The thesis is focused on the topic Italo Calvino and Italian Falktales referring to the collection Sulla fiaba. This thesis presents the life and lifework of Italo Calvino, describes the studying of the Italian falktales, explains the influence of Ariosto at Calvino's production. My thesis devotes to the situation on the Italian territory and analyses the tales contained in the collection Fiabe italiane, in detail refers to the animals which appear in the tales from Tuscany, Sicily, Venice and Friuli. The thesis is written in Italian language.

The gokan is a medium of pre-modern Japanese literature where the story is told through a mixture of text and image on every page, with the narrative and dialogue of the story surrounding the image illustrations on all sides. The Nise Murasaki inaka Genji (A Rustic Genji by a Fake Murasaki, 1829-42), written by Ryutei Tanehiko (1783-1842) and illustrated by Utagawa Kunisada (1786-1865), was one of the most popular gokan of the Edo Period (1605-1868) and has been republished approximately twenty-four times from the end of the nineteenth century until today. By examining how these works handle text and image, this thesis seeks to gain a deeper understanding about how image functions in the gokan genre. When text must be translated and the image altered from the original layout to make it comprehensible to modern readers, the resulting text and image combinations, or lack of image, offer insight into the importance of the role of image in gokan.

This comparative project investigates different representations of the sandman between the 19th century and the 20th century. My discussion focuses on Romantic texts, in particular E.T.A. Hoffmann's 1816 literary tale "Der Sandmann." While the traditional scholarship on Hoffmann uses both psychoanalytical and feminist approaches, I show how Friedrich Schlegel's concept of chaos and Jean-François Lyotard's concept of the postmodern sublime help us to understand Hoffmann's complex narrative structure. I argue that in Hoffmann's tale there is no unified sandman figure. However, different storytellers in the tale shape the sandman's various depictions. In a way, the sandman figure becomes a fluid character whose enigma the narrative's structure sustains. Paul Berry's 1991 stop-motion animation "The Sandman" visualizes Hoffmann's narrative. However, the film also reintroduces a unified sandman figure that is characterized by uncanny strangeness. My analyses both of Hoffmann's literary and Berry's cinematographic narrative show that their complex structures allow for ceaseless interpretations. This leads me to conclude that fantastic narratives lend themselves to insightful and critical ponderings.

O presente trabalho visa estabelecer uma reflexão sobre o conto e mais propriamente sobre a linguagem como aquilo que propicia e concede ao homem a sua essência. Para isto, tem como proposta estabelecer uma leitura do livro Grande sertão: veredas, de Guimarães Rosa, à luz de alguns versos de Fernando Pessoa, especialmente um verso do heterônimo Ricardo Reis: somos contos contando contos, nada. Nesta esteira, o presente estudo procura estebelecer afinidades eletivas entre os textos pela via do tema proposto. Neste sentido, considera-se que Fernando Pessoa fez da sua vida uma grande obra literária, sendo ele próprio um conto a contar contos, sendo a experiência heteronímica a evidência do poder de criação da língua vivenciado pelo escritor. Considera-se também que a obra Grande sertão: veredas de Guimarães Rosa pode ser lida como um grande conto, tendo por base uma declaração feita pelo próprio autor em entrevista. Desta forma, o presente trabalho procura desenvolver o gesto de contar como a forma como o homem torna o mundo habitável, abordável, e também como a prova de sua própria existência, sendo o gesto de colocar as palavras a caminho a forma de realizar a travessia da vida através das palavras / This study aims to provide a reflection on the tale and more specifically on language as that which propitiate man and his essence. For this, is proposing to establish a reading of the book Grande Sertão: veredas, from Guimarães Rosa , in the light of some verses of Fernando Pessoa, especially a verse from heteronym Ricardo Reis: "We are telling tales tales, nothing." On this track, the present study seeks establish elective affinities between texts by the proposed theme. In this sense, it is considered that Fernando Pessoa made your life a great literary work, being himself a tale that tell tales, the heteronyms are an evidence of the power of language creation experienced by the writer. It is also considered that the work Grande sertão: veredas, from Guimarães Rosa, can be read as a great tale, based on a statement made by the author in an interview. Thus , this paper seeks to develop the gesture of telling as to how the man makes the world affordable, as well as proof of his own existence , and the gesture of putting the words on the way how to make the crossing of life through words

O presente trabalho visa estabelecer uma reflexão sobre o conto e mais propriamente sobre a linguagem como aquilo que propicia e concede ao homem a sua essência. Para isto, tem como proposta estabelecer uma leitura do livro Grande sertão: veredas, de Guimarães Rosa, à luz de alguns versos de Fernando Pessoa, especialmente um verso do heterônimo Ricardo Reis: somos contos contando contos, nada. Nesta esteira, o presente estudo procura estebelecer afinidades eletivas entre os textos pela via do tema proposto. Neste sentido, considera-se que Fernando Pessoa fez da sua vida uma grande obra literária, sendo ele próprio um conto a contar contos, sendo a experiência heteronímica a evidência do poder de criação da língua vivenciado pelo escritor. Considera-se também que a obra Grande sertão: veredas de Guimarães Rosa pode ser lida como um grande conto, tendo por base uma declaração feita pelo próprio autor em entrevista. Desta forma, o presente trabalho procura desenvolver o gesto de contar como a forma como o homem torna o mundo habitável, abordável, e também como a prova de sua própria existência, sendo o gesto de colocar as palavras a caminho a forma de realizar a travessia da vida através das palavras / This study aims to provide a reflection on the tale and more specifically on language as that which propitiate man and his essence. For this, is proposing to establish a reading of the book Grande Sertão: veredas, from Guimarães Rosa , in the light of some verses of Fernando Pessoa, especially a verse from heteronym Ricardo Reis: "We are telling tales tales, nothing." On this track, the present study seeks establish elective affinities between texts by the proposed theme. In this sense, it is considered that Fernando Pessoa made your life a great literary work, being himself a tale that tell tales, the heteronyms are an evidence of the power of language creation experienced by the writer. It is also considered that the work Grande sertão: veredas, from Guimarães Rosa, can be read as a great tale, based on a statement made by the author in an interview. Thus , this paper seeks to develop the gesture of telling as to how the man makes the world affordable, as well as proof of his own existence , and the gesture of putting the words on the way how to make the crossing of life through words

In this paper I will discuss the personal process of making a film, specifically as it relates to my thesis Galatea. I will do this be examining the individual aspects of filmmaking, including but not limited to: writing, directing, production design, cinematography, editing, and visual effects.

The ability to precisely regulate gene expression patterns and to modify genome sequence in a site-specific manner holds much promise in determining gene function and linking genotype to phenotype. DNA-binding modules have been harnessed to generate customizable and programmable chimeric proteins capable of binding to site-specific DNA sequences and regulating the genome and epigenome. Modular DNA-binding domains from zinc fingers (ZFs) and transcriptional activator-like effectors (TALEs) are amenable to engineering to bind any DNA target sequence of interest. Deciphering the code of TALE repeat binding to DNA has helped to engineer customizable TALE proteins capable of binding to any sequence of interest. Therefore TALE repeats provide a rich resource for bioengineering applications. However, the TALE system is limited by the requirement to re-engineer one or two proteins for each new target sequence. Recently, the clustered regularly interspaced palindromic repeats (CRISPR)/ CRISPR associated 9 (Cas9) has been used as a versatile genome editing tool. This machinery has been also repurposed for targeted transcriptional regulation. Due to the facile engineering, simplicity and precision, the CRISPR/Cas9 system is poised to revolutionize the functional genomics studies across diverse eukaryotic species. In this dissertation I employed transcription activator-like effectors and CRISPR/Cas9 systems for targeted genome regulation and editing and my achievements include: 1) I deciphered and extended the DNA-binding code of Ralstonia TAL effectors providing new opportunities for bioengineering of customizable proteins; 2) I repurposed the CRISPR/Cas9 system for site-specific regulation of genes in plant genome; 3) I harnessed the power of CRISPR/Cas9 gene editing tool to study the function of the serine/arginine-rich (SR) proteins.

This article focuses on the dialogues within and between Disney's The Princess and The Frog and a 1930s animated series about a young Black boy-Little Ol' Bosko. Both films feature Black characters who navigate a fairy tale world set in the swamps of southern Jim Crow era America in which they grapple with fears about reductive and demeaning black film stereotypes. Although they are in some ways trapped within the white gaze of the film's meaning, I argue that in their fantasies, both Bosko and Tiana outmaneuver the regime of representation that underlies racial stereotyping, opening a space for trans-coding and revision of its meanings. In addition, a comparison of the films demonstrates a clear improvement from the 1930s in terms of an increased differentiation in the representation of Black Americans, acknowledging, if not embodying, the fact that "Black America" is a diverse and complex reality.

Roald Dahl does not easily fit into a category as a writer, contributing fiction and nonfiction to both children and adult audiences. Faced with this ambiguity, the literary community has mostly ignored his contributions since he is mainly viewed as a children‘s author. Late in life, Dahl created two autobiographies, Boy: Tales of Childhood (1984), and Going Solo (1986), as venues for sharing his many embellished, personal stories. This thesis focuses on Going Solo, the second of these two books which explores Dahl‘s three-year departure from England, including his enlistment in the Royal Air Force during World War II. During this same time period, he wrote 126 personal letters and telegrams to his family. He had experienced much change in his life during the nearly fifty-year gap from when the letters were written to when he crafted Going Solo for a more general audience. By comparing this personal correspondence to Going Solo, it is possible to see how memory and self-selection permitted the author to craft a personal narrative interested as much in reconstructing his public persona as recounting true events from his past. This thesis asserts that Dahl does not rely exclusively on his letters when reconstructing the narrative and instead inserts himself into a larger historical narrative. Dahl used Going Solo to point to the locations where his personal narrative collides with history and emotions. This is particularly true in the last half of the book where he comes to rely on historical touchstones. It is full of places and people which evoke memories and strong feelings for him. Dahl also relied on techniques and motifs found in folktales, features that make his work of particular interest to folklorists. The final chapter offers an examination of these techniques used in The BFG, Dahl‘s most autobiographical work of children‘s literature, written only four years prior to Going Solo. By paying closer attention to his methodology, we gain a clearer understanding of how folklore functions in the development of literary personal narrative.

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