are among the best inhibitors of hOGG1 and hNEIL1 identified to date and some of them will undergo in cellulo evaluation
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Curtis, Jenefer. "Neil Postman on television." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ57764.pdf.
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Pernot-Deschamps, Marguerite. "L'oeuvre de Neil Jordan." Paris 3, 1991. http://www.theses.fr/1993PA030034.
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Neil jordan, crivain et realisateur irlandais contemporain, reflete par son oeuvre la transition culturelle que, d'apres richard kearney, l'irlande connait depuis quelque temps. Ses nouvelles, ses romans et ses cinq films presentent un melange de tradition et d'innovation qui caracterise aussi son pays. De l'ensemble de ses oeuvres se degagent trois themes principaux: l'autre; le temps; le reel et l'apparence. Les etres de l'univers de neil jordan, adolescents ou adultes, souffrent de solitude et d'incomprehension dans une vie faite d'ennui ou de routine. Dans les oeuvres, le temps se brise: la linearite traditionnelle eclate en plusieurs modes d'apprehension du temps. Le theme du reel et de l'apparence resume la forme de pensee de l'ecrivain-realisateur qui aime partir de bases realistes pour entrainer lecteurs et spectateurs dans des zones d'ombres etranges et inconnuesNeil jordan, an irish writer-director in his forties, seems to epitomize in his work the cultural transition that, according to richard kearney, ireland has experienced for some time. His short stories, novels and five films all partake of a mexiture of tradition and innovation which is also characteristic of his own country. Three main themes can be studied in his works: other people; time; reality and appearance. People in neil jordan's world, whether teenagers or grown-ups, suffer from solitude and lack of communication in a life of boredom or routine. In his work, time is broken: the traditional linear narrative is replaced by various ways of representing time. The theme of reality and appearance encapsulates the writer-director's creative attitude: starting from realistic beginnings and rradually leading readers and spectators to an unknown, shadowy world
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Curtis, Jenefer (Jenefer Ann) Carleton University Dissertation Journalism and Communication. "Neil postman on television." Ottawa, 2000.
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Eiden, Nicole. "Neil and the nun." ScholarWorks@UNO, 2004. http://louisdl.louislibraries.org/u?/NOD,89.
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Thesis (M.A.)--University of New Orleans, 2004.Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Drama and Communication."--Thesis t.p. Vita. Includes bibliographical references.
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Kühn, Axel D. "A.S. Neill und Summerhill eine Rezeptions- und Wirkungsanalyse /." [S.l. : s.n.], 2002. http://deposit.ddb.de/cgi-bin/dokserv?idn=965433013.
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Roedl, T. "Investigating the biological role of human NEIL3." Thesis, University of Salford, 2013. http://usir.salford.ac.uk/29368/.
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Oxidised bases in DNA are removed by a number of DNA glycosylases in the first step of base excision repair. These include 8-oxoguanine DNA glycosylase (OGG1), endonuclease III-like 1 (NTH1) and the Nei-like proteins, NEIL1, NEIL2 and NEIL3. While NEIL1 and NEIL2 are relatively well characterized, the function of NEIL3 is still not fully understood. Although all three proteins show homology to the Escherichia coli Fpg/Nei family, NEIL3 is the largest member with an extended C-terminal domain and contains a valine instead of the highly conserved proline residue at amino acid position two. While it has been reported that recombinant murine NEIL3 shows DNA glycosylase and AP lyase activities in vitro, its biological role remains unclear. Therefore, to gain an insight into the function of NEIL3 in vivo, the full-length human NEIL3 cDNA has been expressed in Saccharomyces cerevisae as a prelude to undertake a yeast 2-hybrid screen to determine specific protein-protein interactions. To date, cDNA library screenings for potential hNEIL3 interactors have been completed and clones expressing potential interactors have been isolated, sequenced and analysed. This data, along with the results of other confirmatory experiments are presented in this thesis. Furthermore, clones of Pichia pastoris harbouring an expression cassette with full-length human NEIL3 or mouse NEIL1 or truncated versions of hNEIL3 with amino acid length 1-394 and 1-502 cDNA have been generated in preparation for its overexpression in a eukaryotic system. It is envisaged that the expression of 6XHis tagged hNEIL3 in P. pastoris will enable the purification of hNEIL3 protein that can be used in enzyme assays and for further in vitro investigations of putative protein interactions discovered by yeast two-hybrid (Y2H) screen.
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Laplace, Philippe. "Les Hautes-Terres, l'histoire et la mémoire dans les romans de Neil M. Gunn." Besançon : Presses universitaires de Franche-Comté, 2006. http://catalogue.bnf.fr/ark:/12148/cb40170360s.
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Hopper, Keith. "Imagining otherwise : Neil Jordan's counter-narratives." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669873.
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Amaral, Tiago Kern do. "Intertextuality in Neil Gaiman's American Gods." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/143658.
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A presente dissertação consiste em um estudo do romance Deuses americanos de Neil Gaiman levando em consideração suas conexões a outros textos bem como inserções de diversos textos provenientes de outros trabalhos na prosa do romance. A proposta de leitura do texto de Gaiman segundo este trabalho utiliza os conceitos de intertextualidade e arquétipos de forma a analisar a relação entre a trama de Deuses americanos às várias utilizações de textos cuja escrita “original” não é atribuída ao autor do livro inseridos (ou referenciados) na prosa do romance. Embora o objeto de estudo seja comumente visto como um livro difícil de ser categorizado dentre de um certo gênero, a proposta desta dissertação é demonstrar que o movimento e o fluxo contínuo de discursos (textos) e estilos na prosa do romance remonta a uma visão de um estrangeiro sobre os Estados Unidos e como o país foi criado: ou seja, que ele é não somente um ponto geográfico de confluência de muitos povos, mas também de muitas crenças e culturas que, de um modo ou outro, trouxeram os seus deuses consigo. A análise do uso de intertextos, intratextos e arquétipos no romance está estruturada em três capítulos centrais: o primeiro contextualiza os mitos que aparecem no romance e discute a questão de gênero literário do livro, além do conceito de América no texto de Gaiman. O segundo capítulo examina o uso de mitos por Gaiman em relação a outros trabalhos, tanto os manuscritos antigos de crenças pagãs quanto instâncias mais modernas de mito e alegoria, além de estudar as conexões entre Deuses americanos e outros textos escritos por Gaiman de acordo com o conceito de intratextualidade proposto por Affonso de Sant’Anna. Por fim, o terceiro capítulo se concentra no uso pontual de intertextos no romance, organizando-os entre alusões literárias, referências à cultura pop, além de estudar o conflito entre a era digital e o antigo reinado da fé religiosa, sem deixar de investigar o uso de arquétipos e apropriação na prosa do romance. O trabalho, assim, tem como objetivo verificar a alegação de que a qualidade intertextual do romance é essencial tendo em vista sua trama e cenário, bem como a afirmação de que ele redefine o conceito da América do final dos anos 90 como um espaço multicultural, dinâmico e mítico.This thesis consists of a study of Neil Gaiman’s American Gods in the light of its connections to other texts as well as the punctual insertions of various texts from other works in the novel’s prose. The proposed reading of Gaiman’s text employs the concepts of intertextuality and archetypes in order to further analyze the relation of the plot of American Gods to the various uses of texts - that were not originally written by the book’s author – which are inserted (or alluded to) in the novel’s prose. Although the object of study is generally seen as a book that is hard to brand within a certain genre, this thesis’ approach to the novel demonstrates that movement and the continuous flow of speeches (texts) and styles in the novel’s prose comprises an outsider’s view of America and how the country came into existence – that is, that it is the geographical conflux not only of many peoples, but also of many beliefs and cultures, which in some way or other brought their gods with them. This examination of the use of intertexts, intratexts and archetypes in the novel is structured in three main chapters: The first chapter contextualizes the myths that appear in the novel and discusses the issues of genre and the concept of America in Gaiman’s text. The second chapter analyzes Gaiman’s use of myths in relation to other works – the original manuscripts of ancient beliefs as well as modern instances of myth and allegory – along with the connections between American Gods and Gaiman’s other works according to Affonso de Sant’Anna’s concept of intratextuality. Finally, the third chapter focuses on the punctual uses of intertexts in the novel, breaking them down into literary allusions, references to pop culture and the conflict between the digital era and the age of religious faith, and the use of archetypes and appropriation in the novel’s prose. At the end of the work, I aim to assert my belief that the intertextual nature of the novel is essential to its plot and setting, and re-defines the concept of late-90’s/early 2000’s America as a multicultural, dynamic mythical space.
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Böhnke, Dietmar. "Neil Jordan, 'The Crying Game' (1992)." Wissenschaftlicher Verlag, 2013. https://ul.qucosa.de/id/qucosa%3A32034.
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Logie, Linda. "Neil Bartlett and the politics of form." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390928.
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Wright, Amber Michelle. "Masculinity in the Works of Neil LaBute." Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/193291.
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This study examines men's masculine performance in LaBute's major works and demonstrates how his men oppress themselves and others by trying to live up to the ideals of traditional masculinity. Using the writings of profeminist sociologist Michael Kimmel and other scholars of masculinities, as well as theoretical considerations of Laura Mulvey's gaze theory, the thesis specifically explores the attempts of LaBute's men to repudiate the femininity within themselves through homophobia and the suppression of emotions. Additionally, it examines the sexism that stems from his men's anti-femininity. Overall, the prevalence of such harmful men in LaBute's works and the mostly negative effects of their masculine performance prove that LaBute is critiquing traditional masculinity in order to promote change.
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Énaud-Lechien, Isabelle. "Les gammes de couleur chez James Mac Neill Whistler." Paris 1, 1993. http://www.theses.fr/1993PA010617.
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Whistler apparait comme un personnage ambigu qui ne peut-être étiqueté sous aucune désignation particulière de l'art du dix-neuvième siècle. Dans une ère dominée par les tableaux narratifs, Whistler déclare la guerre à l'importance du sujet et insiste sur le fait que le sujet du peintre est la peinture. C'est ce qu'il met en évidence dans ses œuvres dont les titres sont fréquemment empruntés à la terminologie musicale. Pour Whistler, les dénominations spécifiques de ses créations mettent ses contemporains sur la voie de ses intentions picturales. Autrement dit, pour l'artiste aux œuvres volontaristes, les titres et les gammes de couleur, la pensée esthétique et la réalisation plastique sont intrinsèquement liésWhistler appears as a peculiar artist who doesn't make part of any specific movement of the nineteenth century. The thesis aims to bring across the musical terminology of Whistler's titles, which deal with his desire to free his work from his representative function. In this way, Whistler may show his permanent interest in formal data of pictural art. His titles and his ranges of colours, his aesthetic thought and his creations are narrowly linked
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Morais, Gabriele Cristina Borges de [UNESP]. "Topofilia e topofobia na Londres de Neil Gaiman." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141522.
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Na dissertação de mestrado “Topofilia e topofobia na Londres de Neil Gaiman”, pretendemos analisar a construção do espaço no romance Lugar Nenhum e a relação que o protagonista estabelece com ele. Na narrativa, Richard Mayhew, um escocês residente em Londres, torna-se invisível não apenas para as pessoas, mas também para os objetos que fazem parte da rotina da cidade, após ajudar uma estranha moradora de rua, que estava ferida. A única pessoa a notar sua presença é um mendigo que lhe apresenta uma alternativa para seu estado desesperador: passar a viver nos túneis e esgotos que formam uma cidade escondida sob Londres. Nesta cidade subterrânea, que seus moradores chamam de Londres de Baixo – em oposição à Londres de Cima, a Londres por nós conhecida – ele consegue reencontrar a moça que resgatara e que fora o estopim para esse novo modo de vida. Richard embarca em uma jornada em busca do responsável pelo assassinato de toda a família da moça, que se chama Door, juntamente com o marquês de Carabas e Hunter, seus protetores. Na Londres de Baixo, embora muitos locais preservem os mesmos nomes a que Richard estava habituado na Londres de Cima, ele descobre que nem tudo é o que parece e que o tempo e o espaço se configuram de forma muito diferente do que ele tinha como certo. Richard tem que se familiarizar com a nova cidade e com os hábitos de seus moradores. E ao estudo dessa espécie de conexão ou “relação de afeto” que se cria entre protagonista e espaço chamamos de topofilia. Além disso, para que se crie a conexão pautada no afeto e a sensação de segurança e pertencimento ao espaço, é preciso que Richard enfrente os medos que nele se escondem: a esta relação com os medos do espaço chamamos topofobia. Pretendemos discutir como topofobia e topofilia se interconectam no romance para criar a familiarização do protagonista – e, consequentemente, do leitor – com o espaço ficcional e como essa familiarização é essencial para a transformação de Richard de um simples trabalhador da Londres de Cima em um herói consagrado da Londres de Baixo.
In this Master’s thesis “Topophilia and topophobia in Neil Gaiman’s London”, we intend to analyse the creation of space in the novel Neverwhere and the relation established between its main character and space. In this novel, Richard Mayhew is a Scottish man living in London, who suddenly becomes invisible not only to the people, but also to the objects that are part of the city’s routine, after helping a strange homeless girl whom he found wounded on the sidewalk. The only person who sees Richard is a homeless man, who gives him an alternative solution to his despairing state: to live in a city hidden in the tunnels and sewers under London. In that city, called by its inhabitants London Below – in opposition to London Above, the London we know as “real” – he manages to meet once again the girl he rescued, whose name is Door. Accompanied by her and her protectors, the marquis de Carabas and Hunter, Richard starts a journey to find the responsible for the murder of the girl’s entire family. In London Below, though many places carry the same names to which Richard was used in London Above, he finds out that not all is what it seems and that time and space occur in very different ways. Richard has to familiarize himself with the new city and its inhabitants’ habits:we call the study of this relation of affection between character and space topophilia. Also, to create the affection and the sense of security and belonging to space, it is necessary that Richard face the fears hidden there: we call this relation with those fears in space topophobia. We intend to demonstrate, through the analysis of passages of the novel, how topophobia and topophilia relate to create the familiarization of the main character – and, consequently, the reader’s – with the fictional space, and how this familiarization is essential to turn Richard from an ordinary London worker into a London Below hero.
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Morais, Gabriele Cristina Borges de. "Topofilia e topofobia na Londres de Neil Gaiman /." Araraquara, 2016. http://hdl.handle.net/11449/141522.
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Orientador: Karin VolobuefBanca: Aparecido Donizete Rossi
Banca: Renata Philippov
Resumo: Na dissertação de mestrado "Topofilia e topofobia na Londres de Neil Gaiman", pretendemos analisar a construção do espaço no romance Lugar Nenhum e a relação que o protagonista estabelece com ele. Na narrativa, Richard Mayhew, um escocês residente em Londres, torna-se invisível não apenas para as pessoas, mas também para os objetos que fazem parte da rotina da cidade, após ajudar uma estranha moradora de rua, que estava ferida. A única pessoa a notar sua presença é um mendigo que lhe apresenta uma alternativa para seu estado desesperador: passar a viver nos túneis e esgotos que formam uma cidade escondida sob Londres. Nesta cidade subterrânea, que seus moradores chamam de Londres de Baixo - em oposição à Londres de Cima, a Londres por nós conhecida - ele consegue reencontrar a moça que resgatara e que fora o estopim para esse novo modo de vida. Richard embarca em uma jornada em busca do responsável pelo assassinato de toda a família da moça, que se chama Door, juntamente com o marquês de Carabas e Hunter, seus protetores. Na Londres de Baixo, embora muitos locais preservem os mesmos nomes a que Richard estava habituado na Londres de Cima, ele descobre que nem tudo é o que parece e que o tempo e o espaço se configuram de forma muito diferente do que ele tinha como certo. Richard tem que se familiarizar com a nova cidade e com os hábitos de seus moradores. E ao estudo dessa espécie de conexão ou "relação de afeto" que se cria entre protagonista e espaço chamamos de topofilia. Além disso, para que se crie a conexão pautada no afeto e a sensação de segurança e pertencimento ao espaço, é preciso que Richard enfrente os medos que nele se escondem: a esta relação com os medos do espaço chamamos topofobia. Pretendemos discutir como topofobia e topofilia se interconectam no romance para criar a familiarização do protagonista - e,...
Abstract: In this Master's thesis "Topophilia and topophobia in Neil Gaiman's London", we intend to analyse the creation of space in the novel Neverwhere and the relation established between its main character and space. In this novel, Richard Mayhew is a Scottish man living in London, who suddenly becomes invisible not only to the people, but also to the objects that are part of the city's routine, after helping a strange homeless girl whom he found wounded on the sidewalk. The only person who sees Richard is a homeless man, who gives him an alternative solution to his despairing state: to live in a city hidden in the tunnels and sewers under London. In that city, called by its inhabitants London Below - in opposition to London Above, the London we know as "real" - he manages to meet once again the girl he rescued, whose name is Door. Accompanied by her and her protectors, the marquis de Carabas and Hunter, Richard starts a journey to find the responsible for the murder of the girl's entire family. In London Below, though many places carry the same names to which Richard was used in London Above, he finds out that not all is what it seems and that time and space occur in very different ways. Richard has to familiarize himself with the new city and its inhabitants' habits:we call the study of this relation of affection between character and space topophilia. Also, to create the affection and the sense of security and belonging to space, it is necessary that Richard face the fears hidden there: we call this relation with those fears in space topophobia. We intend to demonstrate, through the analysis of passages of the novel, how topophobia and topophilia relate to create the familiarization of the main character - and, consequently, the reader's - with the fictional space, and how this familiarization is essential to turn Richard from an ordinary London worker into...
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Le, Corff Isabelle. "Les frontières dans l'oeuvre cinématographique de Neil Jordan." Rennes 2, 2001. http://www.theses.fr/2001REN20028.
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Où se situe l'art cinématographique de Neil Jordan? Est-il irlandais ou ne l'est-il pas? Neil Jordan cherche, par le biais d'un art n'appartenant pas à l'expression traditionnelle de son pays, à atteindre en son sein l'essence de cette nation qui est la sienne. Ses films constituent une nouvelle approche du lieu, en rupture avec les images précédemment projetées de l'île, qui petit à petit font elles-mêmes trace dans la mémoire collective. Ses récits font état de nombreuses fractures qui sont l'expression d'une Irlande divisée, et l'oeuvre s'obstine à questionner l'héritage de la déchirure, car le passé, bien qu'à jamais inaccessible, hante le présent. Mais tandis que Neil Jordan rejette les croyances catholiques, d'autres s'imposent à lui d'une appartenance encore plus profondément enfouie. La quête progresse sans aboutir. Le passage des frontières se transforme en mouvement dynamique de spirale. L'exploration de la sexualité nous emmène au-delà des limites connues, et il faut remonter aux mythes fondateurs pour les questionner et oser franchir le palier de l'amour. L'artiste est peut-être comme ses personnages, à la frontière très mince de l'ordre et du chaos, dans cet entre-deux où rivalisent l'art et la folie. C'est pourquoi l'espace jordanien est un lieu unique, expression d'un ailleurs qui s'apparente à un au-delà. Neil Jordan est le précurseur d'un véritable cinéma irlandais. Il est donc impossible de se demander si son oeuvre filmique appartient ou non au cinéma irlandais. Elle vient définir ce cinéma. Mais les films existent indubitablement en dehors des limites nationales. Neil Jordan est artiste avant d'être irlandais. Il est artiste d'Irlande et c'est en ce sens qu'il exprime son appartenanceWhere does Neil Jordan's film art stand? Is it Irish or is it not? Neil Jordan seeks to reach the essence of his nation by means of an art form which is not traditional in Ireland. His films constitute a fresh approach to the country, breaking away from previously projected images of the island, and they are gradually leaving their mark in people's minds. His stories are full of the cracks that express a divided Ireland. The artist grapples the ghosts of Ireland's past and questions the inheritance of this torn country, since the past, even if it remains for ever out of reach, haunts the present. But while he rejects Catholic beliefs, even deeper-buried beliefs are vital to him. The quest goes on without conclusion. The crossing of frontiers becomes a fast-moving spiral. When he deals with the frightening energies of sexuality that shape human character, he takes us beyond known limits, making it necessary to go back to the original myths so as to question them and to dare to go beyond the level of love. The artist, like his characters, may often be poised on the fine line between order and chaos, in the no-man's land between art and madness. This is why the teritory he occupies is unique, other-worldly. Neil Jordan is the forerunner of a real Irish cinema. The question of wether his work does or does not belong to Irish cinema is therefore not valid. It has come to define this cinema. But the films undoubtedly exist outside the national boundaries. Neil Jordan is first and foremost an artist, and in second place he is Irish. He is an artist of Ireland and it is in this way that he expresses his belonging
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Dixon, Sean. "Folklore and Mythology in Neil Gaiman's American Gods." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22735.
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This thesis provides a critical analysis of the use of folklore and mythology that exists in Neil Gaiman's award-winning novel, American Gods. I focus on the ways in which American Gods is situated within an intertextual corpus of mythological and mythopoeic writing. In particular, this study analyses Gaiman’s writing by drawing upon Mircea Eliade’s ideas about mythology and Northrop Frye’s archetypal criticism to discuss the emergence of secular myth through fantasy fiction.
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Albelazi, M. S. "Expression and characterization of recombinant human NEIL3 from Escherichia coli." Thesis, University of Salford, 2019. http://usir.salford.ac.uk/49758/.
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The DNA glycosylase NEIL3 is one of a family of proteins that release oxidized bases from DNA, thereby initiating base excision repair. NEIL3 gene expression is normally tightly regulated and expressed only in certain rapidly dividing cells, however, human NEIL3 (hNEIL3) is also highly expressed in cells from metastatic tumours. In this project, full length hNEIL3 and truncations of the cDNA have been cloned into the pETDuet-2 expression vector for subsequent expression and purification. Each of the hNEIL3 truncations codes for the N-terminal Fpg/Nei and H2tH domains essential for DNA glycosylase activity, but lack at least one of four C-terminal motifs unique to NEIL3. Using pETDuet-2, active truncated and full length hNEIL3 have been overexpressed in Escherichia coli and purified. Enzyme assays were performed using oligonucleotide substrates containing one of three oxidised bases, thymine glycol (TG), 5-hydroxyuracil (5-OHU) or 8-oxoguanine (8-oxoG). Results indicate that the recombinant hNEIL3 proteins are active on single-stranded DNA (ssDNA) substrates containing 5-OHU and TG but show only weak activity on 8-oxoG. In contrast, in double-stranded DNA (dsDNA), activity on 5-OHU:G and TG:A was only weakly observed with nominal activity on 8-oxoG:C. The oxidised bases were then placed at three different sites in a model replication fork, at position -4 in ssDNA, at the fork junction (the last nucleotide in the dsDNA) and position +4 in dsDNA. For TG, hNEIL3 incised the fork substrate through β-elimination at all positions and exhibited greater activity at the +4 position than in the equivalent dsDNA substrate. For 5-OHU, a similar level of β-elimination activity was observed at the -4 and fork junction positions, but activity at the +4 dsDNA position was predominantly by β,δ-elimination when the full length hNEIL3 protein was used. Again, only weak activity was observed on 8-oxoG fork substrates and a similar incision pattern was observed to that for 5-OHU. Therefore, the results indicate that hNEIL3 acts as a bifunctional DNA glycosylase, either through β- or β,δ-elimination depending on the substrate lesion. For the first time it is shown that the C-terminal domains can influence the bifunctional DNA glycosylase activity of hNEIL3. These studies will help to define the biochemical function of this unique protein in both normal and malignant human cells.
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Camus, Cyril. "Mythe et fabulation dans la fiction populaire de Neil Gaiman." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20030.
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Les œuvres de Neil Gaiman sont souvent qualifiées de postmodernes dans la mesure où elles lient expérimentation et autoréflexivité à une démarche de fiction populaire qui leur paraît antagoniste. A l’inverse d'une œuvre postmoderniste typique, qui met en avant sa mise à nu des mécanismes fabulateurs, les métafictions et les parodies gaimaniennes restent des fictions fantastiques et merveilleuses où les enjeux fabulateurs (psychologie et parcours des personnages, intrigue, émotion et suspens) gardent leur place primordiale. Elles ne sont donc pas des œuvres expérimentales mêlées d'éléments de fiction populaire, mais des œuvres de fiction populaire autoréflexive. Cette posture singulière fait de ces œuvres un terrain d'exploration fertile pour la réflexion sur les spécificités de la fiction populaire, et sur la place privilégiée qu'y occupe la fabulation ("storytelling"), notion qu’Henri Bergson ou Frank McConnell considéraient comme le fil rouge entre l’écriture de fiction d’aujourd'hui et la mythopoèse religieuse d’autrefois. Cette dialectique instaurée entre fabulation, mythe et fiction populaire constitue le cœur thématique des œuvres de Gaiman, qui abondent en réécritures de mythes anciens, modernes, religieux, populaires, et en représentations de personnages d’écrivains et de conteurs traditionnels, ou de personae gaimaniennes, qui, au plus fort de l’intrigue comme aux confins du paratexte, au détour d’une préface ou d’une vignette de bande dessinée, forgent une représentation de la fiction comme mythe, de l’écrivain comme figure mythique du conteur, et de la fabulation comme activité humaine quintessentielleNeil Gaiman’s fantasy works are often deemed postmodernist since they experiment with self-reflexivity and mix it with a supposedly antagonistic impulse towards popular fiction. Typical postmodernist works mostly emphasize their attacks against the fictional illusions of referentiality, character or plot. On the contrary, Gaiman’s works unapologetically remain within the bounds of fantasy, a genre in which imagination and storytelling are paramount–along with their related issues: characterization, plot, emotion and suspense. Thus, Gaiman’s fiction is not experimental fiction enhanced with elements of popular fiction, but actual popular fiction made self-reflexive. Thanks to that peculiar mood, studying Gaiman’s work is a very fruitful means of investigating the distinctive features of popular fiction, and its inherent emphasis on storytelling–or, as Henri Bergson called it, “fabulation.” Both Bergson and Frank McConnell focused on this notion which they saw as the essential link between ancient mythmaking and today’s fiction writing. Gaiman’s fiction mostly relies on such a dialectics between myth, popular fiction and storytelling or fabulation. His fantasy stories constantly rewrite ancient, religious myths, modern myths or the “myths” of popular fiction, and feature many fictional and historical writers, traditional storytellers, or Gaiman’s own personae, so that in paratext as well as in the heart of a narrative, in the quiet and supposedly reliable words of an introduction as surely as on the most striking comics panels, fiction is portrayed as myth, writers as mythical avatars of some archetypal storyteller, and storytelling as the one, quintessential human act
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Hamel, Jason. "Multiculturalisme et mythe chez Neil Bissoondath : une analyse sémiologique." Thesis, University of Ottawa (Canada), 1997. http://hdl.handle.net/10393/9615.
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L'objet de cette these est le livre Selling Illusions: The Cult of Multiculturalism in Canada, de Neil Bissoondath. L'hypothese avancee est que ce livre contient un discours reposant sur une mystification en faveur de l'ango-conformisme. Pour corroborer l'hypothese, l'analyse semiologique, telle que definie par Roland Barthes, est employee. Plus precisement, l'analyse porte sur trois themes: la signification de la politique du multiculturalisme, celle d'etre canadien et celle d'etre quebecois. Il en ressort que la signification de la politique du multiculturalisme suppose le mythe de la "ghettoisation ethnique". Elle suppose en outre qu'etre canadien repose sur un conformisme une culture unique et "ouverte", et s'il est normal que l'identite quebecoise implique avant tout le francais, il serait normal que cela soit aussi le cas de l'identite canadienne avec une seule et unique langue: l'anglais.
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Hamel, Jason. "Multiculturalisme et mythe chez Neil Bissoondath, une analyse sémilogique." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq26328.pdf.
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Orr, G. Michael. "An articulation theory perspective of Neil Postman's media criticism /." free to MU campus, to others for purchase, 2002. http://wwwlib.umi.com/cr/mo/fullcit?p3060130.
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Thesis (Ph. D.)--University of Missouri-Columbia, 2002.Typescript. Paging starts with leaf 2. There is no leaf 1. Vita. Includes bibliographical references (leaves 165-185). Also available on the Internet.
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Sköldberg, Andrea. ""Det finns inga problembarn, bara problemföräldrar" : Alexander Sutherland Neill (1883-1973)." Thesis, Stockholms universitet, Juridiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-124479.
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Herndon, Karlie E. "Food and power in Roald Dahl's James and the giant peach and Neil Gaiman's Coraline." View electronic thesis (PDF), 2009. http://dl.uncw.edu/etd/2009-1/herndonk/karlieherndon.pdf.
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Hill, Mark. "Neil Gaiman's American Gods: An Outsider's Critique of American Culture." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/282.
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In 2001, Neil Gaiman published American Gods, a novel of American life and mythology. As a British author living in the United States, Gaiman has a powerful vantage point from which to critique American culture, landscape, and ideology. Rich with re-invented deities, legends, mythic creatures, and folk heroes cast in a decidedly American mold, American Gods examines the American character, evaluating the myths and beliefs of the culture from the vantage point of an outsider. By examining the character's allegiance to particular cultural legacies (Wednesday as the American con artist, Shadow as the cowboy), I intend to assess this outsider's understanding of what it means to be an American.
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Keir, Kenneth J. "The translating effect : Neil M. Gunn, psychoanalysis and Scottish modernism." Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=194785.
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Neil Gunn was one of the principal writers of the Scottish Literary Renaissance movement, the earlytwentieth century flowering of modernist literature in Scotland. Although some commentators have noticed the frequent mentions of psychoanalysis in his work, until now no wider study has been undertaken. In this thesis, I look at Gunn's interest in psychoanalysis in a number of different ways. This is down with the two-fold aim of first, providing a modern assessment of Gunn's work, and second, examining more broadly the history of modernism in Scottish literature. In the introduction, I propose an understanding of modernism based on the literary exploration of new theories of, in this case the mind. I argue that a complex understanding of the interplay of these new theories and literature serves better than a more simple concern with either intellectual developments or changes in literary form alone. In the first section, I look at Sun Circle and The Serpent in the light of psychoanalytic theories of 'primitive' psychology and the history of religion. In the second, I look at Highland River and The Silver Darlings in the light of Freudian and Jungian theories of personal development, regression, and childhood. In the third, I look at the way in which Gunn explores Freud's theories of the warring life- and deathinstincts in both The Shadow and The Lost Chart. I conclude by looking briefly at how Gunn's literary explorations of psychoanalysis link with the work of later writers such as Muriel Spark, Robin Jenkins, Alexander Trocchi, Alasdair Gray, Kenneth White and Alan Spence.
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Marin, Hebe Tocci [UNESP]. "A sacralização da ciência em Deuses Americanos, de Neil Gaiman." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141511.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Abordar a ciência e as mudanças científico-tecnológicas na literatura é uma prática que acompanha a humanidade e sua evolução desde o princípio. Dessa prática surge a Ficção Científica (FC), um dos muitos ramos da rica literatura gótica. Na nossa sociedade, que faz uso constante e cada vez maior da tecnologia e seus gadgets, porém, muitas das mudanças imaginadas pelos autores de FC, sendo elas fantásticas ou verossímeis, já foram alcançadas e, desta maneira, o gênero foi compelido a buscar novos temas e abordagens. À beira de uma revolução na FC, o autor inglês Neil Gaiman cria em sua obra Deuses Americanos (2001) um novo tipo de ciência: uma ciência sacralizada, “deusificada”. No romance, deuses de culturas e religiões antigas devem conviver com e sobreviver a novos deuses emergentes – os deuses da mídia, dos carros e dos computadores, entre outros. As duas gerações de deuses disputam a fé da humanidade, o que os alimenta, e nesse processo, muitos desses deuses evoluem, involuem ou até mesmo morrem. A FC criada por Neil Gaiman retorna ao mito para explicar o desconhecido e torna-se então uma espécie de FC “reversa”. Este trabalho propõe um debate sobre essa nova face da FC, com base nas teorias de Fred Botting, Mircea Elíade, Robert Adams e Sigmund Freud, entre outros.
Approaching science and technoscientific changes in literature has been done by humanity since the beginning and has evolved alongside with history. From this practice derives Science Fiction (SF), one of the many branches of gothic literature. In our society, which makes constant and increasing use of technology and gadgets, however, many changes imagined by SF authors, either fantastic or verisimilar, have already been reached and so the literary genre was compelled to search for new themes and approaches. On the brink of a revolution in SF, British author Neil Gaiman creates in his masterpiece, American Gods (2001), a new type of science: a sacralized and “godfied” science. In the novel, gods from different cultures and ancient religions must live with and survive to new emergent gods – gods of the media, of cars and computers, among others. Both generations of gods fight over what feeds them – the faith of mankind – and during this process, many of these gods evolve, devolve or even perish. The SF created by Neil Gaiman returns to the myth as an explanation to the unknown and becomes then a kind of “reverse” SF. This work proposes a debate on this new face of SF, based on the theories of Fred Botting, Mircea Elíade, Robert Adams and Sigmund Freud, among others.
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Marin, Hebe Tocci. "A sacralização da ciência em Deuses Americanos, de Neil Gaiman /." Araraquara, 2016. http://hdl.handle.net/11449/141511.
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Orientador: Aparecido Donizete RossiBanca: Alexander Meireles da Silva
Banca: Karin Volobuef
Resumo: Abordar a ciência e as mudanças científico-tecnológicas na literatura é uma prática que acompanha a humanidade e sua evolução desde o princípio. Dessa prática surge a Ficção Científica (FC), um dos muitos ramos da rica literatura gótica. Na nossa sociedade, que faz uso constante e cada vez maior da tecnologia e seus gadgets, porém, muitas das mudanças imaginadas pelos autores de FC, sendo elas fantásticas ou verossímeis, já foram alcançadas e, desta maneira, o gênero foi compelido a buscar novos temas e abordagens. À beira de uma revolução na FC, o autor inglês Neil Gaiman cria em sua obra Deuses Americanos (2001) um novo tipo de ciência: uma ciência sacralizada, "deusificada". No romance, deuses de culturas e religiões antigas devem conviver com e sobreviver a novos deuses emergentes - os deuses da mídia, dos carros e dos computadores, entre outros. As duas gerações de deuses disputam a fé da humanidade, o que os alimenta, e nesse processo, muitos desses deuses evoluem, involuem ou até mesmo morrem. A FC criada por Neil Gaiman retorna ao mito para explicar o desconhecido e torna-se então uma espécie de FC "reversa". Este trabalho propõe um debate sobre essa nova face da FC, com base nas teorias de Fred Botting, Mircea Elíade, Robert Adams e Sigmund Freud, entre outros.
Abstract: Approaching science and technoscientific changes in literature has been done by humanity since the beginning and has evolved alongside with history. From this practice derives Science Fiction (SF), one of the many branches of gothic literature. In our society, which makes constant and increasing use of technology and gadgets, however, many changes imagined by SF authors, either fantastic or verisimilar, have already been reached and so the literary genre was compelled to search for new themes and approaches. On the brink of a revolution in SF, British author Neil Gaiman creates in his masterpiece, American Gods (2001), a new type of science: a sacralized and "godfied" science. In the novel, gods from different cultures and ancient religions must live with and survive to new emergent gods - gods of the media, of cars and computers, among others. Both generations of gods fight over what feeds them - the faith of mankind - and during this process, many of these gods evolve, devolve or even perish. The SF created by Neil Gaiman returns to the myth as an explanation to the unknown and becomes then a kind of "reverse" SF. This work proposes a debate on this new face of SF, based on the theories of Fred Botting, Mircea Elíade, Robert Adams and Sigmund Freud, among others.
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Geneste, Henri-Claude. "Historicité et roman dans l'oeuvre de Neil Gunn (1891-1973)." Grenoble 3, 1997. http://www.theses.fr/1997GRE39047.
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Neil gunn, romancier ecossais du xxe siecle, a passe la plus grande partie de son existence dans les highlands, fortement marque par la situation politique, economique et culturelle de l'ecosse moderne. Il est devenu tres tot un militant nationaliste actif mais discret. En revanche, sa production litteraire est une oeuvre engagee dans laquelle l'auteur se fait l'avocat devoue d'un socialisme reflechi et pragmatique et d'un nationalisme qui sait garder ses distances par rapport aux dictatures de l'entre-deux-guerres. Il oppose la douceur d'un age d'or mythique qui aurait ete l'expression la plus pure de la civilisation et de la culture celtes, a la societe moderne ecossaise pervertie par l'instauration progressive d'un nouveau mode de vie apporte par l'anglicisation de la societe traditionnelle et par le liberalisme economique. L'avenir et la prosperite de l'ecosse ne seront assures que si le pays recouvre la maitrise de son destin. La lecture gunnienne de l'histoire passee des highlands est mise au service d'une ideologie qui tente de batir l'avenir du pays. Cette these, qui se situe a la confluence de la litterature, de l'histoire et de la civilisation, demontre comment neil gunn reecrit l'histoire en fonction d'une vision politique personnelle de la societe. Elle s'appuie essentiellement sur trois romans : butcher's broom, the silver darlings, et the grey coast, qui couvrent deux siecles de l'histoire moderne de l'ecosse, et souligne la coherence de la vision gunnienne de l'histoire moderne ecossaise. La these situe d'abord le romancier militant dans son contexte litteraire et politique, puis analyse la signification du recours au mythe de l'age d'or, avant d'etudier les soubresauts politiques, historiques, sociaux et culturels qui ont frappe l'ecosse. L'histoire moderne des highlands est presentee a travers trois periodes cruciales successives: les evictions ("clearances"), le developpement des industries de la peche et la desertification des highlandsNeil gunn, the xxth century scottish novelist spent most of his life in the highlands, and was stongly influenced by the political, economic and cultural situation of modem scotland. Very early, he became an active but unassurning nationalist militant, although in his literary works, he appears to have been the dedicated champion of a pragmatic but well-thought-out socialism which succeeded in standing aloof from the dictatorships of the interwar period. He contrasts the sweetness of a mythical golden age, which night have been the most perfect expression of celtic culture and civilisation, with modern scottish society, perverted by economic liberalism and by the progressive development of a new way of life under english influence on the traditional society. The future and prosperity of scotland will not be certain unless the country recovers mastery of its destiny. The explanation that neil gunn gives of the past of the highlands is meant to be at the service of an ideology trying to build the future of the country. This thesis, which not only deals with literature, but also with history and civilisation, shows how neil gunn writes history according to his personal and political view on society. It is mainly based on three novels: butcher's broom, the silver darlings, and the grey coast, covering two centuries of modem scottish history, and underlining the coherence of gunn's vision. The thesis places the novelist in his literary and political context, then it analyses the significance of gunn's use of the golden age myth, before studying the political, historical, social and cultural troubles which scotland has suffered from. Gunn's view on the history of the highlands is presented covering three successive crucial periods, i. E. The massive clearances, the development of the fishing industries and the desertification of the highlands
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Lucchi, Amanda. ""The White Road" di Neil Gaiman: una proposta di traduzione." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8181/.
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L'obiettivo del presente elaborato è di fornire una proposta di traduzione dall'inglese all'italiano del poema "The White Road" di Neil Gaiman, pubblicato in Ruby Slippers, Golden Tears (1995) e in Smoke and Mirrors (1998). L'elaborato è articolato in: una breve presentazione dell’autore, con accento sui temi ricorrenti presenti nelle sue opere; una descrizione del testo scelto, sia in termini di struttura che di contenuti e riferimenti culturali; la proposta di traduzione con testo originale a fronte; un’analisi dei problemi traduttivi riscontrati con le relative soluzioni adottate.
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Gehle, Hermione. "The absurd reality of satire in Neil LaBute's 'Fat Pig'." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1661.
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This research project examines the misreading of satire in some productions of Neil LaBute’s play, Fat Pig. This practice led project aims to investigate why such misinterpretations occur and explore the theatrical styles that emphasise the satire in the text via rehearsal processes and production.
There will be three preliminary paths undertaken in this research heading toward a new production of Fat Pig; an exploration of the responses of audiences and critics to past productions; an analysis of the background to Neil LeBute and his work; and an examination of theatrical expressions of satire, experimental theatre, contemporary theatre, and their practitioners. The overall aim of this research project is to find ways, as a director, to experiment with theatrical styles as a means to expand the play’s complex issues and ironic take on society’s narrow view of female beauty. This study will explore the following questions: what is the correlation between staging and design (the director’s influence and how an audience interprets meaning; and what forms of theatrical expression will highlight and emphasise the satire and irony present in the text? In what ways can critical reviews and feedback from previous productions indicate the understanding (or lack of understanding) of the ironic content in the script? Can situating LaBute in the context of his satiric writing style that straddles literary elements from opposing absurd and realism genres shed light on how irony can be exposed in Fat Pig?
The project’s new production aims to underscore the play’s social commentaries by combining various forms of theatrical styles, philosophies, and methodologies. I wish to extend my directorial practice by investigating strategies to emphasis and highlight what I see as the underlying focus of Fat Pig; society’s discriminating behaviour to those who sit outside mainstream ideas of physical beauty
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Forstová, Anna. "Eugene O´Neill: Anna Christie - komplexní scénografický projekt a osobní rozbor hry." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202517.
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Theoretical part of my thesis is focused on work of the American playwright Eugen O'Neill, specifically his drama Anna Christie.
On the basis of the text of the drama I did try to make an insight into the story and analysis of the characters of the main protagonists. I hereby present my own analysis of the work, timeframe atmosphere, study of the archetypes and places, where the story took place. I try to catch up the poetic atmosphere created by the endless of the sea. For better understanding I am amending the study for factual information which describes life stories of the main protagonists even beyond the horizon of the playwright.
I am as well presenting selected productions of the Anna Christie's and compare their visual adaptation with my own conception of it. I am describing and explaining my own approach to the scenographic conception of this play. In explication part I am focusing on practical part of my thesis and other assignments I worked on during my master's study.
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Ghoshal, Bimal Prasad. "Death wish in Engene O` Neill: a critical study with special reference to his one Oct - plays." Thesis, University of North Bengal, 2000. http://hdl.handle.net/123456789/1159.
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Dessì, Giulia. "“The Treasures of the Gods” di Neil Gaiman: proposta di traduzione." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13798/.
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L'elaborato consiste in una proposta di traduzione di un racconto tratto da "Norse Mythology" di Neil Gaiman e in una breve analisi dell’origine e della storia traduttiva dei due testi medievali alla base dell’opera di Gaiman, l’Edda di Snorri e l’Edda poetica, da cui deriva gran parte della nostra conoscenza della mitologia norrena.
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Jack, Jeffrey K. "Irish representations in the films of Jim Sheridan and Neil Jordan." Huntington, WV : [Marshall University Libraries], 2005. http://www.marshall.edu/etd/descript.asp?ref=587.
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Theses (M.A.)--Marshall University, 2005.Title from document title page. Includes abstract. Document formatted into pages: contains iii, 54 p. Films of Neil Jordan: p. 52-53. Films of Jim Sheridan: p. 54. Works cited: P. 47. Bibliography: p. 48-51.
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Long, Everitt. "Reading, writing, and rendering the world in Neil Gaiman's The sandman." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0013/MQ32492.pdf.
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Hirvonen, Irene. "Gods Gone Wild : En queerteoretisk undersökning av Neil Gaimans American Gods." Thesis, Uppsala universitet, Avdelningen för litteratursociologi, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-189789.
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Leuker, Christina [Verfasser], Ralph [Gutachter] Hertwig, and Neil [Gutachter] Stewart. "Risks, rewards and rationality / Christina Leuker ; Gutachter: Ralph Hertwig, Neil Stewart." Berlin : Humboldt-Universität zu Berlin, 2018. http://d-nb.info/1185174915/34.
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Han, Dandan [Verfasser]. "Analysis of Neil DNA glycosylases during early Xenopus development / Dandan Han." Mainz : Universitätsbibliothek Mainz, 2019. http://d-nb.info/1196552703/34.
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CESAR, PEDRO NAVARRO. "THE DEDUCTIVE MODEL IN NEIL MACCORMICK S THEORY OF LEGAL REASONING." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9556@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOREm 1978, Neil MacCormick publica o livro Legal Reasoning and Legal Theory com o principal objetivo de construir uma teoria do raciocínio jurídico (legal reasoning) descritiva e normativa que fosse compatível com o positivismo jurídico de H. L. A. Hart. O método utilizado para apresentar a teoria parte da reconstrução racional de casos concretos pré- selecionados. A análise das decisões judiciais oferece comprovações empíricas às teses de MacCormick e também indica o foco de sua teoria sobre o raciocínio jurídico: o estudo do processo de justificação judicial. É com base neste enfoque que o autor estabelece a divisão entre justificação de primeira ordem (first-order justification) e justificação de segunda ordem (second-order justification). A presente dissertação analisa apenas a justificação de primeira ordem, que está relacionada com a correção formal do raciocínio judicial. O modelo adotado para avaliar essa característica é a dedução, em especial o silogismo hipotético misto dos lógicos tradicionais. Para o autor escocês, a decisão judicial que lograr subsumir as variáveis do caso concreto nos componentes universais do fato operativo da regra jurídica, derivando como conclusão a conseqüência normativa daquela regra, estará justificada em um Estado que promove a legalidade (Rule of Law).
In 1978, Neil MacCormick published the book Legal Reasoning and Legal Theory with the goal of constructing a descriptive and normative theory of legal reasoning, compatible with the legal positivism of H. L. A. Hart. The author used the rational reconstruction of concrete pre-selected cases as the method to present his theory. The analysis of judicial decisions offers empirical backing to MacCormick s theses and highlights the focus of his theory of legal reasoning: the study of the process of legal justification. Based on this focus, the author establishes the split between first-order justification and second-order justification. This dissertation only analyzes the first- order justification, which is related with the formal correction of legal reasoning. The model adopted to evaluate this characteristic is deduction, especially the mixed hypothetical syllogism of traditional logicians. According to the Scottish author, the judicial decision that attempts to subsume the variables of the concrete case in the universal components of the operative fact of the legal rule, coming to the conclusion of a normative consequence of that same rule, will be justified in a State that promotes the Rule of Law.
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MONTEIRO, Fernando Luiz de Araujo. "Argumentação jurídica : um estudo aplicado da Teoria Integradora de Neil Maccormick." Universidade Federal de Pernambuco, 2004. https://repositorio.ufpe.br/handle/123456789/4104.
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Previous issue date: 2004Este trabalho, inserido no âmbito da filosofia do direito, enfoca o tema da argumentação jurídica. Tendo como ponto de partida a ênfase dada ao direito como ordem normativa, busca-se compreendê-lo a partir do seu referencial hermenêutico e argumentativo. Assim, algumas concepções filosóficas e jurídicas surgidas a partir de meados do século passado são apresentadas, como as de Theodor Viehweg, de Stephen Toulmin e de Chäim Perelman. Na verdade, estes são trabalhos precursores das modernas teorias de argumentação jurídica, como as de Robert Alexy e de Aulis Aarnio, que também são ligeiramente apresentadas no trabalho. A ênfase, entretanto, da pesquisa recai sobre a Teoria Integradora da Argumentação Jurídica, de Neil MacCormick, que é adequadamente estudada nos seus pontos essenciais. A pesquisa voltou-se, também, para a devida aplicação da teoria de MacCormick a um caso concreto, a saber, uma decisão judicial brasileira. A decisão explicada a partir da Teoria Integradora diz respeito a um Recurso Extraordinário impetrado junto ao Supremo Tribunal Federal, tratando de um hard case: o choque entre os princípios constitucionais de garantia de manifestação cultural e de impedimento de maus tratos aos animais (festa da farra do boi ). Por fim, como conclusão, algumas ponderações são apresentadas no sentido de se valorizar o estudo da argumentação jurídica na formação do profissional de direito, como maneira eficiente de tentar entendê-lo na sua complexidade, evitando-se, assim, os já costumeiros reducionismos
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Mallard, Jack K. "Death Becomes Her: Theodicy in Neil Gaiman's The Sandman." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2772.
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A study of Neil Gaiman's The Sandman, particularly "The Sound of Her Wings" and "The Kindly Ones: Part 13," demonstrates its theological richness. The Sandman's ability to participate in theodicy becomes clear by framing that study within a framework provided by Ernest Becker's ideas about the terror of death and Karen Armstrong's observations of the historical utility of negative theology and compassion. The analysis of the formal characteristics of The Sandman shows the range of aesthetic possibility inherent in the comics form. Lastly, the study makes apparent the continued readerly desire for engagement with questions about God, transcendence, death, and evil.
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Philippe, Brigitte. "Translating Neil Simon‘s The Dinner Party: A Linguistic Approach." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1739.
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Translation is a challenge. More than just words, languages are ways of looking at the world and these unique perspectives make it hard to talk about a reality which might not exist in the language in which we are trying to express it. It becomes a greater challenge when one tackles theater as it is not a genre translation theories have studied extensively, which means the translator cannot rely on tradition. And the challenge reaches a new level when it comes to translating humor: humor is linguistically and culturally determined. Indeed, languages do not express humor using the same tools and peoples do not laugh about the same things.
Dealing with these challenges, this work presents the translation of The Dinner Party, an American play by Neil Simon. Offering more than just the translation of the play in French, it aims at blending theory and practice. It thus brings the reader's attention to the way the translation has been done, with observations about the way the two cultures have tentatively been reconciled and about the linguistic phenomena which took place thanks to tools chosen in order to stay faithful to the text while making it not only grammatically correct but also pertinent and enjoyable. The tools identified by Chuquet turned out to be very productive, but case-by-case attention and creativity were also necessary. This work also brings to light some aspects which might call for further analysis, such as a specialized speech analysis of stage directions, through the presentation of a non-exhaustive but broad outline gathering theoretical background. This analytical step is indeed the prerequisite for any serious translation work: even before looking at the piece to be translated, one should be aware of what translating implies and make some decisions concerning the role of the translator. One also needs to explore the features of the original work they feel are necessary to take into consideration when translating.
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Gustafsson, Linda. "Det skräckinjagande och det fantastiska : En arketextuell analys av Neil Gaimans Coraline." Thesis, Södertörn University College, School of Gender, Culture and History, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1480.
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Echard, William B. "Neil Young, embodiment, and stylistic diversity, a social semiotic and musicological perspective." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ59132.pdf.
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Thompson, Christopher P. "Discreet Feminism: Neil Gaiman’s Subversion of the Patriarchal Society in American Gods." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2026.
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Neil Gaiman’s use of a hyper-masculine American culture in American Gods sheds light upon the multiple issues surrounding a misogynistic society in which women are treated as sexual objects and punished for their independence as sexual beings. Gaiman’s efforts at highlighting these issues are discreet and hidden under layers of patriarchal expectations, but through the use of his protagonist, Shadow, Gaiman is able to provide an alternative to the society he represents. While he successfully illustrates this more “ideal” society, his endeavors fall short and are almost imperceptible throughout his novel. Gaiman’s work in American Gods, while lacking in its overall presence, brings attention to the issues within a hyper-masculine society and it is through this unique, feminist approach that Gaiman is able to present his strong argument for change.
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Blomberg, Miranda. ""Should Fiction be Safe Places?" : Neil Gaimans novellsamling Trigger Warning som metafiktion." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-412454.
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