Abstract Cognitive narratology constitutes the study of mind-related aspects of storytelling embracing the nexus of narrative and mind. Theorists in the sphere of cognitive narratology believe that the mental capacities of the reader provide basis for narrative experience involving him or her in the process of co-creation of narrative worlds. This paper examines how The Hitchhiker’s Guide to the Galaxy by Douglas Adams engages the reader in the process of co-creation of the narrative world of these novels. The theory of narrative worldmaking is the theoretical framework of this thesis. The analysis of Adams’s novels is structured around three key parameters for the narrative worldmaking: characters, space, and time. As this thesis demonstrates, characters, space, and time as the key elements of Adams’s storytelling strategy prompt readers to use their imagination to a high degree to co-create the narrative world of the novels. / Kognitiv narratologi innebär studie av sinnesrelaterade aspekter av berättande som omfattar kopplingen mellan berättelse och sinne. Teoretiker inom sfären av kognitiv narratologi tror att läsarens mentala kapacitet utgör grunden för narrativa erfarenheter som involverar henom i processen för medskapande av narrativa världar. Den här uppsatsen undersöker hur Liftarens Guide till Galaxen av Douglas Adams engagerar läsaren i ett samskapande av den narrativa världen i dessa romaner. Teorin om narrativt världsskapande är det teoretiska ramverket för denna uppsats. Analysen av Adams romaner är uppbyggd kring tre nyckelparametrar för det narrativa världsskapandet: karaktärer, rum och tid. Som denna uppsats visar, får karaktärer, rum och tid som nyckelelement i Adams berättarstrategi läsarna att använda sin fantasi i hög grad för att samskapa romanernas berättande värld.

Yakuwarigo, or role language, is a Japanese term used to describe different typesof exaggerated spoken languages that are used in Japanese fiction. Yakuwarigo isoften assigned to a character based on, for example, the character’s personality,age, or occupation, and it can be different from how people actually speak in reallife.In the present study, the first research question intended to find out which type ofyakuwarigo was used when translating certain fantasy characters from English toJapanese. This was done by analyzing the dialogue of four characters from thenovel Howl’s Moving Castle (1986) written by Diana Wynne Jones. The aim ofthe second research question was to see if the personalities of the characters couldbe interpreted differently by the reader in the translated novel due to the use ofyakuwarigo.The results show that two witches both used a mix of onna-kotoba and otokokotoba, and additionally one of them used ojōsama-kotoba and the other obāsango. A wizard used otoko-kotoba and shōnen-go/jōshi-go, and a demon used mostlyotoko-kotoba with a hint of Edo-kotoba. The role languages seemed to fit most ofthese characters, but the demon’s personality was deemed to have changed in thetranslation.

No description available.

The genus Tsuga is comprised of eight extant species found in North America and East Asia and four species represented by fossils from Europe and Japan. This study presents the first phylogenetic analysis based on structural, biochemical, and molecular sequence data. Characters obtained from published and unpublished literature were combined with new morphological characters from seeds, seedlings, and leaf cuticle material. Results from parsimony analyses of these characters differed from the published molecular based phylogeny. The non-molecular based phylogeny resolves two separate clades, a North American and an Asian, but did not group the western North American species, as in the molecular based analysis. Character states were traced on the trees to interpret character evolution. The combined analysis resulted in a phylogeny that differed from the previously published molecular tree by resolving a clade between T. caroliniana and T. diversifolia and placing T. dumosa outside of the Asian clade.

This qualitative collective case study explored how four female Latina teachers in the Central San Joaquin Valley acquired and developed the noncognitive trait of grit. Additionally, this study explored how the manifestation of this noncognitive trait of grit is demonstrated by these teachers with students in their classrooms. Through a series of interviews, and classroom observations with annotated field notes, I examined the life experiences and professional educational background of participants in order to highlight factors that are contributory and fundamental in the underpinnings of how grit developed in each of their lives. I examined and analyzed distinctive traits, specific influences, and behaviors. The theoretical framework developed by Duckworth, Peterson, Matthews and Kelly (2007) provided the background structure to help in understanding the noncognitive trait of grit. This exploration extended current scholarship on grit by exploring one specific cultural and gendered-subset of teachers to aid in the understanding of how grit emerges in teachers deemed exceptional. This qualitative case study addresses the following questions: 1. From the perspective of four female Latina teachers, what is grit? 2. From the perspectives of four female Latina teachers, in what ways has grit been acquired, developed and demonstrated? 3. From the perspective of four female Latina teachers, how has gender and race shaped their experiences in grit? 4. From the perspectives of four female Latina teachers, and as evidenced by student outcomes, how does the trait of grit impact teacher effectiveness?

The female characters in James Joyce's fiction have received considerable critical attention since the publication of his writings and are often denigrated as misogynist portrayals of women. However, a textual and historical analysis of the female characters in A Portrait of the Artist as a Young Man, Dubliners, Ulysses, and Finnegans Wake shows them in a more constructive light. Such an analysis reveals them to be sympathetic portrayals of the situation of Irish women at the turn of the twentieth century. An historical contextualization of the characters is essential in any reading of Joyce, but is particularly important for his female characters. An historical and textual analysis also reveals a noticeable shift in the characterization of women from his early novel to his later novels. Additionally, approaching Joyce's fiction from this angle highlights the significant influence of Nora Barnacle, whom he eventually married, on Joyce's characterizations of women. Joyce started writing A Portrait of the Artist as a Young Man as a very young man, before he met Nora, and this fact coupled with the choice of an adolescent boy as the narrator explains some of the criticism leveled at the novel. The subject of the novel, an artist as a young man, requires that the narrator be a self-centered youth. Consequently, the aesthetics of the novel are not focused on the female characters, but this is a result of the somewhat narcissistic adolescence of the narrator, not Joyce's purported misogyny. A close textual reading reveals the female characters as somewhat fleeting as a result of the age of the narrator, but not misogynist creations. The discussion of Portrait serves as an introduction to the larger subject of the admirable aspects of his female characters in Dubliners, Ulysses, and Finnegans Wake. Numerous parallels can be found between the female characters in "Araby," one of the first short stories in Dubliners, and the female characters in Portrait. However, throughout the progression of the collection of short stories, the female characters become more detailed, in part because the narrator is no longer an adolescent and has become more socially aware. This textual analysis of the female characters in "Araby," "Clay," "Eveline," and "The Dead" is enhanced by an historical analysis that clarifies the similarities between the women in the stories and the situation of Irish women as Joyce observed them, as discussed by Joyce in some of his published letters. An awareness of these close parallels between the characters and the historical setting reveals the characters as sympathetically drawn, eliciting a reader's pity rather than judgments of misogyny. A similar textual and historical analysis, when applied to Molly Bloom in Ulysses, reveals the mosaic-like quality of her characterization. Although she speaks only in the "Penelope" episode, Molly Bloom's characterization is established from the beginning of the novel through frequent references to her by her husband Leopold Bloom, and other characters throughout the novel. The layered or mosaic-like approach to her characterization is a departure from Joyce's earlier style, but the resultant character is engaging and intricately detailed. An historical and textual analysis accounts for the stylistic aspect of her character and allows for a more engaging perspective of Molly. Always innovative, Joyce transforms the mosaic style of characterization used for Molly in the characterization of Anna Livia Plurabelle and Issy in Finnegans Wake and, instead, creates the characters on an entirely differentscale, that of myth. Ulysses is a daytime walk through Dublin that could also function as a founding myth for Ireland; Finnegans Wake is the nighttime counterpart to a walk through Dublin. Joyce chose to stylistically obscure the language in the novel in order to create the nighttime setting for his dream-like comment on Dublin's founding myths. The characters of Finnegans Wake are rooted in mythic tradition also, which serves this aesthetic choice well. An historical and textual analysis of ALP and Issy reveals the universalized and nuanced characterization inherent in their creation and execution. From A Portrait of the Artist as a Young Man to Dubliners, Joyce's early female characters are notable in their own right, and function as important precursors to Joyce's visionary approach to characterization which culminated in Ulysses and Finnegans Wake with Anna Livia Plurabelle.

Queer culture is finding an ever-increasing voice in the arts. Plays like The Laramie Project, Rent, and Angels in America have contributed to making queer identity a very present voice in popular culture. In this thesis, I investigate the excitement and complexity of a straight actor becoming a gay character on stage. Using my interpretation of "Jack" in Debbie Lamedman’s new play, Triangle Logic, as a case study, I catalogue a three-month journey towards the effective embrace of truthfulness on stage. I expand the idea that actors must not layer on possibly offensive stereotypes to convey sexuality, but, instead, focus on telling the story through honest character relationships.

The opening scene of The Portrait of a Lady takes place upon the broad, sunlit lawns of Gardencourt. Yet, even in this expansive setting, the most essential character in the novel, the protagonist, is, curiously, no more than a narrow, shadowy speculation symbolized by a few odd words found in a telegram of dubious value. The only worth of these words comes in the amount of curiosity they can arouse in the other characters and in the reader. For it appears that, with this slow but significantly unusual means of introducing Isabel, the author intends her for more than a mere foil in a worldly triangle. Henry James does not squander his characters and while the plot of this novel, for example, suggests a debt to the traditional sentimental novel, the characters transcend such a strict formula and take on great depth and mass. Thus, as the reader progresses through the tale, he is continually surprised, and gratified, to discover that the characters emerge as real personalities, each possessing, his own set of ideas, sensibilities, an visions. When these personalities are brought together there can be no chance for a sentimental novel.

None

No description available.