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Indiana University-Purdue University Indianapolis (IUPUI) / This project responds to previous available literature on the subject of heroism, which tends to deal with either an isolated work or with genre- and archetype-specific analysis, and applies their concepts to case studies of Frank Miller’s various heroic models. In particular, this project addresses the film Sin City and the graphic novel The Dark Knight Strikes Again, arguing that DK2 serves as a departure of sorts from Miller’s ideals of heroism in his middle years (such as those presented in Sin City), as the protagonist becomes more of a revolutionary engaged in revamping society than the vigilante or “lone wolf” on the fringes of society. With the aforementioned sources as a general background, it is evident that Miller’s heroic ideals shift in their active capacity and scope but remain more or less steady in their strong individual sense of ethical duty. In addition, these sources aid in establishing the comparisons Miller actually invites to traditional, “archetypal” understandings of the hero as well as to the particular heroic form of Ayn Rand, which he explicitly references in DK2. Miller’s response to these previous models bolsters the assertion that theories of heroic ideals are inherently political as they deal with representations of the kind of person a hero must be, in turn involving issues of gender, ethnicity and class.

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The Swedish author Fredrika Bremer's novel Grannarne was published in 1837, and the English translation The Neighbours was published in London in 1842. This novel as well as other novels by Bremer which were published in English in the 1840s, were widely read and they were very popular with readers as well as with literary critics. As has been noted formerly, there are certain striking likenesses between The Neighbours and Charlotte Brontë's novel Jane Eyre, published in 1847. In this essay, a comparative study is made of motifs found in both novels, such as "The Byronic Hero", and "The Strange Woman" as well as structures such as "the acceptance of guilt", followed by "judgement" and the possibility of "mercy", which are also found in both novels. In the last chapter, there is a discussion of the characters' perception of their respective worlds as primarily conditioned by religion, and how this is manifested in the previous chapters of the essay. A connection between Bertha in Jane Eyre and Hagar in The Neighbours is explored and a suggestion is made of a possible connection between Hagar and the ancient poet Sappho.

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This study b·aces the development of the Shona clctective story as a genre different from rhe mainstream Shona novel. The Shona detective story emerges from the non-detective traditional folktale and develops into rhree types, namely, the rudimentary form. the pure 'whoduniC, and the detectivethriller. An attempt is made to show that when the Shona detective story first appeared it was quite elementary and showed signs of me influence of Shona traditional folklore. But later on authors developed the detective narrative into pure 'whodunits' and detective-mrillers which showed influence of Western ftlms and English detective stories. The study ends with the argument that although at its highest level of development the Shona detective story manifests characteristics that make it a unique genre different from other Shona novels its treatment of female characters is not very different from their treatment in the mainstream Shona novel. / African Languages / M.A. (African Languages)

Cette thèse propose une approche du mémoriel qui interroge la production de la mémoire dans son caractère processuel. Elle comporte trois caractéristiques principales. D’abord, elle met l’accent sur une pluralité des temps qui participe de la production de la mémoire (mais aussi de l’instauration de collectivités et de la production de leurs continuités). Elle place aussi les processus de représentation au cœur de ses questionnements – notamment, elle met l’accent sur les manières par lesquelles la mémoire est constituée par la représentation (au lieu d’examiner les manières par lesquelles la mémoire est représentée). Enfin, elle interroge les manières par lesquelles la production de la mémoire concourt à délimiter, entretenir et faire être des collectivités, et quelles formes de collectivisation sont à cet égard réalisées. Le premier chapitre expose cette approche de la mémoire en constraste avec une présentation de trois grandes familles d’approches – les approches de la mémoire collective, celles de la mémoire culturelle et les approches présentistes – qui appréhendent la mémoire comme un construit. Il explique aussi comment je mets le mémoriel à profit dans une analyse de surface qui appréhende la constitution des représentations par lesquelles l’ex-hockeyeur Maurice Richard et l’ex-animatrice et auteure Janette Bertrand sont établis comme personnalités publiques, par le biais de technologies et de figures d’individualité publique qui les font être de manières singulières. Dans cette optique, je réalise, dans le deuxième chapitre, une analyse de la constitution de Maurice Richard comme héros, et dans le troisième, un examen de la constitution de Janette Bertrand comme pionnière. Dans le quatrième et dernier chapitre, je constate notamment les effectivités respectives des technologies et des procédés de représentation par lesquels des personnalités publiques sont instaurées. Je mets aussi en lumière que ces technologies et les éléments qu’elles produisent, traversent et mettent en relation, s’appréhendent à chaque fois dans la singularité de leurs rencontres. Je conclus ensuite en mettant en lumière les manières par lesquelles mon approche du mémoriel contribue aux études de la mémoire, lesquelles sont l’objet d’une disciplinarisation croissante. / This thesis proposes an approach of the mémoriel which questions the production of memory in its processual character. It has three main features. First, it focuses on a plurality of times involved in the production of memory (but also the establishment of local communities and the production of their continuities). It also places the processes of representation at the heart of its questionings - in particular, it emphasizes the ways in which memory is constituted by representation (instead of examining the ways in which memory is represented). Finally, it questions the ways in which the production of memory contributes to circumscribe, to maintain and to make communities, and what forms of collectivization are realized in this respect. The first chapter outlines this approach to memory in contrast with a presentation of three major families of approaches - approaches to collective memory, approaches of cultural memory and presentist approaches – which apprehend memory as a construct. It also explains how I put the mémoriel to good use in a surface analysis which captures the constitution of representations by which the former hockey player Maurice Richard and the former host and television writer Janette Bertrand are established as public figures, through technologies and figures of public individuality which bring them into being in singular ways. In this perspective, I present, in the second chapter, an analysis of the constitution of Maurice Richard as a hero, and in the third, an analysis of the constitution of Janette Bertrand as a pioneer. In the fourth and final chapter, I notice in particular the effectiveness of the respective technologies and processes of representation by which these public personalities are established. I also bring to light that these technologies and the elements which they produce, run through and put into relation are constantly apprehensible in the singularity of their meetings. I then conclude by outlining the manner in which my approach of the mémoriel contributes to memory studies, a field which is the object of an increasing disciplinarization.

This diploma thesis thematically follows up one of subgenres of young adult popular literature - paranormal romance. Its main aim is to create a comprehensive definition of this subgenre on the basis of interpretation of representative sagas - Twilight by Stephenie Meyer (Twilight, New Moon, Eclipse, Breaking Dawn), Hush, Hush by Becca Fitzpatrick (Hush, Hush, Crescendo, Silence, Finale), Nightshade by Andrea R. Cremer (Nightshade, Wolfsbane, Bloodrose, Snakeroot), Wings by Aprilynne Pike (Wings, Spells, Illusions, Destined) and Anna Dressed in Blood by Kendare Blake (Anna Dressed in Blood, Girl of Nightmares). The thesis was divided into eight chapters. In the first chapter we have outlined the historical development of paranormal romance, in the second part we focused on its genre characteristic. In the third and fourth chapters we tried to create a prototype of heroine and hero of this subgenre. The fifth part is about the steady plot schemes in paranormal romances. In the sixth chapter we have tried to determine a model form of relationship main pair of lovers in the analyzed subgenre. In the seventh part we discussed conflict between everyday reality and the supernatural and the social hierarchy in the fiction world of paranormal romances and we introduced supernatural species and races that...

This thesis is about Gesar epic in the culture of The Gesar epic in the cultures of Inner Asian ethnic groups, primarily of Mongolian and Tibetan. After the general introduction to the Gesar epic there is a short history of Gesar epic studies and list of different versions of epic in every region it is known. In the central part the thesis deals with a development of religion cult of the main epic hero. A special attention was put on a ritual of smoke offering, known as sang and on texts related to this ritual. Then there is a description of Gesar's reflection in iconographic Buddhist art as well as in modern art. The end of the thesis is dedicated to a structural analysis of one sang text, its transcription and Czech translation are given at the supplement of the thesis with some images of Gesar in art.

Cette thèse présente l’analyse de la trilogie de José Manuel Fajardo (1957) constituée par les trois romans, Carta del fin del mundo (1996), El Converso (1998) et Mi nombre es Jamaica (2010). Ces trois œuvres font partie du sous-genre, roman istorique d’aventures. À travers l‘étude du temps, de l’espace et des personnages, ce travail de recherche a pour objectif de délimiter la part de l’histoire et de l’aventure au sein de ces trois œuvres qui renvoient à des périodes marquantes de l’histoire de l’Espagne (la conquête, le Siècle d’or). Les nombreuses références à l’expulsion des Morisques ou à la diaspora sépharade témoignent de la volonté de l’auteur de faire œuvre d’historien en sauvant de l’oubli certains pans de l’histoire d’Espagne délaissés par l’Histoire officielle. Cette récupération historique va de pair avec une fictionnalisation de cette matière historique (la découverte de l’Amérique, la piraterie au XVIIe siècle, dans les Caraïbes et en méditerranée) qui permet à l’auteur de créer de l’aventure. Cette aventure est vécue par les héros comme une quête identitaire qui les conduit, à travers la traversée d’innombrables espaces, vers leur Terre promise ; ce qui leur confère une indéniable épaisseur humaine. / This thesis introduces the trilogy by José Manuel Fajardo (1957) composed of Carta del fin del mundo (1996), El Converso (1998) and Mi nombre es Jamaica (2010).These three works are part of the historical adventure novel sub-genre. Focusing on time, space and characters, this research work is aimed at making a distinction between history and adventure in these three works that refer to significant periods in the history of Spain (the conquest, the Golden Age). The numerous references to the expulsion of the Moriscos or the Sephardic diaspora show the author's willingness to work as a historian by saving fromoblivion some parts of Spanish history neglected by official history. This historical exploitation goes hand in hand with fictionalizing the historical matter _such as the discovery of America or piracy in the seventeenth century in the Caribbean and the Mediterranean seas_ which makes it possible for the author to create adventure. This adventure is experienced by the heroes as a search for identity that leads them, through the crossing of countless spaces, to their promised land; whichgives them potent human depth.