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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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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 71 to 77 of 77 (0.014 seconds)Spelling suggestions: "subject:"dragon"" "subject:"aragon""
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Lisbeth Salander Lost In Translation - An Exploration of the English Version of The Girl With The Dragon TattooPaludan, Kajsa 18 December 2014 (has links)
Abstract
This thesis sets out to explore the cultural differences between Sweden and the United States by examining the substantial changes made to Men Who Hate Women, including the change in the book’s title in English to The Girl With The Dragon Tattoo. My thesis focuses in particular on changes in the depiction of the female protagonist: Lisbeth Salander. Unfortunately we do not have access to translator Steven T. Murray’s original translation, though we know that the English publisher and rights holder Christopher MacLehose chose to enhance Larsson’s work in order to make the novel more interesting for English-speaking readers, which resulted in Murray translating under the pseudonym Reg Keeland as he did not agree to the translation made by MacLehose and Knopf. Furthermore, this thesis touches on the ethics of translation, and will likewise argue the importance of facilitating a dialog concerning misogyny and rape culture.
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LA COMUNICAZIONE IMPLICITA IN E.I. ZAMJATIN. UNA LETTURA PRAGMATICA DEI RACCONTI DI PIETROGRADOBERTOLA, VALENTINA 23 March 2015 (has links)
Il presente lavoro offre un’analisi linguistica dell’implicito nei racconti "Drakon" [Il drago], "Peščera" [La caverna] e "Mamaj", scritti da Evgenij Zamjatin tra il 1918 e il 1920 e noti come ciclo di Pietrogrado. Il tema è motivato sia dalle caratteristiche di questi testi, in cui il riferimento al contesto post-rivoluzionario e la critica alla rivoluzione sono molto chiari, ma del tutto impliciti, e il lettore può solo inferirli partendo dal testo e dalla conoscenza del contesto condiviso con lo scrittore, sia dallo studio degli scritti di Zamjatin sulla prosa, in cui emerge che l’implicito è uno degli strumenti principali con cui egli realizza la sua concezione di opera letteraria, frutto della cooperazione fra autore e lettore. Per l’analisi abbiamo utilizzato gli strumenti offerti dalla teoria della pertinenza, elaborata a partire dagli anni Ottanta da Dan Sperber e Deirdre Wilson, e più precisamente i concetti di implicatura ed esplicatura; essi risultano particolarmente produttivi rispetto a quelli della retorica tradizionale, i quali illuminano la fattura del testo, ma non spiegano come da essa il lettore arrivi a comprenderlo e interpretarlo, come avvenga, cioè, la collaborazione creativa che Zamjatin pone al centro della propria estetica. / The present work offers a linguistic analysis of implicitness in the stories "Drakon" [The Dragon], "Peščera" [The Cave] and "Mamaj", written by Yevgeny Zamyatin between 1918 and 1920 and known as his Petrograd cycle of stories. This topic is justified not only by the peculiarities of these texts, whose reference to post-revolutionary context and criticism of revolution are very clear but quite implicit, and the reader can only infer them from the text and the context he shares with the writer, but also by what Zamyatin stated in his essays on prose, where implicitness is one of the main instruments for achieving his idea of literary work as the result of the cooperation between author and reader. The analysis proceeds by applying the elements provided by the relevance theory which has been developed by Dan Sperber and Deirdre Wilson since the eighties, and particularly that of implicature and explicature; they are more fruitful than traditional rhetorical categories, which shed light on the way Zamyatin’s texts are built, but do not explain how the reader understands and interprets them, that is, how the creative cooperation pointed out in Zamyatin’s aesthetics takes place.
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Registrace ultrazvukových sekvencí s využitím evolučních algoritmů / Image registration of ultrasound sequences using evolutionary algorithmsHnízdilová, Bohdana January 2021 (has links)
This master´s thesis deals with the registration of ultrasound sequences using evolutionary algorithms. The theoretical part of the thesis describes the process of image registration and its optimalization using genetic and metaheuristic algorithms. The thesis also presents problems that may occur during the registration of ultrasonographic images and various approaches to their registration. In the practical part of the work, several optimization methods for the registration of a number of sequences were implemented and compared.
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Dance and Identity Politics in Caribbean Literature: Culture, Community, and CommemorationTressler, Gretchen E. 03 June 2011 (has links)
Indiana University-Purdue University Indianapolis (IUPUI) / Dance appears often in Anglophone Caribbean literature, usually when a character chooses to celebrate and emphasize her/his freedom from the physical, emotional, and societal constraints that normally keep the body in check. This study examines how a character's political consciousness often emerges in chorus with aesthetic bodily movement and analyzes the symbolic force and political significance of Caribbean dance--both celebratory (as in Carnival) and defensive (as in warrior dances). Furthermore, this study observes how the weight of Western views on dance influences Caribbean transmutations and translations of cultural behavior, ritual acts, and spontaneous movement. The novels studied include Samuel Selvon's "The Lonely Londoners" (1956), Earl Lovelace's "The Dragon Can't Dance" (1979), Paule Marshall's "Praisesong for the Widow" (1983), and Marie-Elena John's "Unburnable" (2006).
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...And Reconcile Us With Evil : A Critical Investigation of the Imagery of Good and Evil in Western Religion, Film and PoliticsGellrich, Arne L January 2016 (has links)
With an eye on the current social and political situation in Europe, and with regards to the so-termed refugee crisis, this study aims to map the discourse on assumed good and evil shared among Western cultures, as represented by Sweden, Germany and the United States. The thesis takes its point of departure from essayistic reflections of the philosophical tradition and theological and religious analytical positions respectively. These are then followed by two investigative main chapters, designed along the lines of Norman Fairclough’s approach to critical discourse analysis (CDA). The first of these chapters studies the narratives of good and evil employed in the mainstream cinema of the past ten years in the mentioned countries. The second analysis is made up of three case studies, in turn looking at similar narratives in the campaigns of the two main competitors in the 2016 presidential race, a German protest movement against free trade agreements, and the everyday political communication of Swedish Facebook users. In a final chapter, findings from all four preceding chapters are brought together in an attempt to sketch an image of the congruences and discrepancies of narratives on good and evil in the overall discursive field. The thesis finds that the discursive field shared by the three investigated societies is largely homogenous, with certain imagery permeating all analysed orders of discourse. Many of the reoccurring images are however likely rooted in the human psyche and therefore less dependent on discourse practice. Furthermore, certain principles are agreed upon in theory while not reproduced in social practice. Themes assigned to either good or evil often seem to take on secondary functions next to assumed fixed identities of in- and out-groups. Being a qualitative study, this thesis aims at giving an overview and delivering a base for further investigations rather than providing definitive answers.
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The Medieval Reception of Firdausī's Shāhnāma: The Ardashīr Cycle as a Mirror for PrincesAskari, Nasrin 02 August 2013 (has links)
Based on a broad survey of the reception of Firdausī’s Shāhnāma in medieval times, this dissertation argues that Firdausī’s oeuvre was primarily perceived as a book of wisdom and advice for kings and courtly élites. The medieval reception of the Shāhnāma is clearly manifested in the comments of medieval authors about Firdausī and his work, and in their use of the Shāhnāma in the composition of their own works. The production of ikhtiyārāt-i Shāhnāmas (selections from the Shāhnāma) in medieval times and the remarkable attention of the authors of mirrors for princes to Firdausī’s opus are particularly illuminating in this regard.
The survey is complemented by a close textual reading of the Ardashīr cycle in the Shāhnāma in comparison with other medieval historical accounts about Ardashīr, in order to illustrate how history in the Shāhnāma is reduced to only a framework for the presentation of ideas and ideals of kingship. Based on ancient Persian beliefs regarding the ideal state of the world, I argue that Ardashīr in the Shāhnāma is represented as a Saviour of the world. Within this context, I offer new interpretations of the symbolic tale of Ardashīr’s fight against a giant worm, and explain why the idea of the union of kingship and religion, a major topic in almost all medieval Persian mirrors for princes, has often been attributed to Ardashīr. Finally, I compare the Ardashīr cycle in the Shāhnāma with nine medieval Persian mirrors for princes to demonstrate that the ethico-political concepts contained in them, as well as the portrayal of Ardashīr, remain more or less the same in all these works.
Study of the Shāhnāma as a mirror for princes, as this study shows, not only reveals the meaning of its symbolic tales, but also sheds light on the pre-Islamic roots of some of the ethico-political concepts presented in the medieval Perso-Islamic literature of wisdom and advice for kings and courtiers.
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The Medieval Reception of Firdausī's Shāhnāma: The Ardashīr Cycle as a Mirror for PrincesAskari, Nasrin 02 August 2013 (has links)
Based on a broad survey of the reception of Firdausī’s Shāhnāma in medieval times, this dissertation argues that Firdausī’s oeuvre was primarily perceived as a book of wisdom and advice for kings and courtly élites. The medieval reception of the Shāhnāma is clearly manifested in the comments of medieval authors about Firdausī and his work, and in their use of the Shāhnāma in the composition of their own works. The production of ikhtiyārāt-i Shāhnāmas (selections from the Shāhnāma) in medieval times and the remarkable attention of the authors of mirrors for princes to Firdausī’s opus are particularly illuminating in this regard.
The survey is complemented by a close textual reading of the Ardashīr cycle in the Shāhnāma in comparison with other medieval historical accounts about Ardashīr, in order to illustrate how history in the Shāhnāma is reduced to only a framework for the presentation of ideas and ideals of kingship. Based on ancient Persian beliefs regarding the ideal state of the world, I argue that Ardashīr in the Shāhnāma is represented as a Saviour of the world. Within this context, I offer new interpretations of the symbolic tale of Ardashīr’s fight against a giant worm, and explain why the idea of the union of kingship and religion, a major topic in almost all medieval Persian mirrors for princes, has often been attributed to Ardashīr. Finally, I compare the Ardashīr cycle in the Shāhnāma with nine medieval Persian mirrors for princes to demonstrate that the ethico-political concepts contained in them, as well as the portrayal of Ardashīr, remain more or less the same in all these works.
Study of the Shāhnāma as a mirror for princes, as this study shows, not only reveals the meaning of its symbolic tales, but also sheds light on the pre-Islamic roots of some of the ethico-political concepts presented in the medieval Perso-Islamic literature of wisdom and advice for kings and courtiers.
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