<p> This paper offers an analysis of the AMC television series <i>Breaking Bad</i> by placing it directly into the tradition of frontier narratives and the Western film. It looks to understand the aspects of the Western genre that the series revises as well as understand <i>Breaking Bad</i> as both a revisionist Western that redefines certain tropes common to the family-centered Western, as well as a Meta-Western that calls attention to the impact of the frontier myth on modern characters like Walter White. It finds that to make a "contemporary Western," as creator Vince Gilligan termed it, the show revises the traditional Western narrative by denying a regenerative quality to violence and demanding a multicultural, complicated, and ongoing understanding of the American frontier. The paper concludes by analyzing how the show's cultural allegories are a reaction to, and a critique of, a modern crisis of masculinity and the American empire.</p>

Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2007. / Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1958. Adviser: Maryellen Bieder. "Title from dissertation home page (viewed Jan. 12, 2008)."

Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008. / Title from PDF t.p. (viewed on May 11, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3267. Adviser: Mary Ellen Brown.

Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2009. / Title from PDF t.p. (viewed on Feb. 8, 2010). Source: Dissertation Abstracts International, Volume: 70-05, Section: A, page: 1745. Adviser: Greg Schrempp.

<p> As a struggling single mother separated from her dissolute husband, the poet Charlotte Smith (1749-1806) began writing novels as a way to make money for her family. The exploding book market of late eighteenth-century Britain teemed with booksellers and publishers&mdash;some anxious to hustle works to press, some seeking quality works to build their reputation&mdash;and Smith entered this male-centric realm with na&iuml;vet&eacute;, shaky confidence, and growing desperation. Guided by a literary mentor to the reputable London publishing firm of Thomas Cadell, Sr., Smith entered a business relationship that would see her through the publication and later editions of two translated novels, three original novels, the two-volume poem <i>The Emigrants, </i> and a subscription and an expanded edition of her celebrated poetry and essay collection, <i>Elegiac Sonnets.</i> Most of the letters Smith wrote to Cadell have never been published; the majority of them were discovered just as Judith Phillips Stanton was taking her <i>Collected Letters of Charlotte Smith</i> (2003) to press. This scholarly edition includes every known letter that Smith wrote to Cadell before his retirement, when his son and assistant redubbed it Cadell &amp; Davies. Compiled from university, public, and private libraries in Britain, the U.S., and New Zealand, these annotated letters offer an intimate portrait of Smith as entrepreneurial author, desperate businesswoman, and careworn single mother of nine children in an era of revolutionary (and counter-revolutionary) fervor, Empire building.</p>

The trajectorv of this thesis is set out like a journey upon which encounters are staged between two films. film theor), and philosophers. such as Slavoj Zizek. Gilles Deletize, and Maurice Merleau-Ponty. An encounter with a moment of image suspension. a cut to the blank screen- in Tacita Dean's film, Disappearance atSea (1996). motivates the beginning of this journey's narrative. My reading of this moment counters the way that suspended film moments have been discussed in terms of non-narrative in 1970s film theory and in the contemporary psychoanalýlic filin theory of Slavoj Zizek. Using Gilles Deleuze's notion of narrativization as a process of serialization. I argue that the supposedly non-narrative moment is coextensive with the spectator's dis/continuity in time as opposed to Slavoj Zizek's static suspension or film theory's distanciation. A performative text based on Disappearance at Sea, which I refer to as a 'montage text' and for which precedence is found in Roland Barthes' writing, acts as an interlude that runs in tandem to the main theoretical trajectory. The generativity of absence that emerges from these encounters, both theoretical and poetic. is heightened in the second half of the thesis by the appearance of another 'montage text' based on Chantal Akerrnan's News From Home (1976). In this text. I reconfigure the negativity of historical readings of absence in Neus From Home where it was related to the impossible question of a woman's desire. In my reconfiguration, absence. rather than suspending time. generates a temporalized space and a spatialized time in which the spectator performs the dis/continuity of narrative duration. In the theoretical trajectory of this movement, Gilles Deleuze is hybridized with aspects of Merleau-Ponty's phenomenology, my argument being that the sublime infinity of Deleuzian serialization requires a relation to embodiment in order for it to be useftil in considering the spectator's relation to the two film encounters with absence. I read this hybridization in terms of a feminine mode of the sublime, which suggests the possibility of the real rather than its negation in representation and contributes to current thinking in feminist philosophy, particularly the work of Elizabeth Grosz.

Thesis (doctoral)--Universität, Erlangen, 2003. / Includes bibliographical references.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-02-20T13:26:14Z No. of bitstreams: 1 darlanrobertodossantos.pdf: 336320 bytes, checksum: bed29d32db7989f3c238432637cf3e18 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-20T18:11:36Z (GMT) No. of bitstreams: 1 darlanrobertodossantos.pdf: 336320 bytes, checksum: bed29d32db7989f3c238432637cf3e18 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-20T18:11:50Z (GMT) No. of bitstreams: 1 darlanrobertodossantos.pdf: 336320 bytes, checksum: bed29d32db7989f3c238432637cf3e18 (MD5) / Made available in DSpace on 2017-02-20T18:11:50Z (GMT). No. of bitstreams: 1 darlanrobertodossantos.pdf: 336320 bytes, checksum: bed29d32db7989f3c238432637cf3e18 (MD5) Previous issue date: 2006-04-25 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente estudo tem como objeto de análise Feliz Ano Velho (1982), do escritor Marcelo Rubens Paiva. Partindo de considerações acerca da escrita memorialística, nosso intuito é apontar possíveis leituras da obra em questão. A principal delas refere-se à cena judiciária na autobiografia, na qual o autor realiza uma dupla empresa: a inquisição de si mesmo e do regime militar. Nesse tribunal metafórico, as motivações de Marcelo seriam a culpa pelo próprio infortúnio – a paralisia corporal, após o mergulho em uma lagoa, e a revolta diante do desaparecimento do pai, ocorrido durante o período ditatorial brasileiro, nos anos 1970. Também faz parte de nossa pesquisa, a investigação das estratégias empreendidas pelo autobiógrafo, em sua busca por um veredicto satisfatório de seus leitores⁄juízes. O questionamento do paradigma da verdade e o desvendamento de uma retórica da sinceridade servem de embasamento neste nosso segundo objetivo. / This study has as subjective Feliz Ano Velho (1982), by writer Marcelo Rubens Paiva. Leaving of reflections concerning the memory writing, our intention is to point possible readings of the workmanship in question. The main one of them mentions the judiciary scene to it in the autobiography, in which the author carries through a double company: the inquisition of itself exactly and the military regimen. In this metaphoric court, the motivations of Marcelo would be the guilt for the proper misfortune - the corporal paralysis, after the diving in a lagoon, and the revolt ahead of the disappearance of the father, occurred during the brazilian ditatorial period, in years 1970. Also it is part of our research, the inquiry of the strategies undertaken for the autobiographer, in its search for a satisfactory verdict of its readers⁄ judges. The questioning of the paradigm of the truth and the clarification of a rhetoric of the sincerity serve of basement in this our as objective one.

Zugl.: Osnabrück, Universiẗat, Diss., 2004.

Thesis (M.A.)--The University of North Carolina at Greensboro, 2008. / Directed by Rebecca Adams; submitted to Dept. of Sociology. Title from PDF t.p. (viewed Aug. 14, 2009). Includes bibliographical references (p. 137-143).