Dissertations / Theses on the topic 'Slayers'
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Sjöberg, Jakob. "Beauty and the Beasts : the Vampire Slayer." Thesis, Linköping University, Department for Studies of Social Change and Culture, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-11413.
Full textBilden av ”manligt” och ”kvinnligt” har i skräck- och action-filmer/TV-serier länge varit väldigt stereotyp. Kvinnan har ofta spelat rollen som den utsatta, den svaga, det som kallas ”Damsel in distress” i karaktärsbeskrivningar. Mannen har å sin sida varit den mer eller mindre felfria hjälten, som alltid vet råd. Under 1990-talet och 2000-talet började bilden ändras inom den genren. Starka kvinnor dök upp i form av karaktärer och filmer som Lara Croft och Resident Evil. TV-serien Buffy – the Vampire Slayer, som sändes mellan 1997 och 2003, var också en del i detta, främst genom att låta huvudrollen spelas av en ung blond kvinna, som i regel annars snabbt hade fått falla offer för mördaren/monstret. Det jag är intresserad av att undersöka i min uppsats är hur de manliga karaktärerna påverkas och utvecklas i en TV-serie som domineras av starka kvinnliga karaktärer. Vad får de representera för ideal för sin publik? Reduceras mannen här till en liknande stereotyp roll som kvinnan tidigare gjorde inom samma genre?
Farghaly, Nadine. "Patriarchy Strikes Back: Power and Perception In Buffy the Vampire Slayer." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1241804608.
Full textByers, Michele. "Buffy the Vampire Slayer, the insurgence of television as a performance text." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ53861.pdf.
Full textHarmath, Emilia. "Familjemaskinen - En schizoanalytisk studie om vänskap i Buffy the Vampire Slayer." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-5473.
Full textRyderberg, Sanni. "Strong female characters and femininity : Exploring feminine language in Buffy the vampire slayer." Thesis, Stockholms universitet, Engelska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-138888.
Full textGoile, Joanne Elizabeth. "Fascinations of fiction an examination of devices used within the television programme Buffy the Vampire Slayer that succeed in blurring the boundaries between viewers and the fictional diegesis of the show : thesis submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design, 2003." Full thesis. Abstract, 2003.
Find full textShepherd, Dawn. "Marketing Subjectivity: Buffy the Vampire Slayer and Construction of the Problematic Female Television Audience." NCSU, 2004. http://www.lib.ncsu.edu/theses/available/etd-04012004-143839/.
Full textRodeheffer, Marielle D. "A study of cult television, Buffy the vampire slayer, and the uses and gratifications theory." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1379437.
Full textDepartment of Journalism
Pearl, Michael S. ""All that we become" renegotiating vampire/performative masculinity in Buffy the Vampire Slayer and Angel /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0004891.
Full textHerrmann, Andrew F., Julia Barnhill, and Mary C. Poole. "The Scoobies, The Council, The Whirlwind, The Initiative: Portrayals of Organizing in Buffy The Vampire Slayer." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/820.
Full textGianniny, Megan E. ""Other than Dead": Queering Vampires in Buffy the Vampire Slayer, Interview with the Vampire, and The Gilda Stories." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/382.
Full textNygren, Anna. "Vampyrers död och Andra(s) kroppar : En studie av True Blood, Vampire Diaries och Buffy the Vampire Slayer." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-65056.
Full textMcTee, Sasha. "But, You're Just A Girl." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1655.
Full textHerrmann, Andrew F., and Art Herbig. "All Too Human”: Xander Harris and the Embodiment of the Fully Human." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/756.
Full textGraham, Brita Marie. "Buffy at play tricksters, deconstruction, and chaos at work in the whedonverse /." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/graham/GrahamB0507.pdf.
Full textWhitman, Isabelle M. "Dante, Damnation, and The Undead: How The Conception of Hell Has Changed in Western Literature from Dante's Inferno to The Zombie Apocalypse." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1997.
Full textHerrmann, Andrew F. ""C-can We Rest Now?": Foucault and the Multiple Discursive Subjectivities of Spike." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/753.
Full textGoudjil, Sophie. "Ecriture progressive et collective des séries télévisées états-uniennes (1996 – 2016) : Etude de cas des sériesBuffy the Vampire Slayer, Six Feet Under, The West Wing, Grey's Anatomy et Transparent." Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080066.
Full textContemporary American television series are often legitimated via the promotion of the showrunner as author of the series. This dissertation demonstrates that, to the contrary, the writing of a contemporary American television series can be characterized as a collective and progressive mode of authoring. The way this writing process is structured is specific to a production context in which economic factors and artistic ambitions interconnet and mutually influence each other. This dissertation takes a holistic approach to the study of television screenwriting that accounts for these aspects of interconnection and collaboration at all stages of production. First, we begin with the development phase of a series, we analyze the interactions between the various production stakeholders and the aligning of their sometimes conflicting objectives with the concept of the series itself. Next, we turn our attention to the production phase, we examine how the writing process is structured and how the structure of this process is reflected in the story itself. Finally, we look at how a series is broadcast, analyzing the way in which different types of episodes are used in order to create an emotional bond with the audience as well as offer them narrative entry and exit points into the story. By studying the history of production methods for American television series from 1940 to the present day, then by applying our analytical tools to a corpus of 5 television series produced in various production contexts (Buffy the Vampire Slayer, The West Wing, Six Feet Under, Grey's Anatomy and Transparent), we highlighted the progressive and collective nature of the writers’ room process
Smith, Ashley Lorrain. "Girl Power: Feminism, Girlculture and the Popular Media." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2200/.
Full textHerrmann, Andrew F. "Daniel Amos and Me: The Power of Pop Culture and Autoethnography." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/752.
Full textConaway, Sandra B. "Girls Who (Don’t) Wear Glasses: The Performativity of Smart Girls on Teen Television." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182800368.
Full textBahia, Bruno Teixeira. "Entre o vigilantismo e o empreendedorismo violento." Faculdade de Filosofia e Ciências Humanas, 2015. http://repositorio.ufba.br/ri/handle/ri/19021.
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Este trabalho mergulha no mundo de um grupo de extermínio, formado por policiais militares, na busca da compreensão da sua gênese, motivações e relações, não só com o Estado, principalmente com agentes e instituições do Sistema de Justiça Criminal - tais como Polícia Civil, Polícia Militar, Ministério Público e Poder Judiciário, mas com a comunidade - um bairro periférico e de população de baixo poder aquisitivo de Salvador - onde atuava predominantemente. Partindo da análise de documentos extraídos de 19 (dezenove) processos judiciais e complementados com entrevistas com os perpetradores, a pesquisa buscou dimensionar o fenômeno na busca por circunstâncias que possibilitaram a formação e a atuação deste grupo de extermínio, o qual, atuando livremente em um bairro de Salvador, por quase três anos, vitimou, pelo menos, 26 (vinte e seis) pessoas. O estudo ainda revela as dificuldades de adequação das práticas do grupo ao conceito de Vigilantismo, já que aponta para uma atuação mais ampla destes agentes, especializados no uso da violência, dentro de um mercado violento informal. Por fim, as pesquisas revelaram que a força deste grupo de extermínio não se esgotava na violência empreendia por seus agentes, mas que era incrementada com o apoio de uma rede de participantes os quais, ainda que não se envolvessem diretamente nas execuções, lhes garantia informação e proteção, potencializando as ações e o medo provocados pela prática.This paper delves into the world of a death squad formed by military police in the search for understanding of its genesis, motivations and relationships, not only with the state, especially with agents and institutions of the criminal justice system - such as civil police, Military Police, Public Ministry and judiciary, but with the community - an outlying neighborhood and low income population of Salvador - where he worked predominantly. Based on the extracted document analysis of nineteen (19) lawsuits and supplemented with interviews with the perpetrators, the research sought to scale the phenomenon in the search for circumstances that made possible the formation and performance of this death squad, which, freely acting in a neighborhood of Salvador, for almost three years, killed at least 26 (twenty six) people. The study also reveals the difficulties of adapting the group practices the concept of vigilantism, already pointing to a wider action of these agents who specialize in the use of violence within a violent informal market. Finally, the research revealed that the strength of this death squad was not just the violence waged by its agents, but that was increased with the support of a network of participants who, even if not directly involved in the executions, provide them with information and protection, increasing the actions and fear caused by the practice.
Chambers, Leslie Ann B. "A Grammar of Consubstantiality: A Burkean Feminist Rhetorical Analysis of Third-Person Identity Constitution in Science-Fiction Television." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu152068821804109.
Full textMonnet-Cantagrel, Hélène. "Les Séries télévisées du format aux franchises. Pratique et esthétique des dramas américains de prime-time, créés entre 1996 et 2006." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA173.
Full textSince the beginning of the 2000s, television series arouse an unheard-of interest in their history, which brings to question the sense of this kind of fiction. But, in this issue of the meaning of the object, is also the one of the method to answer it.Narratives and fictions, series are also commercial and industrial products and, therefore, strongly determined by their contexts of production and reception. Since 1996 and the deregulation of telecommunications in the United States, american then international media landscapes and markets have known important economic and technological upheavals which led to new strategies of expansion and branding of the programs, in an unprecedented tourAdapted, spun off, remade, dramatic series lead to franchises, revealing then what establishes a specificity of the serial creation : the format. The television format is a written presentation which sets the fundamental core of the fiction, allowing not only serialization but also its distribution.Studying formats and franchises of American dramatic series of the decade introduced in 1996, this thesis examines how the television format could contribute to enrich the study of television series in a theoretical as well as in an interpretative objective
Schill, Karin. "Femininity & Masculinity : - A Reception study about the construction of gender in four relationships on the TV-series Buffy & Angel." Thesis, Örebro University, Department of Humanities, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-2312.
Full textUppsatsens syfte är att analysera hur genus är konstruerat i fyra relationer i TV-serierna Buffy och vampyrerna och Angel. Målet är att ta reda på om karaktärerna har en traditionell, delad eller omvänd genuskonstruktion. Uppsatsen kommer att undersöka både hur maskulinitet och femininitet är konstruerat textuellt och hur relationerna uppfattas av en grupp fans. Studien kommer att redogöra för skillnader och likheter mellan de fyra paren. Paren som ingår i analysen är Buffy & Angel, Willow & Tara, Buffy & Spike liksom Angel & Cordy.
Studien är baserad på feministiska teorier av Liesbet Van Zoonen, Judith Butler och Lena Gemzöe. Men kommer också att inkludera en tillbakablick på hur genus representerades på TV under 1970 och 1980-talet som är presenterat av Barrie Gunter och hur uppfattningen av genus har ändrats sen dess. Några specifika teman som kommer att analyseras i uppsatsen är tv våld, sexualitet och egenskaper som anses mer manliga eller kvinnliga. Göran Erikssons teorier om receptionsstudier spelar också en viktig roll i detta kapitel. Teorikapitlet innehåller dock även några teorier om fankultur av John Fiske, Henry Jenkins, Lawrence Grossberg, John B. Thompson och Joli Jenson.
Metoden som används i uppsatsen är att göra en receptionsstudie med två lika stora delar. Den första delen är en semiotisk text analys baserad på teorier om TV koder av John Fiske. De valda koderna är utseende, kamera, handlingar och ljud och dialog. Urvalet för den semiotiska text analysen var totalt 35 scener från elva avsnitt av serierna. Den andra delen utgjordes av en kvalitativ intervjustudie med 16 fans av serierna och är baserad på metoder av Thomas R Lindlof och Larsåke Larsson. Metodkapitlet tar också hänsyn till några metodproblem och etiska frågor som uppstår när man intervjuar människor för en studie.
Uppsatsens semiotiska analys visade att TV koderna ger Buffy & Angel och Cordy & Angel en traditionell genus konstruktion där hon är kvinna och han är man. Även fast karaktärerna också har vissa drag som normalt tillskrivs det andra könet. Karaktären Buffy i synnerlighet har en delad genuskonstruktion, då hennes manliga sida kommer ut i hennes relation med Spike. Buffy & Spike och Willow & Tara har en delad genuskonstruktion där Willow och Buffy har flest manliga drag. Koderna av utseende och kamera reproducerar patriarkat mest medan koder som ljud, dialog, händelser och narrativ ger en mer komplex delad genuskonstruktion. Intervjustudien visade att de flesta fansen delade min tolkning av karaktärernas genuskonstruktion, men att de mediala texterna är öppna för motsatta och förhandlade tolkningar med. Det fanns vissa skillnader från mina tolkningar då fansen tillskrev Spike högre nivåer av kvinnlighet och Willow mer maskulinitet än jag gjort. Deras uppfattning av de specifika paren varierar också mycket beroende på deras egna åsikter och värderingar och alla fansen gör en tolkning som de föredrar.
Mina resultat ger stöd till tidigare forskning om genus på Buffy av Arwin Spicer, Susan A. Owens och Frances Early. De ger också stöd till tidigare forskning om fankultur och jag tycker att teorierna av John Fiske och Liesbet Van Zoonen i synnerlighet har varit användbara under uppsatsskrivandet. Trots att karaktären Buffy är mer kvinnlig än man först hade kunnat tro och att vissa fördomar lever kvar sedan 1970-talet så har Buffy hjälpt till att utveckla tv-landskapet. Intervjupersonerna i den här uppsatsen accepterar homosexualitet på TV. Serien visar även att det är okej för kvinnor att slås tillbaks och skickar ut ett feministiskt meddelande i det avseendet att intervjupersonerna anser att kvinnlig frigörelse är en bra sak och att Buffy är en förebild. För fortsatta studier vore det intressant att ta reda på hur feministiska nyare TV-serier är och vilken effekt serier som Buffy haft på den generationen som växte upp medan de tittade på den.
Wells, Kimberly Ann. "Screaming, flying, and laughing: magical feminism's witches in contemporary film, television, and novels." Texas A&M University, 2002. http://hdl.handle.net/1969.1/6007.
Full textThomas, Quincy D. "Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1521852471021414.
Full textCochran, Tanya R. "Toward a Rhetoric of Scholar-Fandom." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/51.
Full textBacon, Edwin Bruce. "Confronting eternity : strange (im)mortalities, and states of undying in popular fiction." Thesis, University of Canterbury. English, 2014. http://hdl.handle.net/10092/9680.
Full textPorter, Nicole. "In search of the slayer : audience negotiation of Buffy the Vampire Slayer." Thesis, 2004. http://spectrum.library.concordia.ca/7907/1/MQ91104.pdf.
Full textChen, Hsiu-Jen, and 陳秀珍. "Locality, History and Style in Gan Yao-Ming’s Ghost Slayer." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/71691183333998725760.
Full text國立中興大學
台灣文學與跨國文化研究所
103
This dissertation is trying to study the locality, history and style in Gan Yao-Ming’s Ghost Slayer. Gan’s literary outputs remove traditional constraints, and are totally different from the traditional local literatures which emphasize grief and sorrow, as well as abandon all heavy missions, to create the brand all new writing field of the local novel lightly. The point of this dissertation is discussing how Gan uses the magic of language to describe the locality and how he reappears the heavy history in his pen, furthermore, how he creates his own particular essay style in novel to express esthetics. Ghost Slayer follows the line of grand history, depicts in various and intersected ways to exhibit overlapped phenomenon. Firstly, we’ll discuss local imaginations in this novel. Native place is named GuanNiuWo, just the hometown of Gan, a Hakka village. Since this, we can tell that the locality of the novel is also Hakka locality. This novel apply the different aspects of Native Hakka language to invest the Hakka manner, method and emotion. The author blended local and Hakka language together and express the finest of Taiwaneses. Secondly, we analyze the field of history in Ghost Slayer to emphasize the concept of localization through Ghost King and local legend, train and intermixing identification in colonial history to discover the ethnic code in Hakka angle. And further, we’ll probe into the esthetic genre from Gan’s complicated language character and the writing technique as well as temple. Finally, we’ll explore story telling skill and style. Gan makes readers feel postponed atmosphere, as his poetic words premeat unique presentation of realiy. Like a magician, he has created a fantastic epic of history with profound concern and deeply care about the local.
Lu, Ching Chuan, and 盧清泉. "Animation Character Design in Fantasy World the Animation Discourse of “Dragon Slayer”." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/54137513687513410718.
Full text國立臺灣藝術大學
多媒體動畫藝術學系動畫藝術碩士班
101
Since classical mythology, fantasy literatures have always been the imagination of unknown world and keep evolving into a set of organized system. Stories involving paranormal magic and charming knights are the inspiration of countless creators; therefore fantasy literatures are constantly being widely used in games and movies. Nowadays, there are many movies based on fantasy background making fantasy literatures plays a very important part no matter in literature, entertainment and art. This article is divided into two parts. The first part is analyzing worldview and characters from related materials. Although fantasy literature is evolving and branching into different fantasy genres, this article is based on the traditional High Fantasy. The second part of this article is focusing on the level of character design, from traditional 2D animations to 3D motion pictures, analyzing the changes and differences in character design. This subject is based on a well-known fantasy background: knight slaying dragon, using 3D computer animation to present a dazzling action scene, hoping to bring our audience through a wonderful fantasy adventure journey. This subject is about how to discover the frameworks of fantasy creatures and characters. Hoping to create a 3D computer animation from scratch and breaking those character designs into many steps and stages, design practical and attractive roles with a system.
Huang, Mei-Hui, and 黃美惠. "A Study on the Taiwanese Aboriginal Myths in Gan Yaoming´s Ghost Slayer." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/c933tv.
Full text國立交通大學
客家文化學院客家社會與文化學程
104
This these discusses Gan Yaoming’s Ghost Slayer with the focus on the writer’s frequent uses of Taiwanese Aboriginal myths. I argue that this particular literary strategy of Gan’s is derived from two facts: (1) the writer’s homeland is in Miaoli where there has been a long history of the interaction between the Aboriginals and the Hans; (2) there is a literary genealogy in Miaoli describing stories of anti-Japanese colonialism. The long novel features a Taiwanese aboriginal teenager Pa (short form for Pa-pak-Wa-qa) to represent Taiwanese during and after the Japanese colonial time (1895-1947). Unlike most historical novels of this period, Ghost Slayer tells Pa’s story in the style of magic realism rather than socialist realism, and thus making the story more approachable to contemporary young readers. Although Pa has blended many cultural heritages, Gan Yaoming has only emphasized three of his identities: young Japanese national in Taiwan（しょうこくみん）, Giant Halus, and the hunter. Each of the identities has numerous allusions to myths, especially those related to Taiwanese aboriginals. My job in the thesis is mainly to interpret Japanese colonial education and the allusions to aboriginal myths. It is hoped that this effort will contribute to a deeper appreciation of the novel as aboriginal myths in Taiwan have not been introduced enough. This lack of aboriginal knowledge has often led to a superficial support of Taiwanese autonomy from the immigrants’ idiosyncratic understanding of Taiwan history. My other argument is on Gan’s writing style, often described as magic realism. I argue that his strategy has achieved a different interpretation of the historical meaning of Japanese colonization. Instead of pathos, Gan’s novel is full of teenager energy, leading us to the wonder of primitive worldviews and expectations of Taiwanese aboriginals. The limit of this thesis is my interpretation, which has to rely on the writer’s perspective, which “purges” the aboriginal myths. In other words, Gan did not target aboriginals to be his readers when he wrote this historical novel.
Shepherd, Dawn Renee. "Marketing subjectivity Buffy the vampire slayer and construction of the problematic female television audience /." 2004. http://www.lib.ncsu.edu/theses/available/etd-04012004-143839/unrestricted/etd.pdf.
Full textShu, Huaiwei, and 舒懷緯. "The Study of the Post-Folklore Literature Rhetoric of Gan,Yao Ming’s "Ghost Slayer"." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/96178544243197692343.
Full text靜宜大學
台灣文學系
101
Academia has highly interest about new generation folklore literature after the proposal of New/Post-folklore theory in 2004. This article is arranged by former discourse and I am seeking transformation of Gan, Yao Ming's early stage short story which is classified to folklore literature. I want not only to survey about countryside and historical theme chosen by Gan, Yao Ming to highlight the thread of literary's thoughts but also to figure the situation that " Ghost Slayer " tried to challenge some values. I want to criticize identity value and Taiwanese's image in the final stage of Japanese clolnial era by historical basis. I would love to to show ideas about returning to extension of novel's rhetoric keynote and style. The analysis of magical realism and fantasy is essential, too. As summary, please let me introduce you Gang, Yao Ming's position of literature and evaluation at present stage 2012.
Pia, Kristina, and 松超文. "Ghostly Bodies of Knowledge: Authorship, History Writing and Visual Language in "Buffy the Vampire Slayer"." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/b26q39.
Full text國立中央大學
英美語文學研究所
96
This paper addresses the representation of authorship and history writing in the visual language of Buffy the Vampire Slayer, an American TV show whose vibrant afterlife in unauthorized fan fiction has caused much discussion of the limits and possibilities of shared authorship and the appropriation of intellectual property. The project points at similar tensions between authoritative and unauthorized writing within the canonical text. Focusing on the insistent visual presence of “ancient” bodies of knowledge – leather bound books and black-letter print records – in this late modern television program, this paper will read BtVS as a show about history writing – more precisely, a show that suggests the tasks of vamping and slaying as historicist writing projects battling for the power of definition. I ask how the program complicates historicist concepts of authorship from within, and visually interferes with its protagonists'' never-ending struggle for defining authoritative, universal master versions of history. Framing my argument in post-colonial theory and especially the critique of historicism, I hope to show that the shape and form of “authoritative” knowledge in this modern vampire fiction can “speak” the politics implied in the ways stories are told.
Chang, Wan-Ju, and 張琬茹. "Self-Healing of A Teenager: A Picture Book Adapted from Ghost Slayer by Gan Yaoming." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/rft8jd.
Full text國立交通大學
客家文化學院客家社會與文化學程
104
In this thesis, Hakka writer Gan Yaoming’s first novel Ghost Slayer is adapted into short-length form and supplemented with hand-depicted illustrations in order to make it suitable for students from the fifth grade to -the ninth grade to read. Ghost Slayer tells a story about the growing experience of a Taiwanese teenager, Liu Xingpa, during the period of World War II, who gradually identified himself as a Japanese under the intensified colonial imperialist policy. After the defeat of Japan in World War II, the nationalist government of ROC took over Taiwan. As Liu Xingpa, a Taiwanese Imperial Japan Serviceman, was given the aboriginal force (-The Force-) in Gan Yaoming’s writing, he was able to take off the shackles of identity from the contemporary political system and regain his native ethnic force . The illustrations in this thesis were created under the following principles which represent the author’s perspective of interpretation for Ghost Slayer. -They include (1) the images of "Ghost." Swinging of national identities is the spindle of the novel Ghost Slayer, and people with different identities have their own representatives for "Ghosts": Liu Xingpa – the floating Japanese ghost, Liu Jinfu – the mercy old ghost, Wu Tangxing – the ghost king fighting for his Han identity , Kano Takeo (かのたけお) – the ghost colonel achieving Bushido, and La-Wa and Yu-Min – the anti-war aboriginal spirits. (2) the symbolic meanings. Images with symbolic meanings are depicted- : the train– stands for the forces of modernity, the chrysanthemums –for Japanese royal family, Camellia – for the stoic Hakka ethnicity, the crab –for the aboriginal power of redemption , and the local forest and land in Taiwan –stand for protective power. With the combination of scripts and illustrations, the novel Ghost Slayer is adapted into a picture book for children and youth.
Lin, Liang-Chih, and 林良至. "Blondes and the Horror Genre: the Subversion of Gender and Genre in Buffy the Vampire Slayer and Angel." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/95793317558953379801.
Full text國立中央大學
英美語文學研究所
95
The thesis aims to illuminate the transforming relationship between blondes and the horror genre from Hollywood movies to television series. Through reading three blonde characters in Buffy the Vampire Slayer and Angel, I argue that blondes do not necessarily have to comply with the formula of becoming monsters or killers'' targets in the horror genre because they have the potential to rescue themselves and even confront their fear. The issue of gender-bias problematizes the patriarchal domination in the production of the Hollywood horror. Therefore,my readings of the authorities are situated on an analytical frame of questioning the validity of the educational, legal and family ideological state apparatuses, which formulate the menace to the three blonde characters in the series. From their roles as a vampire slayer, a police officer and a vampire mother, the conflicting nature of their gendered identities simultaneously raises the doubts of their dedication to their belief and responsibilities. Finally,they aspire to find the meanings of their existence in quest of autonomy because what they are hoping for is redemption.
Slatyer, PA. "Experiencing sustainable architecture : investigating a university’s internal initiative for sustainability." Thesis, 2013. https://eprints.utas.edu.au/17146/2/Whole-Slayter-Thesis_-_2013.pdf.
Full textChu, Li-Wen, and 朱立雯. "Historical Memories in Post-Nativisit Fiction: Wu Ming-yi''s Routes in the Dream and Gan Yao-ming''s Ghost Slayer." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/vjavu5.
Full text國立中興大學
台灣文學與跨國文化研究所
102
In the area of Taiwanese literature, the history of Taiwan remains a popular topic among the authors. “A Primary Survey of Post- Nativisit Literature” published in 2007 by Professor Fan Ming-ju, indicates especially how junior authors construct scenes of early times by quoting various Taiwan-related reference documents. These authors, according to the survey, have constructed the history of people, families, and Taiwan.This thesis aims to discuss how memories are recalled about wars in Taiwan by using two books written respectively by two junior authors: Routes in the Dream, by Wu Ming-yi and Ghost Slayer, by Gan Yao-ming.Routes in the Dream is about how the protagonist manages to retrieve a long repressed memory of his father by dreaming. He travels back in time in the dream to World War II, when his father was still young. His journey begins in the nature of human world and extends beyond to the worlds of animals and the God.Ghost Slayer mainly describes how the young boy, Pa, becomes a Taiwan-Japanese soldier. Set in the Japanese colonial period, this tragic story of Taiwan even concerns the 228 Incident, though presented with magical elements blended into the realistic atmosphere.These two new-generation writers who were born in 1970''s successfully create a new literary aesthetic vision for all the readers by reinvestigating the tragic history of Taiwan. We try to classify these two books into the category of post-folklore fictions proposed by professor Fan Ming-ju and discuss if this classification is proper. On the other hand, we will discuss if new-generation writers concern the same historical events while writing the historical fictions as compared with the elder writers in 2000’s. that In addition, we will analyze whether the new-generation writers provide the readers another perspective to think more by writing out of the box. Finally, we will discuss about new elements of literature and recognition of identity and find out other historical images of post-nativisit fiction which were not been fully discussed by professor Fan Ming-ju.
Musgrove, Kristie Leigh. "Lilith rising American gothic fiction and the evolution of the female hero in Sarah Wood's Julia and the illuminated baron, E.D.E.N. Southworth's The hidden hand, and Joss Whedon's Buffy The vampire slayer /." 2008. http://hdl.handle.net/10106/1096.
Full textRoss, Sharon Marie. "Super(natural) women female heroes, their friends, and their fans /." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3110683.
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