Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the lock icon and filled out the appropriate web form. / Creative writing / 2031-01-01T00:00:00Z

Orientador: Maria Célia de Moraes Leonel / Banca: Márcio Scheel / Banca: Sylvia Helena Telarolli de Almeida Leite / Resumo: O tema do trabalho é a caracterização do romance policial de Rubem Fonseca, tendo em vista a importância desse gênero em sua obra. O objetivo é verificar, em três livros do autor, o modo como ele se apropria de recursos clássicos desse tipo de composição, trazendo ou não contribuição para o gênero em pauta. O corpus é composto pelos romances O caso Morel, de 1973, A grande arte, de 1983, e Agosto, de 1990. Para a concretização da proposta, realizamos análise detida de cada livro em particular. A história, as personagens, a narração, a focalização, bem como o espaço e o tempo, serão objeto de exame com o intuito de se estabelecer a maneira como, atuando organicamente ou não, tais elementos constituem romances que são classificados como policiais. Entre tais componentes, no que se refere à história, levantamos e analisamos a menção a um homicídio já realizado, cujo autor deve ser descoberto na sequência da narrativa, e o leitor acompanha as investigações. No que diz respeito às personagens, é examinada a presença de detetives, delegados, policiais, advogados, etc., como também a sua caracterização superficial ou mais profunda. Para que os objetivos sejam atingidos, é fundamental a investigação das figuras do narrador (quem fala) e do focalizador (quem vê). O espaço social e a ambientação construída na obra também serão levados em conta, bem como a representação ou não de determinado período histórico do país. Além dos livros pertencentes ao corpus, há inserções relativas a obra... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The theme of the work is the characterization of Rubem Fonseca's detective novel, considering the importance of this genre in his work. The objective is to verify, in three books by the author, the way in which he appropriates classical resources of this type of composition, whether or not making a contribution to the genre in question. The corpus is composed by the novels O caso Morel (1995), A grande arte (1990) and Agosto (1990). For the purpose of the proposal, we carry out a detailed analysis of each book in particular. History, characters, narration, focus, as well as space and time, will be examined in order to establish how, acting organically or not, such elements constitute novels that are classified as criminal. Among such components, as far as history is concerned, we raise and analyze the mention of a homicide already made, whose author must be discovered following the narrative, and the reader accompanies the investigations. With regard to the characters, the presence of detectives, delegates, police officers, lawyers, etc., is examined, as well as their superficial or deeper characterization. In order for the objectives to be achieved, it is fundamental to investigate the figures of the narrator (who speaks) and the focus (who sees). The social space and the atmosphere built in the work will also be taken into account, as well as the representation or not of a certain historical period of the country. In addition to the books belonging to the corpus, there are ... (Complete abstract click electronic access below) / Mestre

At present a big part of communication passes through computer network. Amount of the communication increases every year. That is why the claims on computing power raise. The procedure of the communication processing for forensic purposes is worth paralleling to increase the computing power. Research group NES@FIT created an instrument Netfox Detective in one of its projects. From this instrument it is planned to create a distributed system for the processing of intercepted communication for the purpose of forensic analysis. Interface is one of the parts, with its help the distributed system will be operated. In my theses I will concern with the creation of the web interface for the instrument Netfox Detective which is a desktop application presently. Web interface, after little modifications, will be used for paralleled version of application. Web interface will mediate the same informations as the desktop version. To obtain information for forensic analysis it will use framework Netfox Framework identically as the desktop version. Advantage of web interface compared to the desktop version is that a user who approaches web interface will need a device with web browser. It means that a user can work with any operation system.

At present a big part of communication passes off through computer network. Amount of the communication magnifys every year. It has a consequence that claims on computing power raise. The procedure of processsing of the communication for forensic purposes pays off to parallel for the purpose of increase of computing power. Research group NES@FIT created an instrument Netfox Detective in one of its projects. From this instument it is planed to create a distibuted system for the processing of intercepted communication for the purpose of forensic analysis. Interface is one of parts with the help of its the distributed system will be operated. In my theses I will concern with the creation of the web interface for the instument Netfox Detective which is a desktop application presently. Web interface use, after little modifications, for paralleled version of application. Web interface will mediate the same informations as the desktop version. For the obtaining of informations for forensic analysis it will use framework Netfox Framework identically as the desktop version. Advantage of web interface compared to the desktop version is that user who approach to web interface need device with web browser. It means that user can work whichever operation system.

This dissertation argues that mid-Victorian detective fiction critiques concurrent shifts in Victorian information culture. Detectives in fiction check alibis, investigate clues, and perform acts of detection and ratiocination which link their labor to social procedures of information management. We can read the genre as a response to drastic mid-Victorian changes in the perception of “information.” Specifically, I argue that detective fiction of the 1860s and 70s demonstrates skepticism of the developing mid-Victorian concept of abstract information. Abstract information is content detached from context, supposedly able to exist free from space, materiality, or necessary connection to human meaning. Mid-Victorian detective fiction challenges that perception. Recovering how mid-Victorian detective fiction embodies social ambivalence towards changing perceptions of information helps us avoid writing a fallacious developmental narrative onto the genre. Detective fiction of the early twentieth century imagines a split between the “rational” and “sensational” material in the genre. The procedures of information management within the novel—gathering and ordering clues, collecting evidence, making deductions—are usually considered “rational” parts of the genre. Reading mid-Victorian novels within this framework, we are apt to see the mid-Victorian detective’s acts of information management as being inherently “rational.” When re-examined through the lens of contemporary information culture, however, we see that information management actually serves in these novels and stories as an indicator of the “sensational.” Rather than tending to advance towards order, as we might expect, mid-Victorian fictions evoke the procedures of information to evoke uncanny feelings and undermine the apparent conclusions of their detectives. We read a novel or short story from the 1860s and see the use of factual information, such as Robert Audley manipulating a railway timetable or Sergeant Cuff carefully collecting testimony. We tend to think of their endeavors as rational, prototypical examples of detective reasoning. But in making that assumption, we overlook how problematic information was in mid-Victorian society and how self-conscious contemporaries were of its limits and contradictions. What we overlook, in short, is the possibility that “information” in mid-Victorian detective fiction serves as another indicator of the “sensational.” To misread the use of information in mid-Victorian detective fiction is to risk misunderstanding Victorian information culture, as well as the text’s adoption and adaptation of other informational forms. While all of the texts I examine exhibit skepticism of the perception of abstract information, this dissertation also traces a development in the texts’ attitudes towards information in the 1860s and beyond. Abstract information, each fiction suggests, is not a perfectly accurate concept, but in the later texts I consider, this becomes less of a problem. For Mary Elizabeth Braddon’s Lady Audley’s Secret (1862), abstract information is a deeply problematic idea, and the text sets a trap for us into which we might fall if we fail to understand the alienated nature of such information. Bracebridge Hemyng’s Telegraph Secrets (1867) challenges the idea of that information can be disembodied from material contexts, but the novel’s attempt to critique it backfires and creates aesthetic oddities in the text. Wilkie Collins’s The Moonstone (1868), a transitional novel, shows the idea of decontextualized abstract information breaking down, but this is not problematic. Instead, the novel begins to exploit the possibilities offered by an information age which can imagine information freely acquiring new meaning in different contexts. Finally, the many critics of Charles Dickens’s The Mystery of Edwin Drood (1870) actively celebrate the aesthetic possibilities offered by the idea of abstract information, creating a proliferating collection of new creative work out of the gap left in the original text. / English

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.

<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).

The filmic oeuvre of auteur director David Lynch has a reputation among average spectators as being too “difficult” to understand. In particular, the Lynch films Lost Highway and Mulholland Drive are considered by the average spectator to be devoid of any real meaning. Spectator theory provides insight into the structures through which spectators find or fail to find meaning in films. Spectator theory explains that the average spectator has a set of schemas for “reading” and understanding film, and that these schemas are shaped by the conventions of popular Hollywood cinema. The films of David Lynch do not adhere to these conventions, and thus challenge the average spectator’s competency with regard to their ability to emplot a coherent and meaningful narrative from these films. In the case of Lost Highway and Mulholland Drive, the films present the spectator with multiple mysteries, yet never provide any solutions to these mysteries. If a spectator is to find meaning in Lost Highway and Mulholland Drive, then such a spectator needs an appropriate schema for interpreting these films. This dissertation aims to develop one possible schema which can be used to find meaning in Lost Highway and Mulholland Drive. To this end, the films Lost Highway and Mulholland Drive are shown to qualify as metaphysical detective films, a genre of narrative which playfully interprets the conventions of classical detective narrative. Under the neologism “transtextual detective” this dissertation traces the characteristics of a spectator who would assume the role of a detective figure, existing outside of the borders of the film text, and calling upon a diverse collection of texts and schemata to solve the mysteries identifiable in these metaphysical detective films. In order to test the applicability of the schema of the transtextual detective, the writer undertakes a demonstration of an investigation into the films Lost Highway and Mulholland Drive while assuming the role of a transtextual detective. The writer firstly indentifies the mystery of identity as a salient mystery in both films, before demonstrating how solutions to this mystery can be found in Lost Highway. / Thesis (MA (English))--North-West University, Potchefstroom Campus, 2013.

The filmic oeuvre of auteur director David Lynch has a reputation among average spectators as being too “difficult” to understand. In particular, the Lynch films Lost Highway and Mulholland Drive are considered by the average spectator to be devoid of any real meaning. Spectator theory provides insight into the structures through which spectators find or fail to find meaning in films. Spectator theory explains that the average spectator has a set of schemas for “reading” and understanding film, and that these schemas are shaped by the conventions of popular Hollywood cinema. The films of David Lynch do not adhere to these conventions, and thus challenge the average spectator’s competency with regard to their ability to emplot a coherent and meaningful narrative from these films. In the case of Lost Highway and Mulholland Drive, the films present the spectator with multiple mysteries, yet never provide any solutions to these mysteries. If a spectator is to find meaning in Lost Highway and Mulholland Drive, then such a spectator needs an appropriate schema for interpreting these films. This dissertation aims to develop one possible schema which can be used to find meaning in Lost Highway and Mulholland Drive. To this end, the films Lost Highway and Mulholland Drive are shown to qualify as metaphysical detective films, a genre of narrative which playfully interprets the conventions of classical detective narrative. Under the neologism “transtextual detective” this dissertation traces the characteristics of a spectator who would assume the role of a detective figure, existing outside of the borders of the film text, and calling upon a diverse collection of texts and schemata to solve the mysteries identifiable in these metaphysical detective films. In order to test the applicability of the schema of the transtextual detective, the writer undertakes a demonstration of an investigation into the films Lost Highway and Mulholland Drive while assuming the role of a transtextual detective. The writer firstly indentifies the mystery of identity as a salient mystery in both films, before demonstrating how solutions to this mystery can be found in Lost Highway. / Thesis (MA (English))--North-West University, Potchefstroom Campus, 2013.