Spelling suggestions: "subject:"In then novels"" "subject:"In them novels""
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Are Graphic Novels Just for Boys? A Study on the Interests of 5th Grade Students in Reading Graphic NovelsTonegato, Nicholas G. 24 April 2012 (has links)
No description available.
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Popular Images and Cosmopolitan Mediation: Mass Media and Western Pop Culture in the Anglophone South Asian NovelSirkin, Elizabeth Taryn 05 April 2007 (has links)
No description available.
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Taming the Perfect Beast: The Monster as Romantic Hero in Contemporary FictionKlaber, Lara 27 August 2014 (has links)
No description available.
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A (Graphic) Novel Idea for Social Justice: Comics, Critical Theory, and A Contextual Graphic NarratologyGrice, Karly Marie January 2017 (has links)
No description available.
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Control and Creativity: The Languages of DystopiaWesche, Gretchen M. 04 May 2011 (has links)
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The color of Hollywood: The cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000Ndounou, Monica 26 June 2007 (has links)
No description available.
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Engaged in Graphic Novels with Fifth GradersDallacqua, Ashley Kaye 14 December 2010 (has links)
No description available.
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Constructing Madrileños: The Reciprocal Development of Madrid and its Residents (1833-1868)Sundt, Catherine Elizabeth 24 August 2012 (has links)
No description available.
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Unsatisfactory Answers: Dialogism in George Eliot's Later NovelsHollis, Hilda 03 1900 (has links)
<p>George Eliot's later novels are discussed with reference to Mikhail Bakhtin's concept of dialogism. Although Bakhtin traces dialogism from comedy and carnival, Eliot's dialogism is rooted in tragedy. Romola is set during Florentine carnival and Savonarola's sacred parody of carnival. While Eliot and Bakhtin, following Goethe, both use carnival as an image of ambivalence, in contrast to Bakhtin, Eliot recognizes carnival's violence when it is not simply a metaphor. Deviations from a key intertext, Paquale Villari's Ufe and Times of Girolamo Savonarola, are critical to understanding the novel's ambivalence. Felix Holt and The Spanish Gypsy are studied in light of Eliot's discussion of tragedy, a genre that Eliot argues contains irreconcilable positions. Neither work arrives at an absolute pronouncement for dealing with social inequities. Although Felix has usually been seen as Eliot's mouthpiece, I argue that Felix Holt and the separately published address are dialogic and Eliot does not present any simplistic single correct course for English politics.</p> <p>Bakhtin's discussion of the difference between epic and novel is a starting point for looking at Eliot's use of parodic heroes in Middlemarch, in which incessant parody provides multiple views on every action or word, and large abstract truths cannot be found. Harriet Martineau is introduced as a model for Dorothea's possibilities, and the monologism of Martineau's work forms a contrast for Middlemarch. In Daniel Deronda, Eliot's hero realizes his inability to believe in an epic stance, and the possibility of politics is challenged. Daniel is paralyzed, unable to act because of his own consciousness of dialogism. The Zionism eventually embraced by Daniel is not endorsed absolutely but is subject to the various perspectives of the novel. The usual understanding of the concluding allusion to Milton's Samson Agonistes is challenged by examining Milton's depiction of the conflicting duties of family and nation.</p> / Doctor of Philosophy (PhD)
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The Comic Element in the Novels of Thomas WolfeHanig, David Daniel 06 1900 (has links)
As to form, Wolfe's novels are deliberately loose, because that is important to his purpose. Conceiving America as an open society of potentiality, he could do no less than remain open himself. To do otherwise would have meant impotence if not sterility. In this thesis, I shall attempt to show that the episodes, divergences, and observations all illustrate and amplify this spiritual growth.
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