Thèses sur le sujet « Authier »
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Klapper, Helmut [Verfasser], Theo [Akademischer Betreuer] Hahn, Kurt [Akademischer Betreuer] Lücke, Peter [Akademischer Betreuer] Grosse, S. [Akademischer Betreuer] Haussühl et A. [Akademischer Betreuer] Authier. « Untersuchungen der Geometrie eingewachsener Versetzungen in lösungsgezüchteten Kristallen / Helmut Klapper ; Theo Hahn, Kurt Lücke, Peter Grosse, S. Haussühl, A. Authier ». Aachen : Universitätsbibliothek der RWTH Aachen, 2017. http://d-nb.info/116206367X/34.
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Authier, Teresa Luise [Verfasser], et Matthias [Akademischer Betreuer] Hornung. « Das Erlernen von minimal-invasiv chirurgischen Basisfertigkeiten – Eine klinisch praktische Studie über den Einfluss der Gruppenzusammensetzung bei männlichen Probanden ohne Vorerfahrung / Teresa Luise Authier ; Betreuer : Matthias Hornung ». Regensburg : Universitätsbibliothek Regensburg, 2021. http://d-nb.info/1241825432/34.
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Grgorinic, Natalija. « Recounting the Author ». Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1333512288.
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Kennedy, Niall. « Deleuze and the author ». Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/38644/.
Texte intégralRésumé :
This thesis argues that Gilles Deleuze, as philosopher, reader, and critic, recognised the central importance of a defined authorial subjectivity, closely associated with a philosophical or intellectual project, and that his analyses of philosophy, literature, visual art and cinema were shaped and determined by his recognition of that authority. In this respect, my reading challenges those critics who find in the work of Deleuze an assault on ‘author-centric’ interpretations of texts, and more generally on the concept of a unified self, and which uphold experimentation on the part of the reader or critic rather than interpretation. I argue that Deleuze has a coherent and meaningful conception of an author as a consciousness which persists through time, learns, plans and makes projects, differentiates itself from the work of other authors, is inspired and creative, takes positions in relation to the inheritance of artistic and philosophical traditions, and which is capable of entering into collaboration with others. Through close reading of Deleuze’s texts, I demonstrate that he consistently relies on the authorial function to impose unity and coherence on the distinctive - and often remarkable - body of work of an individual theorist or practitioner. I argue that the historical, political and social situation of an author is of great importance to the analysis of a text. Finally, unlike Roland Barthes or other critics invested in the ‘death’ or displacement of the author, I argue that Deleuze considers the competing interpretations of a text advanced by the reader or spectator to be of little or no importance.
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Lee, Siyeon. « The author on the stage : Fielding's self-awareness as author and problems of authority ». Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/20627.
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This thesis advances a new perspective on Henry Fielding's self-awareness as author, as it appears in his writings of various genres from The Author's Farce to The Covent-Garden Journal. The principal argument is that Fielding's problematic self-awareness as author and idea of literary authority evolved through a series of ambivalent relationships with literary and political authorities of his age. At each stage of his career, Fielding found himself in tensioned relations to the Scriblerians, particularly Pope 'the great Poet', Robert Walpole 'the Great Man', and the great or 'High People' at large, including his own patrons. The 'Trade of Authoring' seemed at best a dubious alternative to attain financial (and moral) independence, and Fielding considered himself denied the aesthetic and moral authority to write serious satire by public readership, the new patrons of commercialised letters. Instead of the Fielding we are familiar with, that is, the authoritative Augustan satirist and master of comic fiction, Fielding as appears in the present thesis is essentially 'an author of a farce', by his own self-demeaning denomination, who sees in himself a 'humble servant' to either the great patrons or the paying audience, with only some Drawcansirian mock-authority at best. Chapter I offers analyses of The Author's Farce, a dramatisation of Fielding the novice playwright's ambivalence towards the great in letters and politics, and of his anti-Walpole plays in 1736-37, each in the format of a rehearsal by the 'Author', through whom Fielding converts his self-awareness as author without authority into an opposition formula to veto Walpole's political authority. Chapter II continues to discuss Fielding's peculiar infusion of his authorial concern into the anti-Walpole satire in The Champion and Jonathan Wild.
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Bulcaen, Chris. « The dialogue of an author : ». Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-96426.
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In Swahili Forum III Elena Bertoncini-Zubkova (1996) discussed some of the political criticisms, expressed in the form of literary motifs and imagery, that emerged in the works of the Tanzanian Swahili writer Euphrase Kezilahabi since 1978 onwards. She situates this emergent critique in the new political discoursive context where critical reviews of the Ujamaa policy could now be publicly voiced since President Nyerere himself admitted the failure of Ujamaa in his delivery Azimio la Arusha baada ya Miaka Kumi (The Arusha Declaration Ten Years Later, 1977). According to Bertoncini this admission `clear[ed] the way for critical literary works` of which Kezilahabi satirical play Kaputula la Marx (Marx`s Shorts, 1978) and his short story Mayai- Waziri wa maradhi (Eggs- Minister of Sickness, 1978) were among the first.
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Moran, Joseph Patrick. « The American author as celebrity ». Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283106.
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Berger, Karol. « The Text and Its Author ». Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A36799.
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Govender, Dyalan. « The Author Figured in Film ». Thesis, University of Sydney, 2009. https://hdl.handle.net/2123/23107.
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For all the critical attention paid to the author in literary theory and criticism, there has been no study of the film medium’s fascination with authors and authorship. Every year, Hollywood produces numerous films about poets, playwrights, novelists, and screenwriters. This thesis explores the narrative and cinematic potential of the author. In broad terms, it is an exercise in genre criticism, establishing the defining characteristics of films characterising authors. It is also a very specific type of genre criticism, taking a cognitivist approach that defines the author as a set of historically and socially established expectations and characteristics against which the characters in these films are measured. After establishing the phenomenological parameters and critical value of the cognitivist approach in Chapter 1,1 then take up Andrew Bennett’s outline of the author as a cultural concept, discussing its utility in dealing with films figuring authors and authorship. Chapters 3 to 8 explore a selection of the sub-genres of films containing authors, starting with characterisations of the author as a detective, then moving to films using and depicting writer’s.block, horrific characterisations of the author, characterisations of female authors, the biopic, and films characterising screenwriters in Hollywood. The work concludes with an analysis of Charlie Kaufman and Spike Jonze’s Adaptation (2002), whose broad exploration of authorship traverses more of these sub-genres than any other film, offering an opportunity to bring together the findings of Chapters 1 to 8. I focus on English language, feature length, narrative films released between 1927 and 2007. Rather than taking a chronological approach and tracing the history of the medium’s treatment of the author, I select films from various periods, identifying in them the defining characteristics of the genre. But more than this, the genre and its characteristics represent the persistent interpretive function of the author in face of the critical trend away from biographically based interpretation towards textual and semiotic analysis.
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De, Luca Vincenzo. « Applicativo web per audioguide - HooRMI Author ». Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18444/.
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HooRMI Author è la parte da content creator del progetto HooRMI.
La dissertazione si concentra sul funzionamento HooRMI Author, ovvero di come viene permesso all'utente di produrre contenuti video basati sulla propria posizione acquisita tramite tecnologia Plus code e caricarli sul proprio canale Youtube. I contenuti risulteranno pronti per essere selezionati e fruiti dai turisti, grazie alla profonda personalizzazione dei metadati associati ad ogni clip.
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Barry, Desmond. « The escape of the imaginary author ». Thesis, University of South Wales, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.591056.
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This creative/critical overview of the novels A Bloody Good Friday, The Chivalry o/Crime and Cressida's Bed by Desmond Barry, and Far South by David Enrique Spellman, will examine some of the literary influences in the composition of the novels, as well as the development of the author from naive dilettante, influenced by the Beats, to heteronymous voice of the Far South Project and the creation of an imaginary author. The overview examines some of the underlying psychological and philosophical matrices out of which the novels were born and the influence of writers such as William S. Burroughs and Jorge Luis Borges. The work will trace a journey from the Aristotelian forms of the published Barry novels to the experimental multi-platform narratives of Far South. It will show how the process of learning in an academic environment influenced an involvement with Aristotelian formal strategies that in turn led to experiments with the use of chance in the production of multiplatform narratives. The exegesis points the way to new literary and creative forms through digital technologies that are widely accessible and open up innovative ways of cooperation among dancers, photographers, filmmakers, web designers, and writers, which can subvert or cooperate with existing publishing paradigms. This self-reflective narrative examination of practice-led research and creative process begins as an examination of the tensions involved in the creation of a classic Aristotelian narrative form and develops into an interrogation and illumination of the potentialities of using cooperation and chance in prose fiction and interdisciplinary multi-platform stories.
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Grady, Jody. « Author detection on a mobile phone ». Thesis, Monterey, California. Naval Postgraduate School, 2011. http://hdl.handle.net/10945/5763.
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Approved for public release; distribution is unlimitedTraditional author detection is conducted on powerful computers using documents such as books and articles. With the explosion of mobile phone computing use, modern author detection needs to be lean enough to operate on a resource restrained mobile phone and robust enough to handle the terse and non-standard wording in text messages, Tweets, and e-mails. By testing natural language and machine learning techniques for size and speed, not just effectiveness, this thesis identifies feature and technique combinations appropriate for author detection on a mobile phone. Specifically this thesis will examine effectiveness versus storage size for word grams of size 1, 2, and 5 as well as Gappy Bigrams and Orthogonal Sparse Bigrams. To deal with the robust nature of Tweets and text message, the Google Web1T corpus will be tested for size versus effectiveness in combination with the word grams. Once appropriate feature and technique combinations are found, those combinations will be tested on actual Android mobile phones to gauge how effective the chosen techniques are on a real mobile phone.
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Curran, L. C. « Samuel Richardson : the author as correspondent ». Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1349011/.
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This thesis is a broadly chronological study of Samuel Richardson’s correspondence, from his early career as a novelist in the 1740s through to his death in 1761. It argues that Richardson’s sustained concern with the aesthetics and ethics of writing letters was central to his conception of authorship and its relation to publicity. It contends that the form and content of Richardson’s letters interact with his novels in ways that are more pervasive than has been previously acknowledged in Richardson studies; I read letters as an integral part of his literary oeuvre, not merely an adjunct to it. The thesis uses manuscripts of Richardson’s correspondence in archives in both Britain and America, many of which are unpublished. Chapter One examines the development of a familiar epistolary prose style in Richardson’s early works, particularly his first novel Pamela (1740) and its sequel (1741). It focuses on the relationship between aesthetics and ethics in the use of the familiar letter in fiction of this period. Chapter Two is, in part, a case study of Richardson’s letters with his most significant correspondent, Lady Bradshaigh, about Clarissa (1747-8), and links their letters to the development of a quasi-autobiographical mode of writing in his last surviving piece of fiction, ‘The History of Mrs Beaumont’. Chapter Three traces how Richardson used correspondence to encourage and promote women’s writing, both in manuscript and print. Chapter Four examines Richardson’s correspondence with men and his attempt to reformulate literary manliness as a moral virtue in Sir Charles Grandison (1753-4). Chapter Five extends these aesthetic and moral debates to Richardson’s own editing of his correspondence, using manuscript evidence and exchanges he had concerning the ethics of publishing his letters during his lifetime. The Conclusion discusses the implications of these examples for the future study of the author as correspondent.
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Kaley, Heather L. « William Caxton : England's First Print Author ». Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1398275503.
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Mor, Shany Moshe. « Law's author, things personated, political representation ». Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:142e4065-de3c-47ff-a940-f85215fad920.
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This dissertation proposes a normative theory of political representation grounded in popular sovereignty and positive law, rather than in democracy and efficient labour allocation. The first three chapters assess the contributions to the idea of representation of three early modern thinkers. Hobbes proposes a formal model of authorised action at a distance, but, contrary to a long-standing consensus in political thought, not an actual theory of representation. Rousseau, a well-known opponent of representation, proposes ideas about government, sovereignty, and positive law, which, despite his contrary intentions, form a foundation for a normative theory of representation. Sieyes refines concepts from both to create a more mature practical statement on representation which he attempts to implement in three revolutionary constitutions in France in the 1790's. The next three chapters make an argument connecting representation to law creation. First the concept of a decision is defined, and then abstracted through various levels of political authority and action. Law creation is distinguished from all other classes of authorised political decision making by four unique properties which tie in with problems initially raised by the early modern philosophers regarding popular sovereignty. Various numbers of authorised actors are considered as constituting political bodies credentialed to carry out the relevant decisions identified as meeting the minimal conditions of law, and ultimately only assembly — a body numbering in the hundreds, with a reserved place for making recognised decisions, and a formal connection to expressed popular preferences — meets the conceptual requirements of the class of decisions mooted. The thesis ends with an argument connecting law to representation as the solution to the problem of plurality.
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Ribero, de Menezes Alison. « Juan Goytisolo : the author as dissident / ». Woodbridge : Támesis, 2005. http://catalogue.bnf.fr/ark:/12148/cb39986994x.
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Dervos, Dimitris A., Nikolaos Samaras, Georgios Evangelidis, Jaakko Hyvärinen et Ypatios Asmanidis. « The Universal Author Identifier System (UAI_Sys) ». TEI of Pireaeus, Greece, and the University of Paisley, UK, 2006. http://hdl.handle.net/10150/105755.
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One common problem in the scientific research literature is that each one author cannot easily be identified uniquely. The problem arises when there are authors with identical names, authors who have changed their name(s) in the course of time, and authors whose names appear in alternative versions (for example: Jaakko Hyvärinen, and J. P. Hyvärinen) across the publications they have (co-) authored. The issue becomes more of a problem when data analysis utilizing author names is to be conducted, for example: in citation analysis.
In this paper we introduce the Universal Author Identifier system, codenamed UAI_Sys. The system is web based and publicly available, enabling each one author to register/update his/her own metadata, plus acquire a unique identifier (UAI code), ensuring name disambiguation. As soon as UAI_Sys becomes accepted and enjoys worldwide use, selected author metadata will become globally available to all interested parties. Care is taken so that UAI_Sys comprises more than just a database for storing and handling author identifiers. Provision is taken for the system to incorporate web services facilitating communication with third party applications, thus expanding the possibilities for web based co-functionality. Last but not least, the system supports role-based access and management (i.e. different user roles for authors, librarians, publishers, and administrators) for efficient and effective information dissemination and management, promoting research and collaboration.
UAI_Sys is being designed/developed along the lines of the Cascading Citations Analysis Project (C-CAP) which is co-funded by the Alexander Technology Educational Institute (ATEI), and the University of Macedonia (UoM).
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Dobroniak, Christine. « Géomorphologie, hydrodynamique et écologie d'un estuaire temperé macrotidal : l'Authie, Manche Orientale, France ». Littoral, 2000. http://www.theses.fr/2000DUNK0036.
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L'Authie est un estuaire macrotidal (marnage moyen de vive-eau à l'embouchure = 8. 54 m) qui a été largement comblé par des sables d'origine marine et introduits dans l'estuaire par des courants de marée dominés par le flot, et par des vagues de tempêtes. L'estuaire, qui constitue le terminus d'un petit fleuve côtier (longueur = 98 km), a une longue histoire d'occupation humaine et se situe sur une côte riche en sables stockés dans des bancs et des dunes côtiers. Les tendances évolutives de l'embouchure de l'estuaire ont été analysées à partir de documents historiques, de cartes bathymétriques anciennes, et de photographies aériennes. La démarche méthodologique a été complétée par plusieurs campagnes de mesures hydrodynamiques, in situ, portant sur les niveaux d'eau, les houles et les courants, et par des suivis topométriques de la rive nord. Elles montrent un ensablement progressif de l'estuaire du fait surtout d'une accrétion importante d'une plate-forme sableuse en rive sud qui s'étend vers le nord, à travers l'embouchure, et qui est alimentée en sables par des courants de dérive littorale liés à la marée et aux houles. Les travaux révèlent aussi une rétention, à l'intérieur de l'estuaire, de sables érodes des dunes de la rive nord exposées aux tempêtes et aux forts courants de marée à asymétrie liée au flot. Cette accrétion importante, qui a pu être exacerbée par les effets mal connus d'une importante poldérisation au sein de l'estuaire, a pratiquement comblé l'embouchure, et conditionne de plus en plus la distribution de la faune et de la flore estuariennes. L'Authie diffère ainsi des estuaires macrotidaux peu combles comportant des bancs et des chenaux longitudinaux tidaux. L'érosion localisée et l'accrétion généralisée posent aussi des problèmes sévères d'aménagement, notamment en matière de protection des rivages estuariens, et de survie à terme de l'estuaireThe Authie is a macrotidal (mean estuary-mouth spring tide range = 8. 54 m) estuary that has been largely infilled by marine sand transported by fllord dominant tides and storm waves. The estuary, which forms the terminus of a short (98 km) coastal river in northern France, has a long history of human occupation and is located on a sand-rich coast characterized by nearshore banks and coastal dunes. The patterns of recent sedimentation and erosion within the estuary were deduced from analyses of historical documents, bathymetric charts, aerial photographs, and from field work involving several hydrodynamic surveys covering water levels, waves and currents, and topographic surveys of the north bank of the estuary. The results show rapid infill of the Authie as a result of both massive accretion of a south bank sand platform that has extended northwards across the estuary mouth, under the influence of wave – and tide – induced longshore sand transport, and estuarine retention of sand, through flood-dominant asymmetry, eroded from north bank dunes exposed to storm waves. This massive accretion has almost completely infilled the estuary mouth which lacks the linear tidal ridges and channels typical of unfilled macrotidal estuaries. It also increasingly conditions the distribution of the estuarine fauna and flora. Large-scale empoldering of the estuary may have exacerbated flood asymmetry. The localized erosion and generalized sedimentation at the mouth of th estuary pose a number of severe management problems, notably estuarine shoreline protection, and call into question the very survival of the estuary itself
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Marisova, Iana. « Intellectual Property Protection in innovation projects Author : ». Thesis, KTH, Fastigheter och byggande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-102396.
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Intellectual products, scientific knowledge, information, professional, scientific, spiritual and cultural potential of the society today are the driving force behind economic growth, determine the competitiveness of production. This sets a strengthening of the role of intellectual property. The crucial role of intellectual assets in the global economy growth determined the choice of innovative strategy by Ukraine in the 21 stcentury. The important part of that strategy is the development of the national legal framework that includes adoption of the national laws and accession to international agreements that become part of the national legislation. The solution of the problem of forming an effective system of protection of intellectual property is a prerequisite for building a strong background for an innovative model of Ukraine’s development, its modernization, and the raising of its competitiveness in a global social-economic system, and consequently - creating jobs in new industries that could shape a 21st century global economy - an economy based on knowledge. The following thesis is a qualitative study about intellectual property protection and intended for Ukrainian companies and for students as information paper because there is differences between the old system in former Soviet and the European/US systems that has to be understood and business in Ukraine as well as researchers/inventors has to adjust to this different situations in order for companies to exploit the full potential of their innovations, part of this is by IP protection.
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Lin, Jane. « Automatic author profiling of online chat logs ». Thesis, Monterey, Calif. : Naval Postgraduate School, 2007. http://bosun.nps.edu/uhtbin/hyperion.exe/07Mar%5FLin.pdf.
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Thesis (M.S. in Computer Science)--Naval Postgraduate School, March 2007.Thesis Advisor(s): Craig H. Martell. "March 2007." Includes bibliographical references (p. 261-264). Also available in print.
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Clissold, Bradley. « Author--Ulysses--readers : seduction in the gaps ». Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22575.
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The purpose of this study is to investigate how the prose style of James Joyce's Ulysses provides seductive gaps which by design prompt readers to become co-producers of the text. Joyce strategically creates opportunities for readers to engage actively with the text through response-inviting gaps in the prose. The various types of gaps in the text place demands on readers and, inevitably, upon the author. The more reader-friendly gaps are overdetermined gaps which, by definition, are obvious and point to their own completion. These gaps when filled are, more often than not, confirmed by related references throughout the text. Ulysses, however, also abounds with gaps of indeterminacy. The ambiguous nature of these gaps generates anxiety for readers by undermining the expectations established by overdetermined gaps. Joyce's prose arrangements continually call on readers to play roles and adapt these roles to the linguistic movements of the text. This project endeavours to analyse how different gaps function and the degree to which they work in conjunction to seduce readers and the author into the dual roles of co-production and co-consumption of Ulysses.
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Woodard, Scott Elliott. « Ilya Alexandrovich Musin : pedagogue, conductor, and author ». Thesis, Boston University, 2014. https://hdl.handle.net/2144/12249.
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Thesis (D.M.A.)--Boston UniversityFor sixty-seven years, beginning in 1932 and ending with his death in 1999, llya Alexandrovich Musin trained orchestral conductors at the Leningrad (later St. Petersburg) Conservatory in the techniques which have since come to be known as the Leningrad School of Orchestral Conducting. Due to matters both political and ethnic in nature, Musin failed in securing a podium of his own. As a result, he turned to the classroom, educating generations of conductors in a method of non-verbal communication which finds its roots in the commonplace gestures of everyday life. Musin committed his entire life to these methods, which he not only taught, but also included in his writings, four volumes of which have been published to date. Over the course of his lengthy career, Musin is thought to have taught over onehundred- sixty conductors, roughly ninety of which would go on to become professional conductors and teachers of conducting. From Musin's studio have come conductors whose careers are visible and important, including Yuri Temirkanov, Valery Gergiev, Semyon Bychkov, Martyn Brabbins, Sian Edwards, Oleg Proskurnya, Leonid Korchmar, and Alexander Polishchuk, to name a few. The purpose of this study is to document the musical and educational beliefs, activities, and theories of Russian conducting pedagogue llya Alexandrovich Musin, to examine his roles as pedagogue, conductor, and author, to apply his ideas to the preparation of teacher/conductors and to provide possible solutions for solving problems within the current system of conductor/teacher preparation. The importance of this study lies in its potential for use in the field of music education, particularly for conductor education and music teacher education. It is expected that this research will be valuable to the academic community in tracing the pedagogical style and methods of an educator whose career was both long and fruitful, and whose methods may be effective in solving issues in the arena of teacher/conductor preparation.
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Bandler, Suri C. « Interpreting author intentions by analyzing story modulation ». Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/121661.
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This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2019
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 75-76).
If we are to understand human intelligence, then we need to understand human story understanding competencies, including our ability to communicate. Communication can be thought of as an externalization of an inner model of the world or an attempt to shape the inner model of the world of another. To communicate effectively, humans must analyze not only what is said, but also how it is said. My goal in this work was to develop a cognitive model of how we produce a coherent argument, explain its elements, and provide a full analysis of authorial intent. In this thesis, I propose a cognitive model of Story Modulation, or how humans glean information about a communicator's intentions or attempt to shape the inner story of their audience via key characteristics of wording. The model explains how we assemble textual evidence such as passive voice, instances of harm, and use of hedging words such as alleged, to tell a coherent story of the communicator's rhetorical goals. I demonstrate this computational model with an implementation, RASHI, that recognizes and systematically highlights intentions. The implementation reads short news-like stories in simple English and identifies modulations in text that reveal the author's intent to influence three areas-sympathy, agency, and doubt. The system gathers objective evidence using a system of modular experts, interprets the evidence with culturally-specfic subjectivity models, and distills the potentially-conflicting interpretations into a short, coherent argument about the author's intentions. I argue that RASHI, as a computational model of human communication, can be used to improve discourse surrounding the media, elevate education in critical reading, facilitate political negotiations and resolutions, and help us bridge gaps across cultures by transforming stories to be more culturally appropriate.
by Suri C. Bandler.
M. Eng.
M.Eng. Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science
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Crawford, Fiona. « Augmenting author-activism : An examination of how a continuing primary text and digital media inform contemporary non-fiction author-activism ». Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/101096/1/Fiona_Crawford_Thesis.pdf.
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Using a print magazine and associated digital media, this research focused on the intersection of existing writing practice, transmedia activism, and their interplay with old and new media. It identified and examined existing non-fiction author–activists' practices and considered innovative storytelling approaches that might enhance and extend contemporary author–activist practices to encourage social change.
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Goldman, Jonathan E. « The modernist author in the age of celebrity / ». View online version ; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174610.
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Kostkevicius, Björn. « Visual Analysis of Author Impacts and Bibliometric Data ». Thesis, Linnéuniversitetet, Institutionen för datavetenskap, fysik och matematik, DFM, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-18632.
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AbstractThis thesis is about the visual analysis of author impact and other bibliometric data such as an authorspublication history. It utilizes Publish or Perish as a data source, which is a search tool to find thisbibliometric data. Bibliometric data is a concept within Bibliometrics with which to find and definenotable publications, to draw a number of different conclusions, such as how much impact an authorhas had in a given field. To do this we use information visualization techniques. InformationVisualization is a field of science about increasing insight and understanding of raw data. It does this byresearching on details of human cognition and perception and how data itself is modeled, and bycategorizing and developing new ways to encode and interact with data visually.Since Publish or Perish only gives its information as a raw text feed, and do not allow for anyreal comparisons between authors, this thesis tries to rectify this by introducing a web basedvisualization tool to analyze this data. The data itself consists of a number of scientifically definedindexes which measures an author's impact in his given field, an overview of his publication history,and some general bibliometric data.
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Davies, Annabel. « Little white lies : (in) authenticity and the author / ». Title page, table of contents and introduction only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09ard2548.pdf.
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Ternar, Yeshim 1956. « The romantic between the lines : ethnographer as author ». Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63219.
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Spencer, Amy. « Author, reader, text : collaboration and the networked book ». Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/8040/.
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Written, edited and published in a networked environment, the networked book makes the process of collaboration between its authors and readers visible. This collaboration is recorded in the peripheries of the text through a record of interactions, shared ideas, conversations and annotations and becomes part of the book. The presence of this documentation of the collaborative process challenges the traditionally held positions of author and reader and produces a new form of collaborative work. The divisions between the author, reader and the text become blurred as the book in the networked environment moves from being a physical product and the process of its creation becomes a collaborative experience. Authorship becomes an activity of exchange as the networked book champions the idea that multiple authors can take part in textual production. This thesis uses Gerard Genette’s theory of paratextual analysis to examine in depth the peripheries of three networked books; A Million Penguins, The Golden Notebook Project and Paddlesworth Press. It argues that the paratexts of the networked book are where the dialogues between authors and readers are located and an in depth examination of these is crucial for an understanding of how the process of their collaboration is made visible. Using this approach, the thesis examines and identifies the thresholds between author, reader and text. The text of each of the three case studies is examined as a space where authors and readers communicate through an analysis of behaviour, an identification of roles and a consideration of hierarchies in the collaborative process. The thresholds, boundaries, freedoms and restrictions of both the author and reader positions are explored. The collaborative experience of textual production is one of multiplicity; there is no one author, reader or text and the thesis concludes that a networked book is a book about the dialogue between author and reader and that these dialogues become part of the book.
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Thouaille, Marie-Alix. « The single woman author on film : screening postfeminism ». Thesis, University of East Anglia, 2018. https://ueaeprints.uea.ac.uk/68982/.
Texte intégralRésumé :
This thesis theorises the single woman author as a recurrent and distinctive character in Anglo-American film in the period 1994-2018. Tracking the figure across genres and industrial provenances through detailed textual analysis, I uncover the shared meanings and feeling rules embedded within, produced by, and circulating through, this figure. In doing so, I identify four key interrelated representational tropes. Firstly, authorship and singleness signify as mutually constitutive identities indicative of postfeminist agency. Secondly, authorship functions as an autobiographical outlet enabling the expression of the heroine’s innate femininity, partly defusing anxieties about women’s professional labour. Thirdly, authorship facilitates the performance of relational labour promising to remedy the single woman’s disordered unmarried subjectivity. And, finally, the single woman author’s success is authorised by a male mentor in ways which authenticate or naturalise patriarchal authority. Through these tropes and their repetition, authoriality is imagined as an ideal form of labour for the single woman subject. Though both female singleness and female authorship are mobilised as signifiers of female agency with the potential to upend the traditionally gendered distribution of power, this thesis reveals how the single woman author has become a desirable postfeminist subjectivity precisely because she leaves undisturbed hierarchies of gender and power. This figure is therefore a site of contradiction, ambiguity, and ambivalence. As such, she is an ideal prism through which to chart shifts within postfeminism itself. The evolution of the above tropes in recent films accordingly suggests that the postfeminist sensibility has lately undergone an affective shift. Recent texts, this thesis concludes, demonstrate the filtering of feminist critiques of patriarchal structures into popular culture. However, at the same time, they are also suggestive of the continued resilience of postfeminism, and its ongoing ability to take feminism into account.
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FERREIRA, ELOISE PORTO. « 24 HOURS AUTHOR : POSSIBLE INTERACTIONS THROUGH VIRTUAL CONTACTS ». PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30023@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRONavegar é preciso, viver não é preciso, evocava o poeta Fernando Pessoa. No início do século XXI, navegar também é o verbo. Porém, navegamos todos nas ondas da internet. Sites aparecem e somem na tela em questão de segundos - basta clicar uma vez. O presente trabalho pretende investigar como a autoria se configura na contemporaneidade, considerando o surgimento das chamadas novas mídias. Serão analisados dois fenômenos: o primeiro é o do descentramento da autoria, com a publicação de experiências de escrita compartilhada em blogs e interferências do mercado editorial sobre o processo de produção da escrita, com sugestão de temas, de formatos ou procedimentos que costumavam ser geridos pelo próprio autor na criação de sua obra. O segundo fenômeno, aparentemente oposto ao primeiro, refere-se ao fortalecimento da figura do autor nos meios virtuais, especialmente nas redes sociais, o que pode nos sugerir uma ressurreição do autor. Esse fortalecimento passa pela criação da persona do autor em ambiente virtual, onde tudo parece ser impreciso, pois um único suporte - a tela do computador - é o espaço tanto da comunicação de informações consideradas reais quanto da ficção. Portanto, pretendemos investigar a presença do autor em dois campos: no campo virtual, com participação e trabalho na internet, e no campo presencial, através da participação em feiras literárias, entrevistas e outros eventos,destacando-se a sua crescente profissionalização. Michel Foucault, na década de 60, pergunta O que é um autor?, e seu questionamento permanece extremamente vívido na volatilidade dos tempos cibernéticos.
Navigare necesse est, vivere non est necesse - suggested the portuguese poet Fernando Pessoa. In the beginning of the 21st century to navigate is a powerful verb, since we all navigate on the internet. At a click - sites come and go in our screens. This dissertation intends to investigate how autorship develops in contemporary times, in the face of the birth of new media. We intend to analyze two phenomena: the first one would be a decentralisation of authorship through the publishing of shared writing in blogs and the interference of the publishing market in the process of writing, with suggestions of themes, formats or procedures that used to be in authors hands in the past. This phenomenon demonstrates the progressive profissionalization of the author. The second one - apparently opposed to the first one - refers to what we might call the strenght of the author s image, especially in cyberspace, that has lead to a kind of resurrection of the author. This phenomena contributes towards the creation of an author s persona in cyberspace, where everything seems to be imprecise, since a single arena - the computer screen - is the place where both fictional and non-fictional communication takes place. Therefore, we intend to investigate the author s presence in two fields: cyberspace, through their participation and work on internet, and in real life, through their participation in literary events and interviews. What is an author? Michel Foucault asked back in the 60s, and his question remains relevant in the volatility of our cyber times.
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Selleri, Andrea. « The author as a critical category, 1850-1900 ». Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/62040/.
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This thesis analyses the notion of "author" as a "critical category" in literary interpretation, i.e. the extent to which author-related knowledge is used to make claims about a literary work which exceed what could have been said of the text alone. Chapter 1 gives an account of the principal theorisations made about the critical category of the author in literary theory and analytical aesthetics. It is argued that ontology is a central dimension of these theories, and in particular that the notion of the “author” as a relevant element for interpretation is logically dependent on a "thick" ontology of the literary work, i.e. on considering the work as irreducible to its textual manifestation. It is argued that the "author" in literary interpretation is typically constructed out of notions that come from two different sources, namely the text and the writer. The historical situatedness of this "thick" ontology in a modern conception of copyright law is also briefly analysed. Chapter 2 tackles the use of the category in the British and French culture of the second half of the nineteenth century. It is argued that the dominant critical paradigm in the age was “authorialist”, i.e. it considered the author as always relevant for an understanding of the work. A case is made for this tendency being a part of a larger tendency within that culture to consider phenomena in terms of their genesis. The practical consequences of this in the literary interpretation of the time are then considered. Chapters 3 and 4 propose a series of close readings of literary works of the same area and period, mainly associated with the Decadence (Swinburne, Pater, Mirbeau, Wilde). The focus is on the issue of whether and how their textual features comply with or resist the "authorialist" readings to which they were subjected.
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Magnéli, Johan. « Write or Perish : How Screenwriters Author their Careers ». Thesis, Stockholms universitet, Institutionen för mediestudier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-123092.
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The aim of the present study was to investigate how the impermanence of contract work affects working lives, self-perceptions and the career strategies of Swedish screenwriters of finding and keeping work. Furthermore, it also explored how screenwriters experience their abilities to exercise authorial leverage over media content. Introducing the concept of “career authoring” to cover different aspects of the professional lives of screenwriters such as managing a career, establishing authorship and contractual negotiations, the study was able to embrace various mind-sets and strategies for career success. Combining ethnographical studies and textual analyses the study was able to ascertain that the contingency of the Swedish film and television industries necessitates strategies to cultivate reputations, industrial visibility, consciously receive writing credits and conform to a traditional division of labour. Moreover, the study illuminated the importance of contractual negotiations for career success in terms of both retaining and wavering rights to their work. Strategies for exercise increased authorial leverage were not only confined to the script, but extended beyond the page, where the latter accentuated processes of reconfiguring traditional conceptions of screenwriters’ abilities to influence media content.
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Hitchens, Daniel. « Samuel Johnson and the vocation of the author ». Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:6f8a432e-d34d-42b0-8db9-74cb957c2113.
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Much has been written about Samuel Johnson as a Christian, and much about him as an author; this study is about where the two meet, in the idea of the literary vocation. Though Johnson only uses the word âvocation' a handful of times, it holds both the quotidian sense of a job and the more exalted notion of a divine call, a tension which informs Johnson's thinking. I begin with Johnson's development as a religious writer, influenced by William Law's contention that any form of life can be devout and holy, and by Bernard Mandeville's unsentimental candour. Johnson's writing bears the marks of both. He revised Irene, for instance, to make it less overtly Christian: a reminder that Johnson's religious convictions bring an invisible pressure to bear on apparently secular works. In his early years on the Gentleman's Magazine Johnson develops the principle that authorship, being a public act, carries great responsibilities. It is, in fact, a vocation, and unpacking this concept takes up Chapter 2. Johnson sees writing as a potential form of public service, adding that a solitary writer 'naturally sinks from omission to forgetfulness of social duties'. Too few commentators have grasped that Johnson sees morality in social terms - as a matter of answering the needs of others, according to one's place in an order overseen by divine providence. But again and again he refers to the human need 'to seek from one another assistance and support' (Rambler 104). Instances of mutual help 'by frequent reciprocations of beneficence unite mankind in society and friendship'. Johnson's well-known emphasis on friendship is only one expression of this deeper sense that society is held together by trust; and therefore, by the truth. Writers' communication of truth defines their own social duties. While Johnson can sound close to Shaftesbury when he writes of mankind's sociability, there is really a significant gap between them, because Johnson's view of human nature is more jaded. He expects people to hurt each other for the same reasons they help each other; and he recognises a strong tendency towards pride and superiority - especially among writers, who are tempted to cut themselves off from society. Chapter 3 deals in more depth with a writer's social role, which is simply expressed as the ability to put the truth memorably. Borrowing from a tradition which stretches back to Seneca at least, Johnson believes that a writer becomes a 'benefactor of mankind' by putting the useful, but readily forgotten, principles of the good life into memorable forms. Drawing on Locke's account of the memory, and deviating from Locke's account of moral action, he suggests that literature has a power to move the reason and the passions at once - hence his demand that poetry be both true and pleasurable. While this resembles the Horatian formula of dulce et utile, Johnson added to it a sense of writers' and readers' experience of the text: how âimpressions' are transferred from the world, via the writer, to the text, and so to the reader. Learning how to persuade the audience, however, necessitates first-hand acquaintance with the world. Hence the subjects of Chapters 4 and 5, which are pride and humility respectively. Pride separates the author from the social world, making them ineffectual and unable to communicate truth. The 'Lives' of Swift and Milton establish this partly through their ridicule of the two subjects: though Johnson did not think ridicule established truth, it did restore a balance upset by an author's singularity. 'Singularity' is the word Johnson uses to encapsulate Swift's faults: he was 'fond of singularity, and desirous to make a mode of happiness for himself, different from the general course of things and order of Providence'. Milton, too, is condemned for his arrogance - but even more in order to correct the idolatry of his admirers. Johnson believes that Milton is being written about with absurd reverence, and so puts him back in his place - as just another member of society, with a role to fulfil. Accepting that place involves a measure of humility. The question of the 'dignity of literature', a contested point during the nineteenth century, was alive in Johnson's time, and through his associations with what he himself called 'Grub Street', he lived and worked among many writers who might be thought undignified. Yet in the obscurity of the hacks Johnson found something to praise - an industrious, humble service opposed to the 'letter'd arrogance' of self-satisfied authors. '[T]he humble author of journals and gazettes must be considered as a liberal dispenser of beneficial knowledge' (Rambler 145). By stooping to be merely useful, journalists become great. Particularly in the Journey to the Western Islands, Johnson divests himself of authorial dignity, drawing attention to his own mistakes and omissions. Such a humdrum view of the writer's role, which placed the emphasis on the reader, put Johnson at odds with most of the prominent Romantics - and the scale of their revulsion from Johnson needs two chapters to be dealt with. Chapter 6 argues that their critique, especially that of Hazlitt and Coleridge, was above all about the question of the writer's vocation: and for that reason, Shakespeare was the most contested ground - for Coleridge, Johnson's Shakespeare criticism was impertinent 'filth' aimed at 'the greatest man that ever put on and put off mortality'. But that was exactly the kind of idolatrous view of authorship - what Hazlitt called approvingly 'overstrained enthusiasm' - which Johnson wanted to challenge. However, many of the Romantics' criticisms misrepresented Johnson; he was a more flexible thinker than they realised. In a final chapter, I look at the aftermath of the Romantics: how their accusation that Johnson was too narrow and bigoted to understand Shakespeare is echoed in Macaulay, and even in sympathetic readers like Matthew Arnold, and has dogged Johnson all the way to the present day. And I point out that the Romantic exaltation of the author has faced its own backlash, in ways that suggest Johnson might have seen more clearly than the Romantics thought.
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Krygielová, Magdaléna. « Author Disambiguation in the Domain of Scholarly Literature ». Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2013. http://www.nusl.cz/ntk/nusl-236217.
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Tato práce se zabývá desambiguací autorů v databázích odborné literatury. Z důvodu nejednoznačnosti jmen autorů se v těchto databázích vyskytují problémy s přisuzováním autorství publikací a tím spojenou analýzou citací, vlivu autorů apod. Tato práce se zabývá otázkou odhadu správného počtu autorů a zkoumá možnosti použití již existujících služeb. Součástí této práce je návrh metody pro desambiguaci autorů. Tato metoda byla implementována a evaluována v rámci systému CORE.
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Schneider, Molly B. « Naming the Author : Incorporating Theory into Classroom Practice ». Miami University Honors Theses / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1177680826.
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Suetta, Zachary Thomas. « THE IMPASSIONED SELF : ANGER AND THE ROMANTIC AUTHOR ». OpenSIUC, 2019. https://opensiuc.lib.siu.edu/dissertations/1669.
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The late eighteenth century marks an era where authors began forging identities that rebuffed the influences of the local communities to which they belonged. As literacy increased, so too did the notion of individuality, as members of the middle and lower orders soon saw themselves as separate, independent beings. The crowd, of course, helped simplify the management of complex emotions like anger through mutual demonstration; the greater number of participants in a protest, the more fitting the sense of indignation seemed to be. For cases of personal anger, however, the suitability and expression of the emotion were problematic, especially for those marginalized by gender, status, and political affiliations. While polite society deemed their anger unwarranted, odious, and threatening, subaltern authors simultaneously realized that the continued denial of the passion would cripple individual and artistic development, but excessive expression would yield further ridicule and ostracism. Anger, therefore, stimulated these authors to discover their actual worth as artists and individuals and carve unique identities that completely disregarded the restrictive characterizations assigned by a hierarchical society. Nevertheless, anger’s volatility meant that discovering oneself from a passion commonly represented as a moment “when we are not ourselves” was a particularly precarious endeavor since righteous indignation could quickly ignite into a mindless, destructive rage. Subaltern authors needed to authenticate the legitimacy of their anger to not only a largely unsympathetic audience, but also themselves, and the apparent foreignness of rage created confusion over the passion’s exact relation to the individual; anger is frequently emblematized in contradictions—internal vs. external, activity vs. passivity, sanity vs. insanity, reality vs. fantasy—to emphasize its deceptive fluidity. As this study argues, anger was fundamental to marginalized figures in achieving selfhood, but the passion’s overall instability and the objection by hierarchical society encouraged a literary treatment that was cautious, unique, and at times, clandestine.
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Berthon, Guillaume. « « L’intention du Poete ». Du pupitre à la presse, Clément Marot autheur ». Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040133.
Texte intégralRésumé :
Ce travail propose de montrer de quelle manière Clément Marot a conçu son métier d’auteur. À cette fin, il prend d’abord appui sur une reconstruction synthétique et critique de la carrière du poète, des premiers engagements auprès de Nicolas de Neufville ou (peut-être) de la reine Claude, jusqu’au service de François Ier, afin d’en comprendre les contraintes, et la façon dont elles conditionnent l’écriture (I). Suit logiquement l’étude des représentations du métier d’auteur dans l’œuvre, c’est-à-dire du discours par lequel le poète se met en scène en tant qu’auteur ; celle-ci comprend ainsi l’analyse de la signature marotique ainsi que des choix lexicaux et métaphoriques qui caractérisent le regard que le poète pose sur son activité (II). Marot faisant partie des premiers écrivains à s’impliquer fortement dans le processus d’impression, la troisième partie est consacrée à l’enquête bibliographique qui s’intéresse à la totalité des éditions marotiques autorisées : elle en présente les différents acteurs et propose une description matérielle des ouvrages, afin de reconstituer l’histoire de leur fabrication et de déterminer la mesure de la collaboration du poète (III). Les conclusions de l’enquête sont exploitées dans la dernière partie pour mettre en évidence le sens du projet poétique et éditorial des recueils considérés. L’étude de leur ordonnancement en est la clé principale, Marot s’emparant du critère de l’organisation pour se réapproprier une œuvre qui lui échappe en raison même de son succès, et faire finalement de la presse un instrument essentiel pour réaliser ses intentions (IV)This study offers to show how Clément Marot conceived of his role as an author. For this purpose, it begins with a synthetic and critical narrative of the poet’s career, from the first appointments, under the patronage of Nicolas de Neufville or (maybe) Queen Claude de France, to the service of Francis I, so as to bring to light the constraints of the office and the way they influenced his writing process (I). The study then explores the representations of the author’s work in the text, i.e. the way the poet portrays himself as an author; it includes the analysis of Marot’s signature and of the lexical and metaphorical choices which define the way the poet looks at his own activity (II). Because Marot is one of the first writers to get fully involved in the printing process, the third part is devoted to a bibliographical inquiry dealing with all the authorized editions of Marot’s works: it presents the various actors involved and offers a material description of the books, in order to reconstruct the story of their making and to determine the extent of the poet’s collaboration in the process of their production (III). The findings of the inquiry are used in the last part to highlight the import of Marot’s poetical and editorial project. To this end, the study of the books’ dispositio provides the main key, as Marot uses it to reclaim a work that eludes him because of its very success, managing to turn the printing press into an instrument at the service of his auctorial intentions (IV)
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Moreno, Andres Fatima. « Questions of authority : the emergence of the medieval author / ». Diss., ON-CAMPUS Access For University of Minnesota, Twin Cities Click on "Connect to Digital Dissertations", 2000. http://www.lib.umn.edu/articles/proquest.phtml.
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Mayerchak, Justin Philip. « Kurt Vonnegut Jr. Confronts the Death of the Author ». FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2440.
Texte intégralRésumé :
Kurt Vonnegut Jr.’s literary style transforms from his first novel, "Player’s Piano" (1952), to his final book, "Timequake" (1997). Most of his novels adhere to a similar style – the narrators face a puzzling societal fault that is exaggerated in their dystopian societies, which hides Vonnegut’s humanistic leanings.
This thesis, however, focuses on Vonnegut’s authorial identity, his use of the alter ego, and eventual entrance into the novel. His authorial role challenges the literary theory expressed in “The Death of the Author”(1967) by Roland Barthes and further discussed in “What is an Author”(1969) by Michel Foucault. Barthes explains an author metaphorically dies after his book is published and Foucault questions the author’s role and importance to his novel.
Vonnegut juxtaposes fictional and nonfictional material whereby his character is paramount to his work. Therefore, Vonnegut challenges Barthes and Foucault’s notion that an author restricts his work; rather, Vonnegut’s identity empowers his novels.
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ERIKSSON, LINDA. « Sequential Aggregation of Textual Features forDomain Independent Author Identication ». Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-156304.
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In the area of Author Identication many approaches have been made to identify the author of a written text. By identifying the individual variation that can be found in texts, features can be calculated. These feature values are commonly calculated by normalizing the values to an average valueover the whole text. When using this kind of Simple features much of the variation that can be found in texts will not get captured. This project intends to use the sequential nature of the text to denie Sequential featuresat sentence level. The theory is that the Sequential features will be able to capture more of the variation that can be found in the texts, compared to the Simple features. To evaluate these features a classication of authors was made on several dierent datasets. The result showed that the Sequential features performs better than the Simple features in some cases, however the dierence was not large enough to confirm the theory of them being better than the Simple features.Inom området som behandlar författarbestämning har många olika tillvägagångs- sätt använts for att identiera författaren av en skriven text. Genom att identfiera den individuella variation som särskiljer texter från varandra,kan olika särdrag beräknas. Dessa särdrags värden beräknas vanligen genom att normaliseras till ett medelvärde över hela texten. När denna typ av Enkla särdrag används så döljs mycket av den variation som särskiljertexter från varandra. Målet med detta projekt är att istället användatextens sekventiella natur som grund for att deniera Sekventiella särdrag på meningsnivå. Teorin är att de sekventiella särdragen kommer att kunna identifiera mer av den variation som kan identifieras i texter, jämfört med de enkla särdragen. For att utvärdera dessa särdrag gjordes en klassicering av författare på era olika dataset. Resultatet visade att de sekventiella särdragen presterade bättre än de enkla särdragen i vissa fall, men skillnaden var inte tillräckligt stor for att bekräfta teorin om att de skulle vara bättre än de enkla sädragen.
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Chennawasin, Chiladda. « Developing a coherent framework for author co-citation analysis ». Thesis, Brunel University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275876.
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Wakely, Alice Elizabeth. « Author and editor in the works of Samuel Richardson ». Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342761.
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Price, Amanda C. « Author(ity) figures : anxieties of authorship, freedom, and control ». Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/241.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English
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Reese, Ruth Ann. « Writing Jude : the reader, the text, and the author ». Thesis, University of Sheffield, 1995. http://etheses.whiterose.ac.uk/3068/.
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This thesis is about the application of modern literary criticism to the epistle of Jude. One of the major questions it asks is "What happens to a text (Jude) when a reader reads it using one of these literary theories?" Or to put it a different way, "What does this way of reading emphasise which may have been neglected, ignored, or treated as irrelevant by other forms of reading?" The answers to these questions have been constructed around three loci: the reader, the text, and the author. Within the chapters constructed around those foci, the issues of power and desire, knowledge and language are brought to the forefront by the methods used for reading Jude. These methods include ideas drawn from reader response criticism, feminism, psychoanalysis, intertextuality, the study of tropes, structuralism, and post-structuralism. These methods and the ideas which they highlight are drawn together to comment on the relationship between the reader, the text, and the author and to accent their access (or lack of it) to desire, power, knowledge, and language. The epistle of Jude becomes an epistle that is about power and desire just as much as it is an epistle about "false teachers" and about a community of people known by the name Beloved.
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Larmour, Heather Elizabeth. « Anthologising the author in the eighteenth-century Beauties tradition ». Thesis, University of Liverpool, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272831.
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Jin, Young-Jong. « Audience, author and theatrical authority in early modern theatre ». Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265026.
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Nsanja, Geoffrey Wisdom. « Becoming academic writers : author identity in a Malawian university ». Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22373/.
Texte intégralRésumé :
This project explores the dialectic between the identities which social essayist literacy traditions encourage and novice writers' view of such identities (Lillis, 2001) as novices transition to university education in a Malawian university. To do this, the study adopts the view of academic writing as social semiosis with identity implications (Ivanič, 1998). This position is predicated on the view that saying something is a performative act which hails a social being (Gee, 1996). Therefore, in asking novice writers to write in a certain way, the academy implicitly asks them to take on new discoursal identities. The study examines the dialectic that ensues from this. Such dialectic is largely examined from an Ubuntu perspective which stipulates that selfhood is brought about in interaction with and because of the "other" (cf., Swanson, 2007, 2009). To achieve this, the study adopts "ethnography as method" (Lillis, 2008) or "talk around text". Novice academic texts were analysed to isolate the identity positions which they performatively enacted. Then, in a discourse based interview set up (Hyland, 2012a), participants were given an opportunity to explicate why as well as how they created the positions identified. The emerging data from these talks were then analysed using Bamberg's (1997) model of interactive positioning to explore further how these novices perceive themselves in light of the emerging positions in their written texts. The findings of this study point to academic writing as a "stage managed form of interaction" (Thompson, 2001) in which what goes into the essay is hardly determined by the individual writer. The study's findings highlight that the contents of most novice essays are determined by "the reader/assessor" (Ivanič, 1998) and the impressions novices want to create for this authoritative "other". Novice writers' attempts to performatively take up authoritative positions in their writing are however hampered by both a lack of knowledge of academic writing conventions as well as a reverence for secondary discourse. This makes their writing to be either "voiceless" or mildly assertive. They thus struggle to dialogically assert themselves as authoritative since authoritativeness in academic writing is contingent on the "other". This is something novice academic writers in Malawi struggle to negotiate.
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Madrinkian, Michael Alex. « Producing 'Piers Plowman' to 1475 : author, scribe, and reader ». Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:1d0f9bd5-04d8-4edd-bccb-2f95b403165e.
Texte intégralRésumé :
My doctoral thesis, "Producing Piers Plowman to 1475: Author, Scribe, and Reader," charts a new material history of William Langland's fourteenth-century dream vision, Piers Plowman, from its earliest composition to the onset of print in England. The study is divided into three sections, which examine the production of Piers from three perspectives: textual history, manuscript circulation, and medieval reception. The first section of the thesis conducts a study of Langland's revisionary process, presenting a new theory of authorial revision from the A to B version that has important implications for our understanding of authorship in Piers Plowman and for the future editing of the poem. The second section transitions into an examination of the early circulation of the Piers manuscripts in various geographical and social milieux. It examines two case studies of manuscript circulation in the Southwest Midlands and East Anglia, linking them to regionalized networks of scribes and patrons. Finally, Section III moves into a discussion of the literary contexts in which Piers circulates, particularly in multi-text manuscripts, examining how the poem's reception by a medieval audience affected its development as a literary text. This section treats production from a more theoretical standpoint, investigating the relationship between the poem's audience and the "production" of meaning in a social and historical context. As I will argue, each of these sections acts as an important frame of reference for understanding the multifaceted formation of Piers Plowman as a literary text and cultural landmark. In particular, the thesis emphasizes the importance of Piers's various contexts, from its textual genesis in the author's composition and revision to its circulation and reception in an unstable manuscript culture. It suggests that the people and the places that surrounded Piers Plowman in its early development fundamentally shaped the poem we have today.
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King, Heinz Peter. « A late medieval confession manual : its author and context ». Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16416.
Texte intégralRésumé :
This thesis focuses on the Summa Angelica de casibus conscientie written by Angelo da Chivasso (d. 1495), first printed in 1486. Angelo belonged to the Observantine branch of the Franciscan Order and was its vicar general four times. Having documented Angelo's life and career, the thesis centres on the construction and purpose of his Summa. It assesses its originality within the tradition of confession manuals and the reasons for its popularity. It argues that the structure is very clear because Angelo intended it for the use of simplices confessores, by which he probably meant priests who did not have a university degree. He arranged his material alphabetically and in the longer sections, paragraphs were numbered, making cross-referencing easy. He included a list of authorities and explained the manner of quoting from them. Not all these features were original, but together they helped to make the Summa popular. There are several noteworthy features of Angelo's Summa. The procedures described had been laid down in earlier manuals, including the need for more rigorous questions - ad status – relating to the profession of each penitent and where this might lead to sin. Angelo however diverged from some earlier authorities by warning about excessive rigour. Circumstances were to be taken into account, and where possible penitents to be given the benefit of the doubt. The number of copies of Angelo's Summa printed throughout Western Christendom during his lifetime and following his death are a tribute to its importance. The period of fame however, was short. Martin Luther was a particularly virulent critic of the Summa, and the Catholic Church changed the method of hearing confessions, making much of it redundant, though it survived for some centuries more as a work of reference for confessors.