Thesis (Ph. D.)--Columbia University, 1930. / Vita. Published without thesis note. "Bibliography of Roy's works": p. 356-359. Bibliography: p. 359-367.

Thesis--Salzburg. / Vita. Includes bibliographical references (p. 458-465).

<p>Roy Andersson är en internationellt hyllad regissör som genom användning av en stilistiskt, särpräglad bildestetik vunnit stort erkännande bland både kritiker och publik. Denna uppsats behandlar människo- och rumsgestaltning, samt granskning användningen av den komplexa bilden i ”En kärlekshistoria” (1970), ”Giliap” (1975) och ”Sånger från andra våningen” (2000). Med utgångspunkt från en hermeneutisk metod och auteurteori utförs analyser av dessa filmer.</p>

Roy Andersson är en internationellt hyllad regissör som genom användning av en stilistiskt, särpräglad bildestetik vunnit stort erkännande bland både kritiker och publik. Denna uppsats behandlar människo- och rumsgestaltning, samt granskning användningen av den komplexa bilden i ”En kärlekshistoria” (1970), ”Giliap” (1975) och ”Sånger från andra våningen” (2000). Med utgångspunkt från en hermeneutisk metod och auteurteori utförs analyser av dessa filmer.

Thesis (Ph. D.)--University of Florida, 1977. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 127-129).

Since it was first published, Gabrielle Roy's third novel, Alexandre Chenevert (The Cashier), has regularly been studied from the so-called "psychological" perspective while the hero's bodily dimension, as revealed through the narrative, has been generally ignored. But figuratively, literally and properly, what can be said about Alexandre's body? The aim of this study is to answer this question in two parts. First, by focussing on the cashier's body illnesses, we establish that his physical suffering is the metaphor of the psychological harm which affects him too, the prostate cancer illustrating his difficulty with oral and written communication. Then, through a semiotic reading of the body seen as a vector of communicative signs, we define the protagonist's behavioural attitude in relationship to other characters in the novel, we isolate the conditions behind the existence of various behaviours and, concurrently, we establish the poetics of the non-verbal. Our analysis reveals that the hero is able to use body language to his advantage, that the narrator shows him under his best light in this regard and that it is by this way, the non-verbal, that Alexandre succeeds in transmitting a message. If spoken words still conceal secrets for the cashier, body language has none. In fact, the character's alienation is confirmed but, for Alexandre, body language is a way to escape it.

Thesis (M.A.)--Brigham Young University. Dept. of French and Italian, 2007. / Includes bibliographical references (p. 78-79).

Thesis (M.A.)--George Mason University, 2007. / Title from PDF t.p. (viewed Jan. 21, 2008). Thesis director: Paula Ruth Gilbert. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Foreign Languages. Vita: p. 119. Includes bibliographical references (p.112-118). Also available in print.

Thesis (Ph. D.)--University of Florida, 1977. / Vita. Includes bibliographical references (leaves 127-129). Also issued in print.

Zugl.: München, Univ., Diss., 2003.