Bibliografías temáticas / Slayers

Literatura académica sobre el tema "Slayers"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 26 de julio de 2024

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Artículos de revistas sobre el tema "Slayers"

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Johnson, N. D. "Ozone slayers". British Dental Journal 200, n.º 2 (enero de 2006): 62–63. http://dx.doi.org/10.1038/sj.bdj.4813181.

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Walker, Jerald. "Dragon Slayers". Iowa Review 36, n.º 2 (octubre de 2006): 51–57. http://dx.doi.org/10.17077/0021-065x.6124.

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S, Megan y Nature m. "The Protein Slayers". Scientific American 1, n.º 3 (junio de 2019): None. http://dx.doi.org/10.1038/scientificamerican062019-28wfwdcdwkcmfxd5p8qgeu.

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Skibiński, Tomasz. "Necator pauperum i necator egentium w prawodawstwie synodów galijskich V-VII wieku". Vox Patrum 67 (16 de diciembre de 2018): 543–54. http://dx.doi.org/10.31743/vp.3414.

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One of the characteristic concepts present in the documents of the Gallic sy­nods from the 5th to the 7th centuries is necator pauperum (slayer of the poor), and related to it necator egentium (slayer of the needy). This article aims to analyse the use of these expressions in the synodal legislation. It shows that the notion generally refers to two types of abuse: retention of the offers due to the Church, and various forms of seizure of Church property. The synods also stipulate severe penalties against those judged guilty of being “slayers of the poor”. The study presents the Gallic Church during a very intense political, social and cultural tran­sition. It is a Church looking for its place in the new post-roman world, at a time of new opportunities and new dangers.
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Mayo, Andrea E. "Cops, Teachers, and Vampire Slayers". Administrative Theory & Praxis 33, n.º 4 (diciembre de 2011): 599–603. http://dx.doi.org/10.2753/atp1084-1806330408.

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Dean, Reem Olivia. "Hero innovators and dragon slayers". DECP Debate 1, n.º 139 (junio de 2011): 27–31. http://dx.doi.org/10.53841/bpsdeb.2011.1.139.27.

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Kim, Tegyung y Jaeeun Lee. "Subcultural Imagination against the Myth of Meritocracy: Solidarity and Care in Demon Slayer". Academic Association of Global Cultural Contents 57 (30 de noviembre de 2023): 19–37. http://dx.doi.org/10.32611/jgcc.2023.11.57.19.

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What is the source of emotion in Demon Slayer? This phenomenon of Demon Slayer may be a response to the era of neoliberalism and meritocracy. This paper attempts to analyze the meaning of tears and emotion in the context of Jean-Luc Nancy’s Finiteness and Judith Butler’s Vulnerability. The blood demons and demon slayers depicted in Demon Slayer are a group led by a few leader and there is a very powerful hierarchy. In that sense, are they all caught up in elitism and meritocracy? If not, where is the line which distinguish humans from blood demons? This problem appears most intensively in the movie version of Demon Slayer: Mugen Train (2020), especially in the scene where Akaza and Rengoku Kyojuro encounter and fight, and the conversation they have there. His response to Akaza, who praises Kyojuro’s abilities and recommends him to become a blood demon, is, “Human gets sick, grows old, and dies. That’s why human is beautiful.” It implies an awareness of human finiteness and vulnerability. What is important is that only here does the possibility of true solidarity arise. Could it be that the subcultural imagination of Demon Slayer provides comfort and solace to those who are exhausted by modern society’s endless competition? In this way, it becomes clear that Demon Slayer, especially Demon Slayer: Mugen Train, is able to succeed as cultural content of our time because it has deep relevance regarding the core issues raised by modern philosophy and shared them with the public.
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Isaksson, Malin y Maria Lindgren Leavenworth. "Queera lustar". Tidskrift för litteraturvetenskap 39, n.º 3-4 (1 de enero de 2009): 22–37. http://dx.doi.org/10.54797/tfl.v39i3-4.12064.

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Queer Desires: Fan Fiction about Vampires and Slayers In this article we analyze a selection of fan fiction stories in which fans engage in an intertextual dialogue with a source text. As an Internet-published literary form, fan fiction (or fanfic) is fairly new and the relatively democratic means of publication have meant a dramatically increased production. However, the intertextual dialogue with the source text reveals connections between fanfic and previous forms of rewritings. It is therefore rather in terms of content that fan fiction can be said to represent new strategies when negotiating the source material. The six fanfics chosen for the analyses are of the slash and femslash varieties in which samesex couples who are not romantically or sexually linked in the source text are paired. The fanfics take as their starting points Joss Whedon’s tv-series Buffy the Vampire Slayer and J. R. Ward’s romantic novels in the Black Dagger Brotherhood series. Authors of femslash pair the two Slayers Buffy and Faith and authors of slash engage the characters Vishous and Butch in a homoerotic relationship. Aside from analyzing examples of the fanfic form, the selection of stories based on source texts centering on vampires means an opportunity to investigate the function of this literary trope. Its attraction for fanfic authors can be said to stem from the figure’s inherent possibilities of representing alternative, queer sexualities. By analyzing narrative strategies and selected themes we argue that the (fem)slash texts illustrate negotiations both with genre and gender conventions of the source texts and a resistance to the heteronormative structures of today’s popular culture.
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Yee, Thomas B. "Battle Hymn of the God-Slayers". Journal of Sound and Music in Games 1, n.º 1 (1 de enero de 2020): 2–19. http://dx.doi.org/10.1525/jsmg.2020.1.1.2.

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“God is dead,” declared philosopher Friedrich Nietzsche, “… and we have killed him” (1887)—a proclamation that numerous video game protagonists could aptly say by journey's end. The prominent god-slayer trope in video game storylines casts the gameworld's god(s) as the final boss, to be slain by players, inviting connection to real-world religious ideas. Adequate scholarly attention has not been given to the musical features of the god-slayer trope—specifically, the bosses’ unique battle tracks—to discover what the music's meaning contributes to the trope. Quantitative analysis of video games featuring the god-slayer trope reveals that the bosses’ battle tracks may strategically combine rock and sacred music topics for significant semiotic effect. This article explores the meanings associated with rock and sacred music topics, using analytic methods from the burgeoning field of musical semiotics. By invoking music-theoretic work in topic theory (Monelle 2006, Hatten 2004), agential modalities (Tarasti 1994), and virtual agency (Hatten 2018), I argue that the rock and the sacred music topics initially appear to conflict—but the trope serves as a hermeneutic premise for a meaningful and productive synthesis uniquely fit for the narrative god-slayer trope. Xenoblade Chronicles (2010) forms a striking case study, with its tracks “Zanza” and “The God-Slaying Sword” exemplifying the sacred-rock trope and its semiotic meaning in relation to the game's plot—a narratively apt battle hymn for the game's god-slaying protagonists. Using a cultural-historical lens, the conclusion explores connections between the narrative god-slayer trope and the descent of Japan's god-emperor from divinity to humanity.
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Hulick, Jeannette. "Handbook for Dragon Slayers by Merrie Haskell". Bulletin of the Center for Children's Books 67, n.º 1 (2013): 22. http://dx.doi.org/10.1353/bcc.2013.0601.

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Tesis sobre el tema "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.

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Bilden 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?

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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.

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Byers, 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.

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Harmath, 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.

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Denna uppsats studerar kultserien Buffy the Vampire Slayer (1997–2003) utifrån ett schizoanalytiskt perspektiv genom att applicera tre huvudsakliga begrepp inom Gilles Deleuzes och Félix Guattaris teorier på sju avsnitt, en från varje säsong; dessa begrepp är Anti-Oidipus, begärsmaskinen och krigsmaskinen. Syftet med uppsatsen är att undersöka huruvida vännerna i serien först och främst är en anti-oidipal familj. Den utgår från tre analysfrågor: Är de som en grupp en begärsmaskin? Är gruppen ”schizofren”? Utgör de tillsammans en krigsmaskin? Studien visar på karaktärernas samspel och sammanhållning som en grupp på ett sätt som visar att begreppet familj inte endast kan definieras av blodsrelationer utan av sammankopplingar vilka snarast är att beskriva som maskiner. Den finner emellertid att det också finns inslag av en oidipal ordning i skildringen av individers problem och lösningen av dem samt i en idealisering av det normala familjelivet. Den kommer därför till slutsatsen att serien i sig i en mening är ”schizofren”.
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Ryderberg, 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.

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It is widely accepted that gender is actively performed and a part of identity rather than biology, and that this is where gender differences in language stem from. Researchers have attempted to define what constitutes men and women’s language, and this paper uses some of these definitions to analyse the speech of the main character in the first season of the television show Buffy the vampire slayer. This research project investigates Buffy’s use of feminine language as well as whether her language changes when her performance is otherwise more masculine in the role of the slayer. This is done by comparing conversations between Buffy and her friends with conversations between Buffy and her enemies. The results show that Buffy uses some feminine linguistic features but that her speech is not distinctly feminine in general. Her language also does not change significantly when performing the role of the slayer.
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Goile, 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.

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Shepherd, 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/.

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Though some work has been done on the relationship between the series and its audience, most notably Tjardes's examination of the audience's constructions of Faith the Vampire Slayer, little has been written about the ways in which power relationships within the series contribute to the discursive construction of the audience, specifically the female audience. In order to examine power relationships within the series and their impact on the discursive construction of the female audience, I use the fields of rhetoric and critical discourse analysis to frame my discussion. Initially in Chapter 2, I present an overview of major critical perspectives on audience, specifically delineating the essentialist and socially constructed conceptions of audience. Synthesizing scholarship on the construction of audience and tools from critical discourse analysis, I outline three principles for examining the construction of the television audience. Next in Chapter 3, I discuss levels of social organization and the subject positions available in Buffy, examining specific character interactions, paying particular attention to the ways in which power relationships develop within and through the interactions. Then in Chapter 4, I consider the impact of the cultural context and the text's medium on the series. Finally in Chapter 5, I expose the problematic nature of constructing the female television audience, revisit Buffy and how the series interacts with dominant ideologies, offer potential for multiple audiences, and propose avenues meriting further exploration.
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Rodeheffer, 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.

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This study builds on the Uses and Gratifications body of knowledge as applies to motivations surrounding television use, specifically the cult television program Buffy the Vampire Slayer. Through the distribution of online survey it was found that respondents who read and/or wrote fanfiction were more likely to engage in the variable of parasocail relationships. One hypothesis was disregarded due to the invalidity of the variable. Through two research questions it was found that the variable of affinity was indicative of a viewer's involvement with the show. The second research question found only two marginally significant variables, personal identity and realism, with regard to the number of years one had been a fan of the show. Age was found to be significant in all the variables and was accounted for.
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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.

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Herrmann, Andrew F., Julia Barnhill y 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.

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With the 2012 releases of The Cabin in the Woods and The Avengers, writer/director Joss Whedon moved beyond his cult status and into the mainstream. His cult television work, however, remains admired in both the popular imagination and in the academic world of popular culture studies. This year’s CSCA13 corresponds with the ten-year anniversary of the cancellation of Whedon’s first successful cult television show, Buffy the Vampire Slayer. Whedon’s other work, including Firefly, Dr. Horrible’s Sing-Along-Blog, Dollhouse, Angel, etc., are not only cult fan favorites, but favorites in popular culture academia. The participants on this panel will explore various aspects of Whedon and the Whedonverse, including: Whedon’s rhetorical framing regarding his transformation from cult director to mainstream phenom; his genre-bending frameworks across his various projects; his examination of gender roles; exploring and exploding Whedon’s use of mythology; and how Whedon’s characters manage to out-organize formal organizations.
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Libros sobre el tema "Slayers"

1

Hill, C. J. Slayers. New York: Square Fish, 2013.

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Ritter, Lukas. Monster slayers. Renton, WA: Mirrorstone, 2010.

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Paul, Hollis. Demon slayers. Tampa, FL: Warfare Publications, 1999.

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Ritter, Lukas. Monster slayers unleashed. Renton, WA: Wizards of the Coast, 2011.

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Haskell, Merrie. Handbook for dragon slayers. New York: HarperCollins, 2013.

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YI, SHEN BAN. Slayers! Slayers(Chinese Edition). Fantasy base, 2000.

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Araizumi, Rui. Slayers (Slayers) (in Japanese). Kadokawa Shoten, 1995.

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Hill, C. J. Slayers. Feiwel & Friends, 2011.

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Hill, C. J. Slayers. Square Fish, 2014.

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Hill, C. J. Slayers. n/a, 2013.

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Capítulos de libros sobre el tema "Slayers"

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Moore, David. "Toxins: Kill the Primates, Rule the World". En Slayers, Saviors, Servants and Sex, 1–18. New York, NY: Springer New York, 2001. http://dx.doi.org/10.1007/978-1-4613-0135-6_1.

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Moore, David. "The Cavalry Is Coming". En Slayers, Saviors, Servants and Sex, 139–52. New York, NY: Springer New York, 2001. http://dx.doi.org/10.1007/978-1-4613-0135-6_10.

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Moore, David. "Blights, Rusts, Bunts, and Mycoses". En Slayers, Saviors, Servants and Sex, 19–37. New York, NY: Springer New York, 2001. http://dx.doi.org/10.1007/978-1-4613-0135-6_2.

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Moore, David. "Decay and Degradation". En Slayers, Saviors, Servants and Sex, 39–53. New York, NY: Springer New York, 2001. http://dx.doi.org/10.1007/978-1-4613-0135-6_3.

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Moore, David. "Joining Forces". En Slayers, Saviors, Servants and Sex, 55–66. New York, NY: Springer New York, 2001. http://dx.doi.org/10.1007/978-1-4613-0135-6_4.

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Moore, David. "Fungi in Medicine". En Slayers, Saviors, Servants and Sex, 67–79. New York, NY: Springer New York, 2001. http://dx.doi.org/10.1007/978-1-4613-0135-6_5.

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Moore, David. "Turning the Tables". En Slayers, Saviors, Servants and Sex, 81–94. New York, NY: Springer New York, 2001. http://dx.doi.org/10.1007/978-1-4613-0135-6_6.

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Moore, David. "Let’s Party!" En Slayers, Saviors, Servants and Sex, 95–110. New York, NY: Springer New York, 2001. http://dx.doi.org/10.1007/978-1-4613-0135-6_7.

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Moore, David. "The Old Kingdom in Time and Space". En Slayers, Saviors, Servants and Sex, 111–26. New York, NY: Springer New York, 2001. http://dx.doi.org/10.1007/978-1-4613-0135-6_8.

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Moore, David. "Birds Do It, Bees Do It, Even Educated Fleas Do It: But Why?" En Slayers, Saviors, Servants and Sex, 127–37. New York, NY: Springer New York, 2001. http://dx.doi.org/10.1007/978-1-4613-0135-6_9.

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Actas de conferencias sobre el tema "Slayers"

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Blanchette, Stephen. "Slayer of Giants". En AIAA Infotech @ Aerospace. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2015. http://dx.doi.org/10.2514/6.2015-1644.

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Wedde, H. F. y M. Lischka. "New dimensions in distributed journalism through Dragon Slayer III". En Proceedings of the Seventh Euromicro Workshop on Parallel and Distributed Processing. PDP'99. IEEE, 1999. http://dx.doi.org/10.1109/empdp.1999.746653.

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Berto, John. "Social Media, Open Platforms, and Democracy: Transparency Enabler, Slayer of Democracy, Both?" En Hawaii International Conference on System Sciences. Hawaii International Conference on System Sciences, 2019. http://dx.doi.org/10.24251/hicss.2019.942.

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Zhao, Haijing. "Research on Marketing Strategies Used in Japanese Anime Industry Taking the Demon Slayer as an Example". En 2022 2nd International Conference on Enterprise Management and Economic Development (ICEMED 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/aebmr.k.220603.117.

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Chen, Ying-Ying. "Reversing Through the Living Hell – Exploring the Value System of Human Spirituality and Rationality in the Demon Slayer Anime Series". En The Kyoto Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2436-0503.2023.66.

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Tian, RunYu. "Research on the Spread and Influence of Japanese Hot-blooded Animation in Mainland China——Taking Demon Slayer as an example". En 2021 4th International Conference on Humanities Education and Social Sciences (ICHESS 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211220.224.

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Informes sobre el tema "Slayers"

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Sanchez, Amber. Variation in Female and Male Dialogue in Buffy the Vampire Slayer: A Multi-dimensional Analysis. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.7454.

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