Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 195-200).

In this work, the idea of transportation via advertising is explored, specifically, transportation by means of print advertising. Transportation has been demonstrated to occur when one is observing some form of traditional media and becomes “carried away” by the narrative. The concept of transportation itself, an explanation of the idea of grotesque, and the manner and extent to which transportation takes place when viewing certain print ads will be analyzed. Transportation is described as one of three styles (modes) of engagement observed in this study, the other two being identity based and what is termed “immersion”. First, a review of relevant literature on narrative transportation an the use of grotesque imagery (defined below) to facilitate tr3ansportation, or at least a more powerful brand experience in high-end print advertising is provided; then the author develops the research question. Next, a series of depth interviews a survey considers the effects of narrative imagery in drugstore cosmetics print advertising. Findings are discussed, and theoretical explanations are provided. The report concludes with managerial implications and suggestions for future research. / text

Texte remanié de: Diss.--München, 1993. / Bibliogr. sélective p. 149-172. Table des ill.

The purpose of this paper is to show that the English dramatic grotesque is linked inextricably with the medieval stage upon which it originated and that the contemporary Theatre of the Absurd, as it has been called, has at its base a philosophy distinctly medieval which initially gave rise to that dramatic grotesque. This thesis presupposes three essential points of examination. First, the term "English dramatic grotesque" must be completely understood. This task shall be accomplished by a look at the etymology of the term through analysis of its historical background and by definition. Next, the origins of the English dramatic grotesque in medieval culture will be revealed. Finally, correlations between the medieval stage and the Theatre of the Absurd will be drawn, thereby completing the most important observation made in the thesis. While much has been written about the grotesque and the literature of the grotesque, surprisingly few authors have concerned themselves with the various manifestations of the grotesque when presented upon the stage. Because of this, chapter two, though perhaps not concerned directly with the paper's thesis, is, however, a valuable touchstone of meditation upon the subject of the grotesque in drama. May it, as well as the rest of the paper, serve to stimulate thought and further investigation into the topics raised. But most importantly, may it serve to stimulate imagination which after all is the precursor of all aesthetic endeavors.

No description available.

Thesis (doctoral)--Université de Tours, 1996. / At head of title: Université François Rabelais, Tours. Groupe de recherche littérature et nation. Includes bibliographical references (p. 410-425).

Thesis (doctoral)--Université de Tours, 1996. / At head of title: Université François Rabelais, Tours. Groupe de recherche littérature et nation. Includes bibliographical references (p. 410-425).

Dissertation--Frankfurt am Main, 2006. / Bibliogr. p. 287-306.

Thesis--Bonn. / Vita. Includes bibliographical references (p. 430-438).

Thesis--Freiburg im Breisgau. / Includes bibliographical references (p. 271-289).