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1
Al, Jarrah Soumaya. "Romanciers ou historiens ? L'histoire contemporaine du Proche-Orient saisie par la fiction." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL094.
Повний текст джерелаАнотація:
Le sujet central de cette thèse se concentre sur la relation entre la littérature et plus précisément le roman et l’Histoire. Elle examine de manière approfondie une problématique composée de deux axes distincts, d'une part, le rôle du roman dans la représentation du passé, et d'autre part, sa distinction par rapport à la représentation de l'Histoire dans des œuvres historiques. Elle vise à démontrer que l'Histoire et le roman ne sont pas fondamentalement différentes dans la représentation du passé et que l'objectivité de l'historien est mise en question. Dans cette optique, l’approche consiste à analyser des romans traitant de l’histoire contemporaine du Liban et de la Syrie, en les confrontant aux œuvres historiques qui traitent du même sujet. Cela permet de répondre à la question posée dans le titre du travail. L’étude parvient à démontrer que toute perception des faits est empreinte, en définitive, d’une certaine subjectivité, elle-même tributaire de facteurs idéologiques, culturels, politiques et sociaux. La spécificité de ce travail redise dans la variation des perspectives représentés ainsi que dans la variation des œuvres analysés. Les corpus historique et littéraire qui sont constitués par des récits historique, romanesque, mémoriel, photographique, bande dessiné, écrits par des historiens et auteurs orientaux et occidentaux font que le travail a pu englober l’histoire contemporaine de cette région dans tous ses aspects et a révélé différents points de vue. Reste alors à considérer le rôle du lecteur dans sa conception des faits et sa construction de l’HistoireThe central subject of this thesis focuses on the relationship between literature, specifically the novel, and History. It thoroughly examines an issue composed of two distinct dimensions: firstly, the role of the novel in representing the past, and secondly, its distinction from the representation of History in historical works. The aim is to demonstrate that History and the novel are not fundamentally different in their representation of the past, and that the objectivity of the historian is called into question. In this perspective, the approach involves analyzing novels dealing with the contemporary history of Lebanon and Syria, comparing them to historical works that address the same subject. This helps answer the question posed in the title of the work. The study manages to show that any perception of events is ultimately marked by a certain subjectivity, which is itself influenced by ideological, cultural, political, and social factors. The uniqueness of this work lies in the variation of perspectives represented as well as in the variety of analysed works. The historical and literary corpus, consisting of historical, fictional, memorial, photographic, and comic narratives, written by both Eastern and Western historians and authors, allowed the research to encompass the contemporary history of this region in all its aspects and revealed different points of view. It remains to consider the role of the reader in their perception of facts and their construction of History
2
Steinbrecher, Tal. "L' historicisation de la théodicée." Paris 1, 2009. http://www.theses.fr/2009PA010695.
Повний текст джерелаАнотація:
Dans ses cours sur la philosophie de l'histoire du monde Hegel affirme que l'objet des cours, la philosophie de l'histoire du monde, n'est autre que la théodicée leibnizienne qu'il convient de rendre concrète. Le point de départ de notre recherche se trouve dans cette récupération étonnante. Nous cherchons a comprendre les liens unissant le projet leibnizien et la philosophie hégélienne, un lien qui excède Ie simple cadre de la philosophie de l'histoire du monde. Notre thèse cherche a montrer que, bien au-dela de la philosophie de l'histoire, l'ensemble du dire hégélien obéit à une logique théodicéenne, c'est à dire une logique qui place en son cœur l'idée d'une réconciliation avec le mal, à travers la justification rationnelle de ce dernier. La théodicée, chez Leibniz comme dans la récupération hégélienne, est alors une logodicée, justification de la raison, malgré le mal présent dans le monde. Nous cherchons, par-delà Hegel, si ce lien entre la pensée de l'histoire et la justifIcation du mal se rencontre dans les grandes philosophies contemporaines de l'histoire. Nous voulons montrer que la pensée marxienne peut également être considérée comme une tentative allant dans un sens théodicéen, puisant ses racines dans le projet leibnizien. En ce qui concerne Schelling, toutefois, notre thèse montre que la radicalisation du projet théodicéen autour d'une philosophie historique menace ce lien, et met ainsi un terme à l'aventure de la théodicée leibnizienne, dans sa rencontre avec la philosophie de I 'histoire.
3
Gosselin, Michel. "La scénarisation télévisuelle de fiction : fiction et réflexion." Thèse, Université de Sherbrooke, 1991. http://hdl.handle.net/11143/10106.
Повний текст джерелаАнотація:
Nous nous intéressons à la scénarisation télévisuelle de fiction depuis plusieurs années. À regarder les téléromans, les mini-séries et les dramatiques que les différentes chaînes francophones nous proposent, nous en sommes venu à nous demander si l'écriture télévisuelle de fiction est spécifique à ce médium et, si oui, quelles en seraient les caractéristiques? Suite à nos lectures, nous avons constaté qu'aucun chercheur au Québec ne s'était penché d'une façon sérieuse sur cette forme d'écriture (visuelle). À l'exception de quelques paragraphes touchant tantôt aux personnages, tantôt aux intrigues ou aux dialogues, paragraphes insérés dans une étude sociologique ou thématique, comme une incise, nous n'avons retrouvé aucune étude sur le sujet. Notre recherche vise à combler cette lacune. Nous sommes d'autant plus convaincus de la pertinence de notre propos que, depuis quelques années, certains organismes (PARLIMAGE, SARDEC) offrent des cours, des stages, des ateliers d'écriture ou des tables de travail en scénarisation, confirmant, a posteriori, la spécificité de cette écriture sous-jacente à l'image. Notre travail se divisera en deux parties: la première partie, intitulée, FICTION, comprendra une présentation et une description de tous les personnages d'une mini-série intitulée LA TENDRESSE DES PIERRES, ainsi que son synopsis. Enfin, nous retrouverons la scénarisation des trois premières heures de la série qui en comptera treize. Nous croyons que ces trois heures donnent une idée assez exacte de la trame et du continuum de la série. La seconde partie, appelée RÉFLEXION, sera une recherche sur ce type d'écriture spécifique au médium, où les didascalies prennent l'aspect d'un récit dans lequel le scénariste s'adresse tantôt au réalisateur, tantôt aux comédiens ou à l'équipe technique, instructions essentielles à une réalisation éventuelle. Ces informations excentriques à la narration que "le faiseur d'histoires" apporte aux principaux artisans de la production ne visent qu'un seul but: "nourrir" tous les intervenants (décorateur, costumier, éclairagiste, réalisateur, etc.) qui créeront le contexte narratif du texte. [...]
4
Long, Bruce Raymond. "Informationist Science Fiction Theory and Informationist Science Fiction." Thesis, The University of Sydney, 2009. http://hdl.handle.net/2123/5838.
Повний текст джерелаАнотація:
Informationist Science Fiction theory provides a way of analysing science fiction texts and narratives in order to demonstrate on an informational basis the uniqueness of science fiction proper as a mode of fiction writing. The theoretical framework presented can be applied to all types of written texts, including non-fictional texts. In "Informationist Science Fiction Theory and Informationist Science Fiction" the author applies the theoretical framework and its specific methods and principles to various contemporary science fiction works, including works by William Gibson, Neal Stephenson and Vernor Vinge. The theoretical framework introduces a new informational theoretic re-framing of existing science fiction literary theoretic posits such as Darko Suvin's novum, the mega-text as conceived of by Damien Broderick, and the work of Samuel R Delany in investigating the subjunctive mood in SF. An informational aesthetics of SF proper is established, and the influence of analytic philosophy - especially modal logic - is investigated. The materialist foundations of the metaphysical outlook of SF proper is investigated with a view to elucidating the importance of the relationship between scientific materialism and SF. SF is presented as The Fiction of Veridical, Counterfactual and Heterogeneous Information.
5
Long, Bruce Raymond. "Informationist Science Fiction Theory and Informationist Science Fiction." University of Sydney, 2009. http://hdl.handle.net/2123/5838.
Повний текст джерелаАнотація:
Master of Philosophy (MPhil)Informationist Science Fiction theory provides a way of analysing science fiction texts and narratives in order to demonstrate on an informational basis the uniqueness of science fiction proper as a mode of fiction writing. The theoretical framework presented can be applied to all types of written texts, including non-fictional texts. In "Informationist Science Fiction Theory and Informationist Science Fiction" the author applies the theoretical framework and its specific methods and principles to various contemporary science fiction works, including works by William Gibson, Neal Stephenson and Vernor Vinge. The theoretical framework introduces a new informational theoretic re-framing of existing science fiction literary theoretic posits such as Darko Suvin's novum, the mega-text as conceived of by Damien Broderick, and the work of Samuel R Delany in investigating the subjunctive mood in SF. An informational aesthetics of SF proper is established, and the influence of analytic philosophy - especially modal logic - is investigated. The materialist foundations of the metaphysical outlook of SF proper is investigated with a view to elucidating the importance of the relationship between scientific materialism and SF. SF is presented as The Fiction of Veridical, Counterfactual and Heterogeneous Information.
6
Von, Solodkoff Tatjana. "Grounding fiction." Thesis, University of Sheffield, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.578699.
Повний текст джерелаАнотація:
Fictional characters are awkward creatures. They are described as being girls, wizards and detectives, as being famous, based on real people, and well developed, and as being paradigmatic examples of things that don't exist. It's not hard to see that there are tensions between these various descriptions - how can something that is a detective not exist? - and there is a range of views designed to make sense of the pre-theoretical data. Proponents of some views are fictional realists, who hold that we should accept that fictional characters are part of 'the furniture of our world'. Others are fictional anti-realists, who hold instead that our world does not contain any such things. The realist and the anti-realist thus disagree about ontology and about which alleged entities we should be prepared to embrace an ontological commitment to. But behind this ontological dispute lies a methodological one that has all too often been left implicit. This dispute concerns the very nature of ontological inquiry: its subject matter, its aims, and its methodology. This thesis aims to bring these methodological issues to the fore. I show how the arguments realists have offered in favour of their views rely on crucial 'metaontological' assumptions about what ontological questions are and how they should be answered. In addition to casting doubt on some of the more orthodox approaches to ontological inquiry, my positive goal is to deploy an independently motivated metaontology to defend a novel version of fictional anti-realism. On the view I develop and defend, the central task we face is that of explaining truths concerning fictional characters, where the relevant notion of explanation is distinctively metaphysical in character. Fictional anti-realism emerges as the plausible thesis that truths about fictional entities can be completely explained in terms of the existence and features of other things.
7
Tajovský, Jakub. "FICTION CENCRETE." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2017. http://www.nusl.cz/ntk/nusl-316054.
Повний текст джерелаАнотація:
In my master thesis I realize the set of pictures and painterly objects, which should imitate principles of augmented reality by analogial form. From technical standpoint Im interested in question of bidirectional remediation of new media and painting and how its evolution supports ilussion and imagination. In ontologiacal way im looking for mystical nature of picture. Final exhibition is an metaphor composed in hybryd picture based on technological and theoretical experiences in Painting. The result is little synthetic reality.
8
Modrei, Karen. "Craft Fiction." Thesis, Konstfack, Textil, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7814.
Повний текст джерелаАнотація:
In this paper I introduce and explain the construct of ‘Craft Fiction’ as a setting for my own artistic work. Within a fictional framework, I am mediating between the field of craft and the contemporary environment of relocated materialities and digital worlds I find myself in. Using the vehicle of language and analyzing those dialogue that are ongoing in craft processes, I am assessing the intimate relationships between maker and its tools/machines, in order to discuss hierarchies and purpose of crafting.
9
Atencia-Linares, P. "Arts and facts : fiction, non-fiction and the photographic medium." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1434513/.
Повний текст джерелаАнотація:
In this thesis, I deal with the rarely discussed issue of how the nature of a representational medium—in this case photography—affects or contributes to the classification of works as fiction or non-fiction, and I provide a novel view on the relation between photographs and documentary works. Part I focuses on issues concerning the nature of photographic representation, its special relation with the real and its purported fictional incompetence. Part II takes up issues concerning the nature of fiction and non-fiction with an emphasis on the category of non-fiction/documentary, and examines its application to photography. Firstly, I discuss the claim, put forward by Kendall Walton, according to which photographs, in virtue of being depictive, are or favour fiction. I deny that this is so, although I argue that Walton’s claim is frequently misunderstood. Then, I address the more intuitive claim that photographs favour non-fiction. I argue that, if this is so, it is not because photographs are fictionally incapable. Photographs, I claim, can depict ficta by photographic means. However, this is consistent with saying that photographs bear a special relation with the real: (1) photographs are typically natural ‘signals’; they are handicaps and indices (Green 2007, Maynard-Smith and Harper 2004)—and thereby typically factive; and (2) photographs are documental images, images that support an experience that preserves the particularity of the original scene. These features contribute to non-fiction/documentary. To see how, I discuss various views on the nature of documentary and I propose an alternative account based on Stacie Friend’s ‘Genre Theory’. Finally, I discuss the application of the categories of fiction and non-fiction to photography. I claim that although these are active genres in the medium, it is more accurate to speak about factual and non-factual photography, where the former is a more basic category. This, in turn, is a consequence of the nature of the medium itself.
10
Jones, Margaret Anne. "The Blackshaw Chord ; Crime fiction, literary fiction : why the demarcation?" Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/366620/.
Повний текст джерелаАнотація:
My thesis is in two parts: Part 1 a novel, Part 2 a critical rationale. The novel examines abuse in a range of manifestations – parental power; alcohol; the press; corporate power – all of which combine to perpetrate a catalogue of abuse against my protagonist. But it is the completely innocent protagonist who is perceived as the abuser. The novel quite deliberately has the feel of a crime story although the only serious crime is off-the-page and not connected with any of the characters or locations. This is intentional. The critical rationale seeks to investigate the classification of crime fiction and literary fiction with crime in it, and attempts to examine where the demarcation appears. Much of the critical rationale examines my novel in this regard. Initially I was looking at the debate from the point-of-view of non-whodunnit crime, but my research took me increasingly towards literary authors who have moved into mystery writing, such as, Kate Atkinson, Susan Hill, John Banville (Benjamin Black) and Joanne Harris. I refer to several novels from the crime genre and from novels which occupy a ‘hinterland’ whereby crime is a major element of the narrative but where they are not regarded as crime fiction. I have researched the shelving policies of the local library and bookshops, and interviewed writers with regard to where they wish their work to be placed. I have also considered briefly what is genre and why hinterland novels are placed somewhere outside the classification of any genre. Where appropriate I have quoted from published authors with regard to their position in this debate, and have used four main novels to discuss the development of my novel - John Brown’s Body; Psycho; Rebecca and Brighton Rock.
11
Dargnat, Mathilde. "L'oral comme fiction." Phd thesis, Université de Provence - Aix-Marseille I, 2006. http://tel.archives-ouvertes.fr/tel-00136043.
Повний текст джерелаАнотація:
Ce travail est consacré à une comparaison entre l'image de l'oral véhiculée par une œuvre théâtrale (cinq pièces de l'écrivain québécois Michel Tremblay) et par une transcription linguistique (corpus Sankoff-Cedergren et Montréal 84). Il aboutit à deux conclusions. D'une part, la comparaison systématique du corpus littéraire et linguistique met en évidence les contraintes différenciées qui pèsent sur le codage de l'oralité (aux niveaux graphique, syntaxique et énonciatif). D'autre part, l'oralité apparaît dans le corpus littéraire non seulement comme un paramètre sociolinguistique, mais aussi comme une composante de l'organisation fictionnelle narrative. L'oralité est ainsi doublement fictionnelle, à la fois imaginaire social de la langue et élément d'un univers narratif et affectif.Du point de vue méthodologique, l'étude repose sur l'utilisation du logiciel Weblex (http://weblex.ens-lsh.fr/wlx/), qui permet de comparer les différentes transcriptions de mots et de locutions caractéristiques de l'oral, et de mettre en évidence les choix techniques ou esthétiques des transcripteurs et de l'écrivain. Par ailleurs, à l'intérieur du corpus littéraire, on peut faire apparaître des profils linguistiques pour les différents personnages, ou encore dessiner une évolution stylistique du traitement de la fiction langagière sur trente ans (1968-1998).
Du point de vue théorique, la question centrale est celle de la nature des « filtres » de l'oral. Ce travail montre une double nécessité : a. la nécessité d'une définition précise des catégories linguistiques pour constituer (annoter) et exploiter des corpus de langue non standard, qu'il s'agisse de transcriptions d'entretiens ou de littérature ; b. la nécessité d'articuler la description de la langue avec les aspects culturels et affectifs, pour mieux comprendre les trois dimensions (linguistique, symbolique et esthétique) du phénomène de l'oralité.
12
Sjörs, Simon. "Fysikundervisningens science fiction." Thesis, Uppsala universitet, Fysikundervisningens didaktik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-331199.
Повний текст джерелаАнотація:
Science fiction och populärmedia är en stor del av vardagen i dagens samhälle. Elever konsumerar den typen av media på egen tid och söker sig till den för underhållning utanför skolans väggar, möjligen utan att reflektera över vad det är som konsumeras. Den här studien fokuserar på science fiction och hur de välproducerade medierna tas emot och reflekteras kring av konsumenterna, som i det här fallet är elever. Finns det möjlighet för lärare inom fysik eller någon annan naturvetenskap att utnyttja det intresse och den pseudovetenskap, som dessa medier kan förmedla, i skolan? Elever har en bild av vad fysik är i skolans värld efter hur fysikundervisningen är upplagd och syftet för arbetet är att undersöka möjliga sätt som de olika världarna kan mötas. Det riktar sig mot att utvärdera en undersökning gjord i en elevgrupp bestående av 6 fysikstuderande elever på gymnasiet. Kärnan i undersökningen är att se vilka typer av diskussioner som uppstår efter visning av ett eller flera filmklipp från populära spelfilmer, innehållande fysiska moment. De fysiska momenten är sekvenser som kan förklaras med den fysik vi har idag eller så kan det vara orimliga sekvenser som inte går att förklara. Eftersom den här typen av media ofta bygger på att skapa känslor hos konsumenten så förekommer det att verklighetsförankringen ofta försvinner. Det teoretiska ramverk som undersökningen håller sig till utgår i konceptet ägandeskap av lärande och syftar till hur elever utvärderar sina egna idéer och tar ansvar för att följa upp tidigare funderingar eller frågor som de själva uttryckt. På så vis kan eleverna själva förhoppningsvis se värdet av kritiskt tänkande och även att eleverna kan minnas vad de lärt sig över en längre tid.Science fiction or rather popular media is a major part of everyday life in today's society. Students consume this media in their spare time and watch it for entertainment, possibly without even reflecting over the consumed content. This paper will focus on science fiction and how the well-produced media is received and reflected upon by the consumers, in this case upper-secondary physics students. Is there an opportunity for physics teachers or other natural sciences teachers to make good use of the interest and the pseudo science, that these media can convey, at school? Pupils have an idea of what physics is in school considering how physics education is laid out and the purpose of this work is to explore possible ways that these different worlds can meet. The work is aimed at evaluating a one hour session done with a student group consisting of 6 physics students in high school. The essence of the survey is to see what types of discussions occur after viewing one or more movie clips containing different physical phenomena. The physical events are shown in movieclips and can be explained by the physics we have today or there may be unrealistic events that cannot be explained. This kind of popular media is often based on creating emotional connections with the consumer which can take away the connection to reality and the real world physics. The theoretical framework that the study was based on is the concept of ownership of learning, this aims to consider how students evaluate their own ideas and take responsibility for following up on previous ideas or questions that they themselves expressed. That way the students hopefully find value in critical thinking and the retention of knowledge might increase.
13
Leavitt, John Hudson. "Killers: Fiction Pieces." PDXScholar, 2016. http://pdxscholar.library.pdx.edu/open_access_etds/3021.
Повний текст джерелаАнотація:
This fiction collection attempts to convey the essence of Oregon's landscape, nature, and people. Many of these pieces reflect violent behavior, which is sometimes directed from one character to another, and sometimes directed toward nature. Sometimes this violence is mild, sometimes it is horrific. But the reasons for the violence and any connection it has to the landscape, nature, and people of Oregon is left to the reader to decide. The focus of this collection is not to teach lessons--it is to entertain.
14
Isenberg, Jillian Alexandra. "Fiction without pretense." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44925.
Повний текст джерелаАнотація:
A No-Object theory of fiction denies that there is any sense of “object” in which the
objects of fiction are objects at all. This is conjunction of two fundamental assumptions. The
first is a metaphysical principle that asserts that there is nothing that does not exist. The second
asserts that the individuals and events that figure in works of fiction do not exist. I call these
assumptions “Parmenides’ Rule” and the “Non-Existence Postulate”. The No-Object theory
also raises what I call the subject-matter paradox. If the objects of fiction are nothing, how can it be
that we refer to them, ascribe properties to them, and draw inferences about them?
My dissertation dissolves the subject-matter paradox by providing an explanandum for
philosophical theories of fiction. A theory of fiction must explain how we can know that there
are no objects of fiction, while we respond as though there are. In order to better understand
these responses to fiction, I consider recent empirical work in psychology. This work supports
the claim that fictional narratives impact our beliefs and attitudes about both the fictional and
the actual worlds and shows that we do in fact accept and act as though fictional statements are
true, even when we are aware of their falsity. Empirical data concerning our responses to fiction
supports a number of claims. First, fictions have objects. Second, we refer to, make true claims
about, and draw correct inferences about the objects fiction. The Rule and the Postulate seem to
cost us the truths of these two claims; given the Rule and the Postulate are true the claims must
be false. If we accept the No-Object view, we shouldn’t feel philosophically obliged to honour
our linguistic intuitions. What the data also show, however, is that the very people whose
intuitions the No-Object view tramples have other commitments that actually support these
intuitions. It is this seeming contradiction that a theory of fiction must accommodate. It must
account for the fact that our responses to fiction are double-aspected. I provide a
characterization of these double-aspected responses.
15
Neill, Alexander Dudley. "Feelings and fiction." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333311.
Повний текст джерела
16
SILVA, SUELI RIOS E. "SELF-FICTION EXPERIMENT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30024@1.
Повний текст джерелаАнотація:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEste trabalho é composto por duas partes distintas e complementares: a primeira apresenta o romance autoficcional Menina do Cerrado, colagem de resíduos da memória e da fabulação criativa engendrada especialmente para a presente composição. A segunda agrega um posfácio com considerações sobre elementos de cunho prático-teórico que alicerçam a ficção. A união das duas partes realça o esforço de fazer a aproximação de percepções artísticas a determinados conceitos da filosofia recente.
This work consists of two distinct but complementary sections: the first presents the auto-fictional novel Menina do Cerrado (The Girl from the Cerrado), a collage of bits of memories and the creative figment specially designed for this composition. The second one adds an afterword with considerations about practical and theorectical elements which support the fiction. Both parts together highlight the application of approaching artistic perceptions and some concepts of new philosophy.
17
Fuller, Elizabeth A. "'New femininities' fiction." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3573.
Повний текст джерелаАнотація:
I identify and analyse an emergent sub-genre of contemporary literature by women that I am calling ‘New Femininities’ fiction. This fiction is about the distinctly feminine experience of contemporary domestic life written by women about the lives of heterosexual female characters that are married or in committed partnerships, often with children. These texts are concerned with the nature of the self, with a self that is plural and ‘in process’, and make use of particular narrative devices – ironic voice, unreliable narration, free indirect discourse, and interrogative endings that exceed their roles as simply telling stories. ‘New Femininities’ fictions allow their language the necessary freedom to multiply meanings and enact the narrative conflicts they raise and by so doing, undermine the binary oppositions which structure a gendered world. In this dissertation, I argue the models of existing criticism would do a disservice to these texts because much of the criticism either overvalues the theoretical and ignores the literariness of the text or seeks to identify a ‘feminine’ language the definition of which serves to reinforce and revalue patriarchal notions of femininity. The readings that this fiction requires necessitate a negotiation with established models of feminist literary criticism. I attempt to identify the characteristics of their style that allows them to straddle binary oppositions and to look at the language these authors use without having to label it ‘feminine’ and by so doing establish, build, or reinforce a boundary with some undefined ‘masculine’ language which stands in for all occurrences that are not ‘feminine’. Additionally, I attempt to forge a transformed, adapted concept vocabulary for dealing with this group of writers. To this end, I make use of various discourses to show how the different authors either negotiate with that discourse or prove its inadequacy to describe or explain these new femininities.
18
Pelletier, Jérôme. "Fiction et référence." Paris 1, 1995. http://www.theses.fr/1995PA010597.
Повний текст джерелаАнотація:
Pour elucider les proprietes semantiques des enonciations des noms propres dans les recits de fiction, une double reflexion sur les notions de fiction et de references singuliere est entreprise la ficiton est analysee comme une activite communicationnelle dans laquelle un auteru utilise le langage avec l'intention que son lecteur adopte vis-a-vis du contenu represente une attitude de faire semblant sur la base de la reconnaissance que telle est l'intention de l'auteur en exprimant ce contenu. Les pensees fictionnelles s'averent intrinsequement liees a une pratique communicative et au langage, non pas aux entites fictionnelles qui seraient les referents des noms propres dans les recits de fiction. Bien que les noms propres de la fiction n'aient pas dans leurs occurences dans les recits de fiction de referents, ce sont des expressions linguistiques qui, en tant que types, sont des dispositifs directement referentiels. Les objets fictionnels se revelent de simples reflets d'une pratique communicationnelle mettant en jeu des noms propres. Le jeu que joue l'esprit avec la reference des noms propres dans les recits de fiction, l'intentionnalite des pensees fictionnelles, rien de cela ne serait possible si le langage ne contenait ces dispositifs directement referentiels que sont les noms de la fictionIn order to elucidate the semantic properties of utterances of proper names in fictional narratives, the concepts of fiction and of singular reference are philosophically analysed. Fiction is analysed as a species of communicative intentions : the author of fiction intends that the reader take an attitude of make-believe towards the proposition he or she utters because the reader recognizes that this is the intenton of the author. Fictional thoughts are based on this communicative and linguistic practice, not on the fictional entities supposed to be the references of proper names uttered in fictional narratives. Fictional proper names takened in fiction are empty but considered as types, fictional proper names are directly referential expressions. Fictional objects appear to be simple reflections of a communicative practice involving proper names. Without such directly referential terms as the names of fiction, the game played by the mind with the references of proper names in fiction, the intentionality of fictional thinking, none of this would be possible
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Rouillé, Louis. "Disagreeing about fiction." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEE064.
Повний текст джерелаАнотація:
Dans cette thèse, je contribue aux débats contemporains en philosophie analytique sur la vérité, l’interprétation et la référence dans la fiction. Je défends une version du "fonctionnalisme" (issu de l’oeuvre de Kendall Walton) selon lequel le concept clé pour analyser les fictions est la feinte ou le faire-semblant. Dans la première partie, je m’oppose à la théorie modale de la vérité dans la fiction et j’introduis ensuite une "sémantique de la feinte". La théorie modale dit que les énoncés fictionnels sont comme les énoncés contrefactuels, qui peuvent se voir attribuer des conditions de vérité dans la sémantique des mondes possibles. Mais le fictif déborde le possible, et même l’impossible (de l’hypothétique sémantique des mondes impossibles). De plus, la théorie modale est incompatible avec une théorie causale de l’information sémantique, qui a des bons arguments pour elle. Quant à la sémantique de la feinte, il s’agit d’un appareil formel donnant des conditions de fictionnalité (au lieu de conditions de vérité) provenant des caractéristiques réelles des accessoires utilisés dans les jeux de faire-semblant et des "principes de génération". Dans la deuxième partie, j’affine la sémantique de la feinte à partir d’une étude de cas. C’est un débat littéraire à propos ce qui est vrai dans la nouvelle de Kafka, "la Métamorphose". Nabokov a un jour donné un argument contre les critiques qui affirment que Gregor Samsa s’est transformé en un monstrueux cafard. Les cafards ne restent pas coincés sur le dos ; or, Gregor est coincé sur le dos dans la première scène. Nabokov affirme donc qu’il ne peut pas être un cafard ; ça doit être un gros scarabée. Pour analyser ce "grand débat du scarabée", j’utilise la notion de "désaccord sans faute" qui vient de l’épistémologie. J’étudie finalement l’indétermination des événements fictionnels qui, à mon sens, n’est ni linguistique ni ontologique, mais pragmatique. Dans la troisième partie, je défends l’antiréalisme des noms fictifs selon lequel les personnages de fiction n’existent pas et les noms fictifs ne font pas référence. L’antiréalisme est le pendant du fonctionnalisme sur la question de la référence. Bien qu’intuitive, cette théorie doit répondre à un contre-argument puissant basé sur des "emplois métafictionnels" des noms. Par exemple, on peut dire : "Emma Woodhouse est un personnage de fiction". Étant donné un principe de compositionalité, il s’ensuit que le nom "Emma Woodhouse" fait référence dans de tels contextes. Cet argument conduit à une forme de réalisme : les noms fictifs font référence à une sorte "d’artefact abstrait". Je montre que les meilleures théories réalistes sont inadéquates. Je fournis ensuite une analyse des données linguistiques en introduisant une notion de perspective. Cela me permet de circonscrire les énoncés métafictionnels problématiques pour l’antiréaliste. Ironie de l’histoire, les anti-réalistes buttent principalement sur des existentiels négatifs bien que ceux-ci affirment précisément l’idée centrale de l’antiréalisme, à savoir que les personnages de fiction n’existent pas. La sémantique de la feinte (qui donne des conditions de fictionnalité) est impuissante à leur donner des conditions de vérité. Pour les expliquer, j’utilise une logique libre positive qui se combine avec la sémantique de la feinte. L’antiréalisme est donc à la fois intuitif et tenableIn this dissertation, I contribute to contemporary debates in analytic philosophy about truth, interpretation and reference in fiction. I defend a version of "functionalism" (originating in Kendall Walton's work) which says that the key concept for analyzing fictions is pretence or make-believe. In the first part, I argue against the modal account of truth in fiction and then introduce "pretence semantics". The modal account says that fictional statements are similar to counterfactual statements, which can be given truth-conditions using possible-world semantics. But the fictional well exceeds the possible, and also the impossible (of hypothetical impossible-world semantics). Moreover, the modal account is incompatible with a causal theories of semantic information which can be argued for independently. As for pretence semantics: it is a formal apparatus delivering fictionality-conditions (instead of truth-conditions) which derive from real features of the props used in games of make-believe and some "principles of generation". In the second part, I fine-tune pretence semantics on a case study. It is a literary debate about what is true in Kafka's story "the Metamorphosis". Nabokov once argued against critics who say that Gregor Samsa has turned into a monstrous cockroach. Cockroaches do not get stuck on their backs; Gregor is stuck on his back in the opening scene of the story. So, Nabokov argues, he cannot be a cockroach; he must be a big beetle. In order to analyze this "great beetle debate", I use the notion of "faultless disagreement" which comes from epistemology. I thus investigate the indeterminacy of fictional events which, I argue, is neither linguistic nor ontological but pragmatic in nature. In the third part, I defend anti-realism about fictional names which says that fictional characters do not exist and that fictional names do not refer. Anti-realism is the same doctrine as functionalism applied to reference. Though intuitive, the view has to meet a powerful counterargument based on "metafictional uses" of names. For instance, one can say truly: "Emma Woodhouse is a fictional character". Given compositionality, it follows that the name "Emma Woodhouse" refers in such contexts. This argument leads to a form of realism: fictional names refer to some kind of "abstract artefact". I show that the best realist theories are inadequate. Then I provide an analysis of the linguistic data introducing a notion of perspective. It enables me to circumscribe the problematic metafictional statements for the anti-realist. Ironically, anti-realists mainly struggle with negative existentials, although these put into words the central tenet of anti-realism, namely that fictional characters do not exist. Pretence semantics (which yields fictionality-conditions) is helpless for giving truth-conditions to them. To account for them, I use a version of positive free logic which combines with pretence semantics. Anti-realism is thus both intuitive and tenable
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Balcells, Nicholas M. "Reality Meets Fiction." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/403.
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Dimming, Jessica. "Fan fiction en värld för fans : En textanalys av fan fiction." Thesis, Karlstads universitet, Fakulteten för ekonomi, kommunikation och IT, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-7294.
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Peters, Susan. "Intending fiction, Lamarque's theory of fiction compared to Walton's and Currie's." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ54477.pdf.
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Beignon, Anaëlle. "Participatory Design Fiction Curator – Providing inspiration from Participatory Design fiction Research." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23284.
Повний текст джерелаАнотація:
Designers take inspiration about the future in order to shape values for their design practice, especially whennew technologies are involved. Participatory design fiction is an approach that enables designers to reflectupon futures are created by non-designers. These narratives about technologies that come from nondesignersare valuable for designers in the industry as inspirational material. Nonetheless, the distancebetween the academic research and designers in the industry makes difficult the spreading of design fictionsproduced by non-designers.This thesis project explore the following: How might we design a digital infrastructure that integrates the enduser's imaginaries about new technologies as inspiration and material for reflection in the design industrypractice?As well as: How might we enable the design research community to share results of their participatory designfiction experiments with the design industry in ways that benefit both parts?I will present an investigation in the relations between the academic design researchers and the designpractitioners by the means of co-design workshops, interviews, virtual ethnography and iterative prototyping.The outcome is an infrastructure which takes advantage of the existing practices of the design community onTwitter. By investigating these social media dynamics, I intent to create a bridge between academia anddesign industry for enabling critical inspiration from participatory design fiction outcomes. The final prototypeis a Twitter account run by a bot which enables an autonomous collection of design fictions from nondesignersshared on Twitter by design researchers with designers from the industry.
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Tangeman, Michael Stone. "The early fiction of Masumoto Seichō : Detective fiction as social critique /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486462702466755.
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Coban, Osman. "Reading choices and the effects of reading fiction : the responses of adolescent readers in Turkey to fiction and e-fiction." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30686/.
Повний текст джерелаАнотація:
In surveying the cultural context of modern-day Turkey it must be acknowledged that, historically, there have been critical problems between different ethnic (Turkish and Kurdish) and religious groups in Turkey arising from prejudice, intolerance and leading to hatred and conflict. One way of easing the tension between these groups could be by challenging prejudice through developing empathy, understanding and respect. Among a number of ways this could be done, researchers in the field of literacy and children’s literature have stressed the positive effects of reading books that emerge from the transaction between the reader and the text which have the potential to raise awareness about prejudice (Arizpe et al., 2014b; Farrar, 2017). However, research suggests that young people’s amount of reading books is low in Turkey (OECD, 2009; OECD, 2012); in addition, the Board of National Education in Turkey (BNET) and education policies in Turkey have not paid attention to young people’s reading interests or their reading for pleasure (BNET, 2011a and b). Based on the theoretical tenet that reading fiction can affect readers’ thoughts and emotions, the wide aim of this study was to explore the potential of reading fiction for developing empathy and understanding. Given that young people’s reading interests have not been considered in Turkey in detail, this thesis had to begin by investigating what kind of books were preferred and what effects they had on adolescent readers in that country. In order to accomplish this, a case study method with a mixed method design was employed and it was decided that an approach using the Transactional theory of reading as well as Cognitive Criticism would help to achieve this goal. In total, 381 students (aged between 16 and 18) responded to an online questionnaire and 10 of these students participated in interviews and reading activities. The data was analysed using the IBM SPSS 22 statistical analysis program and NVivo qualitative analysis software. The findings of the study identified the significant impact that gatekeepers and facilitators (government, publishers and social community) have on Turkish adolescents’ reading attitudes and choices. It was also found that, although young people liked reading contemporary fiction and online texts, so far this has not been taken into account in the Curriculum and in the promotion of reading in Turkey. The study has identified a major gap between what schools offer and what students read (or between in-school and out-of-school practices), a key aspect in reducing students’ interest in reading books and therefore a missed opportunity for raising awareness about prejudice. Finally, this study provides strong evidence about the potential of reading and discussing books with a small group of adolescent readers, an activity that enabled them to express their thoughts about serious issues and thus supported them in developing self-understanding and understanding of others.
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von, Knorring Ulrika. "”Läser science fiction utan att skämmas” : Om kvinnors läsning av science fiction." Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-19875.
Повний текст джерелаАнотація:
The purpose of this Master’s thesis is to investigate the female reader of science fiction literature, a genre by tradition dominated by men. Through qualitative interviews with seven female science fiction readers, the relation between the reading and the readers’ lives, as well as their concepts of the science fiction genre and the community of science fiction readers, was examined. The main theoretical framework used for the analysis was Yvonne Hirdman’s gender theory, Judith Butler’s concept of identity and Louise M. Rosenblatt’s transaction theory. Science fiction literature offers the female readers an opportunity to consider ethical and political issues, but it also gives them entertainment and experiences beyond the ordinary. Even though science fiction generally is described as progressive, the female readers often find it stereotyped in its gender representations. Being a woman reading science fiction means being an outsider in the science fiction community, as well as to women in general. The choice to read science fiction is therefore highly conscious, reflecting the respondents’ identities and their views of themselves as independent, open-minded and intellectual individuals.
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Etter, Julie-Anne. "Form and idea in the fiction and non-fiction of John Fowles." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1001830.
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Perna, Sandro Maria <1981>. "Science (in) fiction. Un CLIL de science à travers... la science (fiction)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15543.
Повний текст джерелаАнотація:
L'elaborato descrive e riflette su un'esperienza CLIL svolta in due classi terze di un Liceo scientifico siciliano, esperienza che si è svolta attraverso la visione di alcuni video in lingua inglese o senza audio come fase di globalità, attraverso alcuni esercizi in fase di analisi, attraverso dei giochi in quella di sintesi: il tutto, sempre facendo parlare gli studenti in lingua. Il fatto di svolgere il tutto in due classi ha permesso di studiare due gruppi disomogenei, accomunate dall'insegnante di scienze ma con docenti di lingua differenti per approccio e metodologia.
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Juhlin, Hampus, and Pontus Novén. "Science fiction i spelutveckling." Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-3890.
Повний текст джерелаАнотація:
Detta kandidatarbete undersöker science fiction, en av de större och vanligast använda genrerna inom medier såsom spel, film och litteratur, genom att studera dess undergrupper, de så kallade subgenrerna. Dessa är specialiserade versioner av genren i fråga och använder den inom vissa förutsatta ramar, exempelvis hur samhället ser ut eller vilken typ av teknologi det huvudsakliga fokuset kretsar runt. Genom att studera hur subgenrer är beskrivna i The Encyclopedia of Science Fiction kan man avgöra att de består av sex punkter: plats, tidsperiod, karaktärer, teknologi, narrativ och visuell estetik. Dessa punkter har använts som ramverk för att utveckla en ny subgenre; Mystech, där scenarier utspelar sig i vad som kan ses som en typisk fantasyvärld med magi och monster, men där dessa egentligen bara är teknologi majoriteten av de påverkade inte förstår sig på. För att demonstrera Mystech har två olika miljöer utvecklats, både i bild och skriven form. Dessa är två mycket olika skådeplatser för scenarier att berättas i men som trots sina olikheter har nog med faktorer gemensamt för att kunna klassificeras som delar av samma subgenre.Dess populäritet är tydlig, men hur spridd är användingen av science fiction i dagens spelindustri? Hur kan man använda sagda populäritet för att slå igenom som utvecklare utan att försvinna i mängden? Detta arbetet studerar subgenrer, specialiserade undergrupper till science fiction som tar upp just de områden du vill utnyttja för din projektidé och hur du kan utveckla egna sådana om du inte finner vad du söker bland de befintliga.
Hampus Juhlin telnr. 076-1853950 Pontus Novén telnr. 073-4448595
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Crowley, Adam. "Liminality in Popular Fiction." Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/CrowleyA2003.pdf.
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Hervey, Benjamin Alan. "Late Victorian horror fiction." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397430.
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Langer, Jessica. "Science fiction and postcolonialism." Thesis, Royal Holloway, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538778.
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Corrado, Janae. "DECISIVE MOMENTS IN FICTION." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2795.
Повний текст джерелаАнотація:
I approach artmaking with a sense of intrigue, portraying the human condition as seen through my own eyes. The results that surface are female forms combined with subliminal subjective symbolism--a fusion of my personal experiences and influences created through a partially subconscious process. I use this artistic process to help me understand myself and I dare my viewers to seek their own answers within the implied narratives I choose to paint.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Baptista, Marco Simão Valente. "Fernando Pessoa's detective fiction." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:0f959d62-d4a7-4aa7-9e63-c02e40c40f5b.
Повний текст джерелаАнотація:
In this thesis I set out to write the first in-depth study of Pessoa's detective stories. I approached this task in three steps: firstly, by tracing Pessoa's interest in the genre of crime fiction, his readings and influences. Secondly, by analysing the themes and structure of the Quaresma stories. Thirdly, by placing them in the context of Pessoa's written output. The first step is addressed in the first two chapters of the thesis, where I study the connections between Pessoa and Anglo-American detective fiction, as well as how he adapted foreign models to a Portuguese context. The second step of my approach is developed in chapters 3 to 5. In the first of these I focus on the construction of Quaresma as a literary character. My key finding is that the texts featuring him are composed by two kinds of writing: on the one hand narrative prose, including descriptions, actions and elements that further the plot; on the other, an essayistic prose which consists of Quaresma's long speeches expounding his theories on criminal investigation, philosophy, psychology, and reasoning. Chapters 4 and 5 study several of the Quaresma stories from the point of view of gender relations and how these shape the construction of plot and character. At this juncture I use Lacanian and Derridean readings on Poe's 'The Purloined Letter', having previously established that author's influence on Pessoa. The third and final step of my thesis is an attempt to interpret Pessoa's detective fiction in relation to his wider work: I propose a reading of the Quaresma stories, other prose texts and heteronymity as parts of a literary project of creating non-narrative fictions.
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Hodan, Omar. "Fiction as School Assignment." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35837.
Повний текст джерелаАнотація:
This thesis paper examines how six upper secondary school students perceive assigned fiction. In particular the students’ thoughts on issues which affect their reading are studied. Moreover the way the assigned fiction is assessed is also explored. The interviewed students were goal oriented yet they expressed certain dissatisfaction towards how the fiction was used in the classroom and suggested other means to facilitate fiction reading in classroom settings. Two of the students expressed they were under a great deal of stress, and indicated this ultimately affected their outlook on fiction reading.
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Thiercy, Pascal. "Aristophane : fiction et dramaturgie /." Paris : les Belles Lettres, 1986. http://catalogue.bnf.fr/ark:/12148/cb34879446b.
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Saltyte, Migle <1990>. "Climate Change in Fiction." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15838.
Повний текст джерелаАнотація:
It has been said that throughout history, fiction has always responded to wars, crises and calamities. This is only natural bearing in mind that narratives have been said to help deal with threats by making them understandable and therefore bearable, and even being an essential part of healing, not just metaphorically but physically as well. Naturally, this highlights the importance of fiction as the field which invents, reflects upon, and changes narratives that influence our daily lives. It also explains why we expect fiction to respond to the most urgent and pressing issues of our times, of which today climate change is undoubtedly the most serious. This thesis aims to take a broader look at a diverse sample from the existing body of climate change fiction and examine what it reveals about the approach to climate change in Anglophone literature, how it addresses the issue, and whether it presents an artistically compelling work. The thesis examines the following works: MaddAddam by Margaret Atwood; Flight Behaviour by Barbara Kingsolver; The State of Fear by Michael Crichton; Windup Girl by Paolo Bacigalupi; Solar by Ian McEwan; The Carbon Diaries: 2015 by Saci Lloyd, as well as the collection of short stories Loosed Upon the World. It also examines a number of children’s books.
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Capdeville, Emily. "Can't Blame a Girl for Trying." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2362.
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Grimm, Gunter E. "Kometenforschung zwischen Aberglauben und Science-fiction - Comet research between superstition and science fiction." Gerhard-Mercator-Universitaet Duisburg, 2002. http://www.ub.uni-duisburg.de/ETD-db/theses/available/duett-08162002-150835/.
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Green, Michael. "Fiction as a historicizing form : uses of history in modern South African fiction." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316162.
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Magen, Guy. "Introduction à une herméneutique du film de fiction : cinéma de fiction et ethnométhodologie." Paris 8, 1997. http://www.theses.fr/1997PA081341.
Повний текст джерелаАнотація:
Les grands systemes d'analyse du film de fiction que sont la semiologie, le structuralisme et la psychanalyse ne permettent pas de rendre compte de l'objet "film de fiction" en son entier. Ils ignorent l'importance des lois de la perception degagees par 1 a psychologie de la forme ou par la phenomenologie de la perception, ignorent egalement la vision commune du spectateur ordinaire, qu'ils qualifient de point de vue naif. Or l'epistemologie radicalement nouvelle proposee par l'ethnomethodologie ainsi que les concepts clefs qui sont les siens, d' indexicalite, de reflexivite et de cercle hermeneutique, permettent d'envisager sur de nouvelles bases l'interpretation du film de fictionThe great systems which are mainly useful for the analysis of films are not adjusted to. Semiotic, structuralims and psycho-analysis do not take the laws of perception or the usual vision by the common spectator into consideration. With the concepts as indexicallity, reflexivity or hermeneutic circle, we would ground real hermeneutic's hopes on ther new epistemology hold by the ethnomethodology's studies
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Vallenthini, Michele. "Sade dans l'Histoire : du temps de la fiction à la fiction du temps." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040031.
Повний текст джерелаАнотація:
Par une prise en compte de son oeuvre de vieillesse, La Marquise de Gange, Adélaïde de Brunswick, princesse de Saxe et Histoire secrète d'Isabelle de Bavière, reine de France, le travail propose une nouvelle perspective sur l'oeuvre du marquis de Sade. Dans un premier temps ses romans libertins les plus connus sont examinés du point de vue de l'histoire et du temps : au fil de la lecture des textes on constate non seulement ce caractère formel hétérogène et tendant à des surenchères de tout genre, mais surtout cette problématisation de l’histoire et du temps (dans le sens d’une conscience aiguë du passage du temps, liée à une réflexion sur la vérité et la morale) caractéristique de la littérature du tournant des Lumières. Dans chaque texte on retrouve la même ambivalence du propos : tantôt fuite hors du temps et déni de l’histoire, tantôt conscience aiguë et lucide, qui se réfugie dans les plis du texte et derrière les métaphores corporelles et les biographies lubriques.La deuxième partie du présent travail souhaite comprendre les trois romans historiques comme documents uniques du développement littéraire et idéologique d’un écrivain dans la France post-révolutionnaire, d’un homme de lettres désormais septuagénaire, confronté aux nouvelles structures d'un monde en plein effort de reconstitution.Moyennant les catégories qui sont analysées ici, il est possible de dégager des trois romans historiques un substrat commun qui en fait ce que je définis, dans le sillage de Paul Ricoeur comme fiction du temps. La fiction du temps ressent de manière particulièrement aiguë l’aporie du temps. Elle est le symptôme d’un malaise historique : de l’expérience bouleversante de la Révolution, de l’opacité d’un monde en mutation, finalement, d’une fuite irrémédiable du tempsThis thesis wants to propose a new perspective on the oeuvre of the Marquis de Sade by taking into account his late works La Marquise de Gange, Adélaïde de Brunswick, princess of Saxony and the Histoire secrète d'Isabelle de Bavière, queen of France.In a first approach his more known libertine novels are examined from a historical point of view. In the course of reading Sades texts one can observe not only a heterogeneous formal character tending towards an overload into all genres. In particular one also finds the manner of expounding the problems of history and time (in the sense of an acute consciousness for the passing of time, combined with reflections on truth and moral) typical of the literature of Enlightenment. In every text one rediscovers the same ambivalence of intention - be it the escape from time and the denial of history, be it an acute and lucid conscience that finds refuge in the letters of the text and behind bodily metaphors and lubricious biographies.The second part of the present thesis wants to understand the three historic novels of the Marquis de Sade as unique documents of the literary and ideological development of an author in post-revolutionary France, a man of letters henceforth in his seventies confronted with new structures of a world in plain process of reforming.By means of the categories analyzed here, it is possible to remove from these three historic novels the common substrate of what I, in the wake of Paul Ricoeur, have in fact defined as the fiction of time. In a particularly acute manner the fiction of time suffers the aporia of time. This is the symptom of a historic faintness - that of the overwhelming experience of the Revolution, of the obscurity of a world in change and in the end of an irremediable escape from time
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Gallagher, Ron. "Science fiction and language : language and the imagination in post-war science fiction." Thesis, University of Warwick, 1986. http://wrap.warwick.ac.uk/90798/.
Повний текст джерелаАнотація:
This study examines the claims for a privileged status for the language of science fiction. The analysis of a series of invented languages, including 'nadsat', 'newspeak' and 'Babel-17', establishes that beneath these constructions lie deep-seated misconceptions about how language works. It is shown that the various theories of language, implicitly or explicitly expressed by writers and critics concerned with invented languages and neologism in science fiction, embody a mistaken view about the relation between language and the imagination. Chapter two demonstrates, with particular reference to the treatment of time and mind, that the themes on which science fiction most likes to dwell, reflect very closely the concerns of philosophy, and as such, are particularly amenable to the analytical methods of linguistic philosophy. This approach shows that what science fiction 'imagines' often turns out to be a product of the deceptive qualities of the grammar of language itself. The paradoxes of a pseudo-philosophical nature, in which science fiction invariably finds itself entangled, are particularly well exemplified in the work of Philip K. Dick. Chapter Three suggests that by exploiting the logically impossible, by making a virtue of the tricks and conventions which have become science fiction's stigmata (time-travel, telepathy, etc.), Dick indicates a means of overcoming the genre's current problems concerning form and seriousness. In conclusion it is demonstrated through the work of J. G. Ballard, that any attempt to throw off science fiction's 'pulp' conventions is likely to lead the genre further into the literary wilderness.
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Moxley, Leanna Gwyn. "High Places." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1545.
Повний текст джерелаАнотація:
Esther Cain is living on her own for the first time, trying to make sense of a childhood as a missionary's daughter in Alaska, a past that was defined by prophecy, visions, and the voice of God as interpreted by her father. Alex Fuller is studying medicine and muddling through a relationship with his first boyfriend. But when Alex and Esther are drawn back to the mountains of South Carolina where they briefly knew each other as children, they must each confront questions of faith, sexuality, and the painful ties of family.
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Burner, Colleen. "Sister Golden Calf: Stories, Dissections, & A Novella." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/2081.
Повний текст джерелаАнотація:
Children find decomposing bodies on a beach. A girl becomes a ghost and finds someone. A dog dies but its owner is out of his mind and eating waffles. Sheep are a perfect species. A woman experiences a pregnancy that is out of this world! A raccoon dies and you watch its body break down. A father does his best fathering.
You take a textual road-trip tour of America’s oldest hobby. A trauma is slowed down, picked apart. A soupfin shark is dissected and you watch. A homestead becomesa ghost town in rural Oregon. Joseph Beuys is an artist.
A sister falls in love with an object, has a difference of opinion with her sister.
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Sullivan, Robert Edward. "A Necessary Introduction to the Peculiar: Stories." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2357.
Повний текст джерелаАнотація:
In this collection, the typical and the peculiar collide with the necessary and familiar. Where life, love, and loss, are random quantum elements that may or may not hold the universe together. Some of these stories explore characters that are a bit off, a tad quirky, underdogs trying to find something to hold on to.
From musing about the atomic bomb and Hubba Bubba gum, to jogging at the speed of a particle in the Hadron accelerator, or ruminating on the awesome power of the sit-com, to taking a selfie with co-workers in the dark, to what bored kids do to preserve memories, this collection connects the absurd and the mundane, the universal and particular.
These stories deal with choices and events that have the potential to change lives and shape character. And whether it's breaking the record for highest jump in a mattress outfit, longing for meatballs, what the downtown bus hub can teach, secret tattoos, cutting off your pinkie to save a relationship, or whales on the high sea, this collection oscillates between the random and the significant in order to enlighten or at least to entertain.
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Miller, Laura Anne. "The Let Going: Death, Buddhism and Connection." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1800.
Повний текст джерелаАнотація:
After turning forty and the unexpected death of her father, the narrator seeks to make sense of the story of her father's life and her own. Reflections on Buddhism, death, family history and community flow through the narrator's journey from the backcountry of the Colorado Rocky Mountains to the rolling farmland of the Midwest, from a retreat center in Oregon to the ancient geography of Wisconsin's Driftless Area. With clues gathered from her family home in Waterloo, Iowa, the narrator returns to her current home in Portland, where she comes to understand for herself the significance of the phrase "the let going."
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Kalama-Smith, Lindsay M. "The Islands In-Between." PDXScholar, 2015. http://pdxscholar.library.pdx.edu/open_access_etds/2521.
Повний текст джерелаАнотація:
A collection of reflective essays on the personal relationship with identity, land and travel. All of the essays are united by common themes of liminality, transformation and neutral space, set against the backdrop of Iceland and Hawaii.
Anthropologist Arnold Van Gennep writes how certain geographical "zones," those that are semi-civilized with less precise boundaries are neutral zones. For example, deserts, marshes and virgin forests equally accessible to everyone because they are places in between. Whoever passes through these sacred spaces finds herself physically and magico-religiously in a special situation for a length of time—wavering between two worlds. Travel neutralizes the traveler, forces her into a space of imbalance and liminality (i.e. the threshold), where as an outsider she is as equally weak as she is powerful.
I am interested in exploring this liminal space as it relates to my own personal relationship with identity and belonging. Throughout my life the topic of symbolic and spatial liminality appears again and again: through my identity as a "third-culture kid" raised in Saudi Arabia; through my own biraciality; through travel in general or even the physical act of the journey. I imagine this self as part of the Earth (a secular relationship represented by Hawaii) and part of the Sky (a metaphysical relationship represented by Iceland).
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Gresham, Thomas. "Good and Gone." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3763.
Повний текст джерелаАнотація:
Good and Gone is a novel that explores the immediate aftermath of a broken marriage from the perspectives of the newly fractured couple and their teenage son. The characters contend with the reality of the separation -- and the ways their lives remain irrevocably tangled -- against the backdrop of the cutthroat worlds of high finance and youth baseball.
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Jensen, Rayna Maria. "All Saints." PDXScholar, 2018. https://pdxscholar.library.pdx.edu/open_access_etds/4520.
Повний текст джерелаАнотація:
Anna-Maria is a cellist at the Ospedale della Pietà, a centuries-old Venetian institution that houses a hospital, a convent, an orphanage, and a music school for girls. As Anna-Maria begins venturing outside the walls of the Pietà, the lives of various characters begin to collide--Anna and her chorus mate Maddalena become entranced with an opera that comes through town, a widowed Fishmonger becomes obsessed with Anna because she reminds him of her dead son, an ailing doge mourns the loss of his city, a strange woman who lives in the sea begins meddling with the lives of those she encounters.
The story unfolds in a series of interlocking vignettes, curated by an overarching narrator who has some agency over the characters and which sides of their stories she wants to reveal. The larger narrative structure imitates that of a music score, or a libretto, each vignette carrying a particular thematic sound that functions as a part of the whole. The constraint of the vignette mimics the constraints the narrator has placed on the characters by casting them in their own limiting roles--the young stupid girl, the lusty old maestro, the nun, the widower, the tragic ingénue. As the novel progresses, the characters begin to push against these constraints, and the story begins to slip out from the narrator's grip.
All Saints is about performance and expectation, obsession and objectification, empathy and connection, the real and the surreal, and the limitless ways that different lives can come together and unfold.