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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 31 to 38 of 38 (0.022 seconds)Spelling suggestions: "subject:"buffy"" "subject:"duffy""
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A Grammar of Consubstantiality: A Burkean Feminist Rhetorical Analysis of Third-Person Identity Constitution in Science-Fiction TelevisionChambers, Leslie Ann B 13 September 2018 (has links)
No description available.
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Les Séries télévisées du format aux franchises. Pratique et esthétique des dramas américains de prime-time, créés entre 1996 et 2006. / Television Series, Format and Franchises. Practical Aspect and Aesthetics of American Prime-Time Dramas created between 1996 and 2006.Monnet-Cantagrel, Hélène 08 December 2015 (has links)
Les séries télévisées de fiction suscitent depuis quelques années un intérêt sans précédent dans leur histoire, qui amène à s’interroger sur le sens pris par cette forme de fiction. Mais, à cette question de la signification de l’objet, s’ajoute celle de la méthode permettant d’y répondre. Récits, fictions, les séries sont aussi des produits commerciaux et industriels et, de ce fait, fortement déterminées par leurs contextes de production et de réception.Depuis 1996 et la dérégulation des télécommunications aux Etats-Unis, le paysage médiatique et le marché télévisuel, américains puis internationaux, ont connu d’importants bouleversements économiques et technologiques dont une des conséquences a été l’adoption de stratégies d’expansion et de branding des programmes, qui prennent un tour inédit et auxquelles les séries n’échappent pas.Adaptées, dérivées, reprises, les séries, notamment dramatiques, se franchisent, faisant apparaître alors ce qui constitue une spécificité de la création sérielle, le format. Forme minimale de la fiction, le format consiste en une présentation écrite qui en fixe les constituants fondamentaux permettant non seulement sa sérialisation mais aussi sa distribution.A partir de formats et de franchises de séries dramatiques américaines de la décennie initiée à 1996, cette thèse se propose d’examiner en quoi le format pourrait contribuer à enrichir l’étude des séries télévisées dans une perspective autant théorique qu’interprétative. / Since the beginning of the 2000s, television series arouse an unheard-of interest in their history, which brings to question the sense of this kind of fiction. But, in this issue of the meaning of the object, is also the one of the method to answer it.Narratives and fictions, series are also commercial and industrial products and, therefore, strongly determined by their contexts of production and reception. Since 1996 and the deregulation of telecommunications in the United States, american then international media landscapes and markets have known important economic and technological upheavals which led to new strategies of expansion and branding of the programs, in an unprecedented tourAdapted, spun off, remade, dramatic series lead to franchises, revealing then what establishes a specificity of the serial creation : the format. The television format is a written presentation which sets the fundamental core of the fiction, allowing not only serialization but also its distribution.Studying formats and franchises of American dramatic series of the decade introduced in 1996, this thesis examines how the television format could contribute to enrich the study of television series in a theoretical as well as in an interpretative objective.
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Fantastic Histories: War and American Memory in Selected Works of Joss WhedonGuffey, Ensley F 01 May 2014 (has links)
This thesis used theories of historical memory studies to examine the ways in which the American writer/director/showrunner Joss Whedon uses American memories, particularly those associated with American experiences in the Civil War and World War II, in his works of fictional, genre television and film. Emphasis was placed on the manner in which Whedon engages in the construction of popular memory, how his work challenges and/or reinforces existing memory narratives, and how Whedon uses historical memories to comment on and influence political, social, and cultural issues in the present. This investigation shows how at least certain productions of American popular culture are increasingly dominant forces in the construction of public memory. The major theoretical underpinnings of this examination are provided by the works of John Bodnar, Richard Slotkin, and Jeanine Basinger.
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Screaming, flying, and laughing: magical feminism's witches in contemporary film, television, and novelsWells, Kimberly Ann 17 September 2007 (has links)
This project argues that there is a previously unnamed canon of literature called
Magical Feminism which exists across many current popular (even lowbrow) genres
such as science-fiction, fantasy, so-called realistic literature, and contemporary
television and film. I define Magical Feminism as a genre quite similar to Magical
Realism, but assert that its main political thrust is to model a feminist agency for its
readers. To define this genre, I closely-read the image of the female magic user as one
of the most important Magical Feminist metaphors. I argue that the female magic
userâÂÂcommonly called the witch, but also labeled priestess, mistress, shaman, mambo,
healer, midwifeâ is a metaphor for female unruliness and disruption to patriarchy and
as such, is usually portrayed as evil and deserving of punishment. I assert that many
(although not all) of the popular texts this genre includes are overlooked or ignored by
the academy, and thus, that an important focus for contemporary feminism is missed.
When the texts are noticed by parts of the academy, they are mostly considered popular
culture novelty acts, not serious political genres. As part of my argument, I analyze third wave feminismâÂÂs attempt to reconcile traits previously considered less than
feminist, such as the domestic. I also deconstruct the popular mediaâÂÂs negative
portrayal of contemporary feminism and the resulting reluctance for many young
women to identify themselves as feminist. I also argue that this reluctance goes hand in
hand with a growing attempt to seek new models for empowering female
epistemologies. My assertion is that these texts are the classrooms where many readers
learn their feminism. Finally, I list a short bibliography as a way of defining canon of
texts that should be considered Magical Feminist.
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Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular CultureThomas, Quincy D. 19 April 2018 (has links)
No description available.
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Toward a Rhetoric of Scholar-FandomCochran, Tanya R. 01 December 2009 (has links)
Individuals who consider themselves both scholars and fans represent not only a subculture of fandom but also a subculture of academia. These liminal figures seem suspicious to many of their colleagues, yet they are particularly positioned not only to be conduits to engaged learning for students but also to transform the academy by chipping away at the stereotypes that support the symbolic walls of the Ivory Tower. Because they are growing in number and gaining influence in academia, the scholar-fans of the television series Buffy the Vampire Slayer (Buffy) and other texts by creator Joss Whedon are one focus of this dissertation. Though Buffy academics or Whedon scholars are not the only ones of their kind (e.g., academic- fan communities have cropped up around The Simpsons, The Matrix Trilogy, and the Harry Potter franchise), they have produced more literature and are more organized than any other academic-fan community. I approach all of my subjects—fandom, academia, fan-scholars, and scholar-fans—from a multidisciplinary perspective, employing various methodologies, including autoethnography and narrative inquiry. Taking several viewpoints and using mixed methods best allows me to begin identifying and articulating a rhetoric of scholar-fandom. Ultimately, I claim that Whedon academic-fans employ a discourse marked by intimacy, community, reciprocity, and transformation. In other words, the rhetoric of Whedon scholar-fandom promotes an epistemology—a way of knowing—that in Parker J. Palmer’s paradigm is personal, communal, reciprocal, and transformational.
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| 37 |
Toward a Rhetoric of Scholar-FandomCochran, Tanya R. 01 December 2009 (has links)
Individuals who consider themselves both scholars and fans represent not only a subculture of fandom but also a subculture of academia. These liminal figures seem suspicious to many of their colleagues, yet they are particularly positioned not only to be conduits to engaged learning for students but also to transform the academy by chipping away at the stereotypes that support the symbolic walls of the Ivory Tower. Because they are growing in number and gaining influence in academia, the scholar-fans of the television series Buffy the Vampire Slayer (Buffy) and other texts by creator Joss Whedon are one focus of this dissertation. Though Buffy academics or Whedon scholars are not the only ones of their kind (e.g., academic- fan communities have cropped up around The Simpsons, The Matrix Trilogy, and the Harry Potter franchise), they have produced more literature and are more organized than any other academic-fan community. I approach all of my subjects—fandom, academia, fan-scholars, and scholar-fans—from a multidisciplinary perspective, employing various methodologies, including autoethnography and narrative inquiry. Taking several viewpoints and using mixed methods best allows me to begin identifying and articulating a rhetoric of scholar-fandom. Ultimately, I claim that Whedon academic-fans employ a discourse marked by intimacy, community, reciprocity, and transformation. In other words, the rhetoric of Whedon scholar-fandom promotes an epistemology—a way of knowing—that in Parker J. Palmer’s paradigm is personal, communal, reciprocal, and transformational.
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Confronting eternity : strange (im)mortalities, and states of undying in popular fiction.Bacon, Edwin Bruce January 2014 (has links)
When the meritless scrabble for the bauble of deity, they ironically set their human lives at the “pin’s fee” to which Shakespeare’s Hamlet refers. This thesis focuses on these undeserving individuals in premillennial and postmillennial fiction, who seek immortality at the expense of both their humanities, and their natural mortalities.
I will analyse an array of popular modern characters, paying particular attention to the precursors of immortal personages. I will inaugurate these analyses with an examination of fan favourite series
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