The purpose of this study is to determine the philosophy, history, recent development and modern trends of story-telling in the primary grades.

Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2005. / The primary objective of this thesis is to explore and analyse the structure of the crime novel / thriller in a practical manner – and subsequently develop an equally pragmatic, broad and useful guide which would potentially be of value to both reader and author of the genres. This tight and reductive focus has one important consequence: It will more or less ignore traditional literary theory, but the one obviously excludes the other.

The literary tale or ch'uan-ch'i, "transmission of the strange," evolved from the short fictional writings of the Six Dynasties and early T'ang periods and found full form as a short story in the classical language during the latter T'ang dynasty. Ch'uan-ch'i flourished through the Sung dynasty but fell into a period of relative inactivity during the Yuan dynasty. With the founding of the Ming in 1368 came renewed interest in the literary tale with the appearance of Ch'u Yu's collection of ch'uan-ch'i known as Chien-teng hsin-hua. Ch'u's tales became so popular that they soon inspired poet-official Li Ch'ang-ch'i to write the collection Chien-teng yu-hua in imitation of Ch'u's style. The two collections remained popular and influential through much of the Ming dynasty. The influence of both Ch'u Yu and Li Ch'ang-ch'i spread to Korea and Japan where many of their tales were rewritten and adapted to local settings. It was from Japanese editions of the Chien-teng hsin-hua that Ch'u Yu's contributions to the ch'uan-ch'i genre were rediscovered in this century. On comparison with earlier T'ang models, Ch'u Yu's tales show considerable similarity in style; however, the best of his tales show advancement in characterization, a broader range of subject matter, settings as varied as the tales themselves, and a level of society generally far removed from the scholar-official class commonly depicted in T'ang tales. It is in Ch'u Yu's thematic tales or tales of retribution that can be found the combination of elements that clearly illustrates his contributions to the ch'uan-ch'i genre. A reading of representative tales from both T'ang dynasty collec- tions and the large collection of literary tales by P'u Sung-ling in the Ch'ing dynasty illustrates the degree and nature of change in the literary tale over the centuries. The appearance of Ch'u Yu's Chien-teng hsin-hua in the early Ming dynasty not only revived interest in the genre but also contributed to the development of one of the most enduring forms of fiction in the history of China.

This paper documents the decrease of short stories in three women's magazines from 1940 to 1970 and concludes that the decline results from readers turning to other sources for escape from housework. Chapter II describes patterns in plots, themes, characters, settings, and other elements of these stories. Chapter III shows the lack of influence which changes in writers, editors, and social and political developments in America have had on these short stories. The conclusion is reached that the magazine article is replacing magazine short stories.

The thesis proposed for my M.F.A. in creative writing is a collection of conceptual American short stories written in a variety of forms that properly suit their respective subjects. Like a handful of miscellaneous wild seeds scattered over a tilled garden, the goal of the project is to represent the wild asymmetry of Nature via a collection of unlikely companions. For this reason, the conceptual form of each story often takes root in scientific or symbolic representations of Nature (i.e. sine and cosine curves, the yin-yang, etc.). The plot of loose soil holding these collective experiments together is their earthy thematic focus-namely, the way in which Nature has been systematically backgrounded by western ideology. On occasion, a story's conceptual focus may stray from these ecofeminist principles, but only for the purpose of leveling a more critical or satirical eye upon common American ideologies. / by Cory Daniel Zimmerman. / Thesis (M.F.A.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2008. Mode of access: World Wide Web.

Out of the Ever After and Other Stories is a collection of language-driven stories set in different parts of the world and thematically linked, comprising realist narratives and magical realism. The trope that unifies this collection is that of the journey. The characters go on journeys, whether real or metaphorical. Many are lost at the beginning, but they find themselves in the end; others remain lost, but have a better understanding of their condition in the world. Although diverse in nationality, cultural background and gender, the characters in the eight stories share the need to find a lasting identity and a home-place to return to, whether physically or psychologically. The collection alternates magical and realist plots, male and female narrators, points of view, and diverse settings to create variety and a multicultural, hybrid and hyphenated experience. Some stories experiment with language; others have a more traditional mood, akin to fairytales. / by Claudia Amadori-Segree. / Thesis (M.F.A.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, FL : 2008 Mode of access: World Wide Web.

by King-fai Tam. / Bibliography: leaves 151-158 / Thesis (M.Phil.)--Chinese University of Hong Kong, 1983

霍玉英. / 稿本(電腦打印本) / Thesis (M.A.)--香港中文大學中國語言及文學學部. / Gao ben (dian nao da yin ben) / Includes bibliographical references (leaves 319-338). / Huo Yuying. / Thesis (M.A.)--Xianggang Zhong wen da xue Zhongguo yu yan ji wen xue xue bu. / 提要 / 目錄 --- p.1-5 / 前言 --- p.1-4 / Chapter 一 --- 論文的研究目的 --- p.1-2 / Chapter 二 --- 論文的研究範圍與方法 --- p.2-4 / Chapter 1. --- 研究範圍 / Chapter 2. --- 研究方法 / Chapter 第一章 --- 緒言 --- p.5-29 / Chapter 第一節 --- 晚清「小說界革命」及小說中女性形象的描寫 --- p.5-12 / Chapter 一 --- 晚清「小說界革命」 / Chapter 二 --- 晚清小說中女性形象的描寫 / Chapter 第二節 --- 易卜生戲劇、易卜生主義的紹介及其對新文學的影響 --- p.12-20 / Chapter 一 --- 魯迅的〈摩羅詩力說〉 / Chapter 二 --- 《玩偶之家》的上演與洪深的〈嬌妻〉 / Chapter 三 --- 一九一八年《新青年》的「易卜生號」 / Chapter 1. --- 胡適的〈易卜生主義〉 / Chapter 2. --- 袁振英的〈易卜生傳〉 / Chapter 四 --- 早期新文學對易卜生作品思想的攝取 / Chapter 第三節 --- 中國女性的覺醒 --- p.20-28 / Chapter 一 --- 中國近代女子教育的發展 / Chapter 1. --- 梁啓超興辦女學與蔡元培開放大學女禁 / Chapter 2. --- 西方教會學校在中國女子教育所扮演的角色 / Chapter 二 --- 秋瑾與中國婦女解放 / Chapter 三 --- 「五四」時期的新女性 / Chapter 第四節 --- 小結 --- p.28-29 / Chapter 第二章 --- 新文學創作的拓荒者-陳衡哲 --- p.30-50 / Chapter 第一節 --- 埋沒了的「第一人」 --- p.30-38 / Chapter 一 --- 新文學小說創作第一人 / Chapter 二 --- 女作家第一人 / Chapter 三 --- 陳衡哲與婦女解放 / Chapter 1. --- 「個人人格」與「性別人格」 / Chapter 2. --- 婚姻觀念 / Chapter 第二節 --- 陳衡哲短篇小說中的新女性形象 --- p.38-50 / Chapter 一 --- 追求理想的知識女性 / Chapter 1. --- 理想的追求 / Chapter 2. --- 情感的昇華 / Chapter 3. --- 晚境的孤寂 / Chapter 二 --- 撫育子女為己任的賢惠婦女 / Chapter 三 --- 小結 / Chapter 第三章 --- 愛的禮讚者-冰心 --- p.51-90 / Chapter 第一節 --- 人生究竟 --- p.51-67 / Chapter 一 --- 「五四」驚雷來天地 / Chapter 二 --- 愛的哲學 / Chapter 三 --- 冰心的婦女觀 / Chapter 四 --- 冰心的創作觀 / Chapter 1. --- 「真」的抒發 / Chapter 2. --- 創作的陶冶與思想技巧的攝取 / Chapter 第二節 --- 冰心短篇小說中的新女性形象 --- p.67-90 / Chapter 一 --- 時代的犧牲者 / Chapter 二 --- 中外兼賅的理想新女性 / Chapter 三 --- 孤寂的落拓者 / Chapter 四 --- 小結 / Chapter 第四章 --- 「五四」思潮掀起的産兒-廬隠 --- p.91-137 / Chapter 第一節 --- 敢¨ёł窠臼的新女性 --- p.91-104 / Chapter 一 --- 「五四」的産兒 / Chapter 二 --- 廬隱的婦女觀 / Chapter 三 --- 廬隠隱的創作觀 / Chapter 1. --- 靈機說 / Chapter 2. --- 個性與生命的表現 / Chapter 3. --- 創作養份的攝取 / Chapter 四 --- 廬隱的「停滯」 / Chapter 第二節 --- 廬隱短篇小說中的新女性形象 --- p.104-137 / Chapter 一 --- 精神戀愛 / Chapter 1. --- 「憂讒畏譏」的弱者 / Chapter 2. --- 「不畏譏誚」的勇士 / Chapter 二 --- 同性愛戀 / Chapter 三 --- 情智夾缝的新女性 / Chapter 四 --- 擱淺的人 / Chapter 五 --- 革命的「娜拉」 / Chapter 六 --- 小結 / Chapter 第五章 --- 中國的「曼殊斐兒」---凌叔華 --- p.138-175 / Chapter 第一節 --- 高門的精魂 --- p.138-147 / Chapter 一 --- 酒後的一派？ / Chapter 二 --- 凌叔華小說創作的取向 / Chapter 1. --- 站在時代洪潮以外？ / Chapter 2. --- 溫婉嫻靜中見剛健 / Chapter 三 --- 凌叔華對婦女問題的見解 / Chapter 第二節 --- 凌叔華短篇小說中的新女性形象 --- p.147-175 / Chapter 一 --- 新舊時代交替的婦女 / Chapter 二 --- 時代新女性 / Chapter 1. --- 賢妻 / Chapter 2. --- 家庭束縛下的犧牲 / Chapter i --- 沉悶的家庭生活 / Chapter ii --- 家庭生活的煎迫 / Chapter 三 --- 規矩以外的變奏者 / Chapter 1. --- 同性愛戀 / Chapter 2. --- 「娜拉」的踵武者 / Chapter 3. --- 孤寂的人 / Chapter 四 --- 小結 / Chapter 第六章 --- 拔心不死的「卷葹」---馮沅君 --- p.176-197 / Chapter 第一節 --- 大膽無畏的代言者 --- p.176-183 / Chapter 一 --- 敢作敢言 / Chapter 二 --- 馮沅君的文學創作觀及其作品的時代意義 / Chapter 1. --- 文學創作觀 / Chapter i --- 「為人生而藝術」？為藝術而藝術」？ / Chapter ii --- 情感的抒發 / Chapter 2. --- 作品的時代意義 / Chapter 第二節 --- 馮沅君短篇小說中的新女性形象 --- p.183-197 / Chapter 一 --- 不得自由我寧死 / Chapter 二 --- 「靈」的追求 / Chapter 三 --- 親子之愛與男女之愛的掙扎者 / Chapter 四 --- 小結 / Chapter 第七章 --- 黑暗中摸索的「莎菲」---丁玲 --- p.198-231 / Chapter 第一節 --- 「近代女子」的姿態 --- p.198-208 / Chapter 一 --- 從ModernGirl到「革命女性」 / Chapter 1. --- 一顆炸彈 / Chapter 2. --- ModernGirl / Chapter 3. --- 走向革命？ / Chapter 二 --- 丁玲的文學創作觀 / Chapter 1. --- 一九三零年以前 / Chapter 2. --- 一九三零年以後 / Chapter 第二節 --- 丁玲短篇小說中的新女性形象 --- p.208-231 / Chapter 一 --- 都市的惶惑者 / Chapter 二 --- 同性愛戀 / Chapter 三 --- 「革命女性」 / Chapter 四 --- 新時代的落後者 / Chapter 五 --- 小結 / Chapter 第八章 --- 結論 --- p.232-248 / Chapter 一 --- 婦女觀的形成 / Chapter 1. --- 西風的衝擊 / Chapter 2. --- 家庭背景與學校教育 / Chapter 二 --- 新女性形象的類型 / Chapter 1. --- 精神戀愛的禮讚者 / Chapter 2. --- 時代的犧牲者 / Chapter 3. --- 賢妻良母 / Chapter 4. --- 娜拉的踵武者 / Chapter 5. --- 同性愛戀的追求者 / Chapter 6. --- 孤寂的落拓者 / Chapter 三 --- 結語 / 注釋（一至八章） --- p.249-307 / 附錄（一至六） --- p.308-318 / 中文參考書目及論文目錄 --- p.319-335 / 英文參考書目及論文目錄 --- p.336-338 / 後記 --- p.339

<p>In my study I analyse Reijo Mäki’s four books Pimeyden tango (1997), Pahan suudelma (1998), Keltainen leski (1999) and Black Jack (2003).  I’m interested whether Mäki as a writer belongs to traditional Finnish prose which started from Aleksis Kivi than genre of crime literature.</p><p>After Kai Laitinen humour, nature and democracy are typical to Finnish literature tradition.  Mäki’s milieu descriptions are closer to the Finnish literary tradition. Through nature the characters mirror their emotions, feelings and events. The environment is not only seen, but it is also smelled, touched and heard. Through the marks of the nature characters give right as well as misleading clues. It is particularly characteristic to the Finnish literary tradition to describe division of life, social status and the freedom and lack of it through weather, which is not typical to the crime literature.  Also Mäki’s characters are democratic and everyday and strongly individualistic and anti-social despite of person’s social standing.  Laitinen’s point of view is that in the Finnish literary tradition equality is only between men. In Mäki’s fiction women characters are narrow and they are only seen how they look.</p><p>Mäki represents the modern criminal literature in which are characteristics of puzzle, hard-boiled and police novels. Unlike hardboiled detective stories his books are full of verbal descriptions. In conclusion Mäki’s books clearly represent the Finnish literary tradition.</p>

Thesis (M.S.)--Brigham Young University. Dept. of Geography, 2005. / Includes bibliographical references (leaves 41-43).