Tesis sobre el tema "Mages – Fiction"
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Davies, Richard Blaine Davies Richard Blaine. "Historical fiction makes American history come to life!" [Boise, Idaho : Boise State University, 2002. http://education.boisestate.edu/bdavies.
Texto completoWeb site. Master's project includes an explanatory text and CD-ROM entitled: Historical fiction : a web site supporting secondary U.S. history courses of study-Idaho Department of Education. Includes bibliographical references.
Drouet-Richet, Stéphanie. "Les marges du regard dans la fiction eliotienne". Paris 3, 2000. http://www.theses.fr/2000PA030127.
Texto completoWilson, Deborah Lynn. "Perceptual Differences Between Males and Females Concerning Sexually Harassing Behavior: Fact or Fiction? /". The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487935125882303.
Texto completoGelas, Nicolas. "Fiction et humanisme dans l'oeuvre de Romain Gary : s'affranchir des limites, s'éprouver dans les marges". Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20123/document.
Texto completoChallenging both apparent determinism and political or moral representations, Gary's work is defined by its predilection for off limit situations and contentious attitudes. Confronted with hatred or barbarism, it will always stand for irony and the power of creativity, involved both in the process of getting detached as well as enrapturing the world anew. Fed on the World War II trauma, it sustains the concept of humanness needing reinvention, not being a set notion but a fiction to be built, an ideal to achieve. Artists and creators owe their contribution to such foundation of a new human mythology upholding the unalienable principle of dignity, thus implanting everyone's spirit with the strength to resist despair. However, humanism cannot be seen just as an abstracted value or some shore to reach, it also implies the actual manner of living in the world. One has to keep clear from whatever overwhelming dogmas reality can impose, by favoring “margins” that will accept human contradictions and frailty. Away from any prophetic idealism, these dedicated spaces become shelters for intimate expression, allowing one to avoid onlookers and escape compelling truth assessments. Shaped around affective values, they bring one to become sensitive to a potential world humanity. Against rigid certitudes and the alienating principle of transparency, they help remember that approximation and mystery can give access to freedom and oftentimes condition the possibility of happiness
De, Nittis Elizabeth MacInnes. "Gender and the grotesque in the short fiction of Joyce Carol Oates". View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/denittise/elizabethdenittis.pdf.
Texto completoFranks, Jamie N. "Becoming Other: Virtual Realities in Contemporary Science Fiction". FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1908.
Texto completoKing, Nikole June. "Men's physique standars of embodiment and Middle-class masculinity in Nineteenth-century British and American fiction /". Diss., UC access only, 2009. http://proquest.umi.com/pqdweb?index=96&did=1906549281&SrchMode=1&sid=1&Fmt=7&retrieveGroup=0&VType=PQD&VInst=PROD&RQT=309&VName=PQD&TS=1270483425&clientId=48051.
Texto completoIncludes abstract. Includes bibliographical references (leaves 262-274). Issued in print and online. Available via ProQuest Digital Dissertations.
Martins, de Carvalho Adilia Cristina Ferreira Castro. "Lecture des marges dans les oeuvres de Maria Velho da Costa et Teolinda Gersão". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030032/document.
Texto completoThe texts of Maria Velho da Costa and Teolinda Gersão are inhabited by landscapes, archetypes and self-reflexivity configured in margins, peripheral zones, that simultaneously unveil the central place occupied by the female subject. The matter of the first section of this work, the concept of landscape hinges on the ones of archetype [the archetypal relation] and of self-reflexivity - both being respectively dealt with in the second and in the third sections of this work - through a co-ordinate they share: space considered in these three aspects, the physical, the social and the mental. Landscapes appear in a physical margin in relation to the centre inhabited by the subject that builds them. Embodied by female characters, the archetypes of the Amazon, the Witch and the Madwoman emblematize these characters’ being excluded from the social circle as they are being pushed off to the periphery, whether it be the wilderness or the lunatic asy! lum. Situated in the margins of the text, “beside” the would-be content of the work, self-reflexivity turns out to be a marginal place with regard to the centre, traditionally held by the diegesis. This study aims at analysing configurations of landscapes, archetypes, archetypal relations and reflections on writing within fictions that, while possessing a peripheral and marginal dimension, still manage to paradoxically contribute to rendering female subjectivities and identity quests sought by the Authors and the female narrators and characters whose central vitality unsteadies dichotomies and binary oppositions
Couderc, Mathieu. "Identités subies, identités intégrées : les Grecs dans les sociétés européennes du nord-ouest (Angleterre, Etats bourguignons, France et leurs marges) : début XVè - fin XVIè siècles". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H009/document.
Texto completoThe aim of this work is about studying mechanisms of identities' creation. Indeed, The Greeks are people who were leaded to leave Greece because of political (the rise of the Turks), economics (some are merchant) or religious reasons (some became Catholics since the council of Florence in 1439). For these reasons, the Greeks came first to Italy. Few of them decided to follow their path to Northern Europe, towards England, Burgundian States and France. Of course, they were only a handful of them, but we tried to understand who were they and what was their purpose. First we determined what were their number their qualities, their activities and their intentions. Secondly, we tried to evaluate the Greeks as strangers or as members diasporic groups like the historiography traditionally qualify the m. We brought to light that the Greeks couldn't be understood as rigid societies which were never changing: sometimes they were received as strangers and excluded from western societies sometimes not. A Greek could change during his life : he could be a poor and foreigner migrant during a certain period an then become a rich merchant integrated to a western society few years later. The third part of our work was to understand t meaning of the word 'Greek' which is often applied in documents: did the word 'Greek' get the same meaning in England in France, during the early fifteenth century or the end of the sixteenth century? Of course, not. We explained the documentation built a stereotypical speech about the Greeks, about what they were supposed to be, to eat, to wear, to spear or to pray . This is the Greek Identities' Laboratory
REGAM, ABDELHAD. "Les marges du texte : incipit, desinit et paratexte dans la fiction narrative francaise aux dix-neuvieme et vingtieme siecles". Paris 8, 1991. http://www.theses.fr/1992PA080686.
Texto completoTaking as a base a corpus of forty three french novels of the 19th and 20th centuries, our aim is the description and interpretation of the functioning of these margins, the "incipit", the "desinit" and the paratext, considered separately and in their relations to each other. The structuralist methodology and the socio-historical analysis are the instruments used to see if these margins belong to an agreed on contract of reading, or if they are ximply the respect of the conventions of a genre, or they reveal an operation of meaning. It appears then that if the procedures used are no longer valid (operating) and are sometimes the object of their own contestation, their effects may therefore involve the legality of the code they transgress. They may also contain signs of ancient characteristics that underlie the narrative account. The matter that calls at the same time distance and persistence. This latter belongs to the narrative account as a transcultural and transhistorical phenomenon which the bases resist the mouvements of the novel. Also the distance, necessarily linked to the evolution of history and society, expresses the novel transformations
Maclaren, Alistair. "Le réel, la réalité et la fiction dans "The Magus", "The French lieutenant's woman" et "A Maggot" de John Fowles". Lyon 2, 2005. http://theses.univ-lyon2.fr/documents/lyon2/2005/maclaren_a.
Texto completoJohn Fowles's novels develop formal experimentation while attaching great value to the realistic tradition and express to some extent the rift at the heart of the century. There is a contradictory movement in his novels where the divided and therefore incomplete subject strives to achieve fulfilment in a unity that has been lost and cannot be recovered, simultaneously anticipating how to harmonize the fracture inherent in his position as subject with the unspeakable void outlined by the signifier and which is only perceptible when meaning crumbles through the work the letter. Lack of fulfilment is structural and Fowles is searching a means to write this into a text which is necessarily whole. Fiction provides the narrative framework for his desire to find what sets it in motion. He embarks on an impossible quest as the first signifier covers the original lack on which language is constituted. Writing from a symbolic masculine position whose aim is to control and impose a meaning in order to conceal “the real” is doomed to fail. A new form of writing must emerge on the ruins of the former based on a symbolic feminine position which cannot be totally framed in language and is thus able to reveal the lack on which language is founded. What cannot be said is what we call “the real” and differs from reality which is constructed by discourse. How can we articulate reality and the real through the specific discourse of fiction? Fowles's novels bring into play two forms of discourse that are both unseparable yet antinomical; one is based on desire whose nature is metonymical and linear, depending on the author's intention whereas the other endeavours to undo the first and create an opening through which the voice of the lost “jouissance” may be heard. In order to make way for the operation of this other discourse in which the unconscious desire for the form of jouissance which language permits is inherent, Fowles has elaborated an ethical response which we call his aesthetics of the impossible ending
Maclaren, Alistair Paccaud-Huguet Josiane. "Le réel, la réalité et la fiction dans "The Magus", "The French lieutenant's woman" et "A Maggot" de John Fowles". Lyon : Université Lumière Lyon 2, 2005. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2005/maclaren_a.
Texto completoMartins, de Carvalho Adilia Cristina. "Lecture des marges dans les oeuvres de Maria Velho da Costa et Teolinda Gersão". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00978569.
Texto completoIkonomakis, Roula. "Post-war British fiction as "metaphysical ethnography" : gods, godgames and goodness in John Fowle's "The Magus" and Iris Murdoch's "The sea, the sea /". [S.l. : s.n], 2005. http://catalogue.bnf.fr/ark:/12148/cb40143287n.
Texto completoLauraire, Héloïse. "Parcours scéniques : un genre de dispositif esthétique spécifique dans l'art contemporain occidental des années 2005-2012 : étude d’une sélection d’œuvres de Christoph Büchel, Mike Nelson, Jonah Freeman & Justin Lowe". Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080034.
Texto completoBetween the early 2000s and the early 2010s, four contemporary Western artists Christoph Büchel, Mike Nelson, Jonah Freeman and Justin Lowe built gigantic and enigmatic multi-room installations in Europe and the United States. Our initial hypothesis was that there were relationships between the labyrinthine super-productions of these artists, both in terms of their conceptions and their receptions.Our study describes and analyzes the specificities (construction, visitors reception, themes and references ...) and the issues (exploration, elaboration of a story, visitors’ endangerment and risk-taking...) of the aesthetic experiences offered by these works of art, nowadays invisible. The gathering and assessment of unpublished archives concerning ten of these artistic devices and their geneses as well as a field survey carried out among their spectators have enabled us to reconstruct mental images of these works. The plans and ekphrases, illustrated fictions, presented in this thesis reveal the spatial and temporal dimensions of these aesthetic walkthroughs and bring to light a set of similar set ups, materials, and themes. Based upon the scenographic strategies of the artists and the feelings of the spectators, our analysis leads us to consider these works as emotional installations and as dystopian narrative spaces. Walking across these, as if journeying through a voyage of initiation, sparks the spectator’s imagination and makes him fully conscious of his individuality and ability to take action
Whyle, Eleanor Beth. "How fiction makes us better people: an analytic account of how fiction succeeds in being morally developmental". Thesis, 2012. http://hdl.handle.net/10539/11790.
Texto completoThat works of fiction are morally developmental is a commonly accepted claim. However, works of fiction are epistemically dubitable. As such, any account of the morally developmental nature of fiction ought to be one on which moral development is conceived of as occurring indirectly. It is the claim of this dissertation that extant accounts of the morally developmental nature of fiction fail to do so. The positive thesis of this dissertation is that moral development can be brought about through an experience of irony. This dissertation employs Jonathan Lear’s account of irony on which an experience of irony can be occasioned by bringing the subject to recognise the disparity between a concept, understood as a social pretense, and the same concept understood as a human ideal. Subjective concepts, including the moral virtues, are such that exemplifying the ideal consists in being in a constant state of coming to exemplify the ideal. The virtue of mercy is explicated in full. It is shown that mercy involves firstly, paying attention to the particulars of a wrongdoing, secondly, the dissolution of negative affective responses to wrongdoing, and thirdly, a sense of moral humility. Fiction, by virtue of its narrative and mimetic nature, is capable of inducing these three states. Furthermore, by occasioning an experience of irony, fiction succeeds in drawing the reader into a state in which she is constantly striving to exemplify mercy as a human ideal. In doing so, fiction succeeds in making the reader merciful. It does so, without directly asserting any positive claims. The account is thus not susceptible to the epistemic dubitibility objection.
Varney, CM. "Music as muse : excerpt of Earworm, a novel, plus an accompanying exegesis : "Will Bunny stay dead? : The unreconstructed male in Grinderman and The Death of Bunny Munro"". Thesis, 2015. https://eprints.utas.edu.au/22931/7/Varney_whole_thesis.pdf.
Texto completoKuo, Ju-fang y 郭如芳. "The Explicitation-specific Stylistic Differences: A Comparison of Fiction Translations by Males and by Females". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/08949621118249310805.
Texto completo國立高雄第一科技大學
應用英語所
98
This study aims at probing the explicitation-specific stylistic differences in fiction translations by males and by females using the method of corpus-based analysis. Explicitation, identified by Mona Baker (1993) as one of the four universal translational features of the translational language, refers to rendering the implicit message of the source text explicit in the target text. As shown in previous studies (Newman et al. 2008; Argamon et al. 2007; Van Gijsel, et al. 2006; etc.), due to the use of more intensive adverbs and more conjunctions as well as having a lower lexical density, females have demonstrated a more explicit style than males in speaking and writing. Seen in this regard, I hypothesize that female translators similarly present a more explicit style than males do in their fiction translations. To investigate the explicitation-specific variation in the translations by males and by females, I analyze an English-Chinese parallel corpus with two subcorpora: one 338946-word subcorpus consisting of the Chinese fiction translations by males with the English originals, and one 332964-word subcorpus composed of the Chinese fiction translations by females with the English originals. The total number of the two subcorpora reaches nearly 700,000 words. The criteria used for explicitation analysis include added intensive adverbs, added conjunctions, and lexical density. The findings show that female translators exhibit a higher degree of added-intensive-adverb-resulted explicitation but a lower degree of added-conjunction-resulted explicitation than males do. However, the lexical density between the translations by males and by females does not show a considerable difference. It is concluded that explicitation-specific tendencies found in previous studies through a comparison of stylistic differences in speaking and writing by males and by females are not necessarily shown in the translations by males and by females. Gender is not the only factor to govern the translator’s explicitation performance. To find possible reasons for the explicitation differences in the translations by males and by females, other factors, including the translator’s educational background, professional experiences, and particularly personal idiosyncratic preferences, need to be taken into consideration.
Valens, Mark Allan. "How males are portrayed in realistic juvenile fiction and how this portrayal has changed over the past twenty years". Thesis, 1995. http://hdl.handle.net/2429/3561.
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