Global ETD Search

1	Words speak louder than actions : Om intertextuella kopplingar mellan John Ajvide Lindqvist Människohamn och The Smiths musik i karaktäriseringen av Henrik och Björn. Daun, Patrik January 2015 (has links) I denna uppsatsen undersöker jag hur John Ajvide Lindqvist i sin roman Människohamn karaktäriserar två centrala karaktärer genom att låta dem prata nästintill uteslutande i citat från kultbandet The Smiths. Vad säger detta om Henrik och Björn som personer och varför använder John Ajvide Lindqvist de specifika citat som han gör? Jag undersöker även kort huruvida Människohamn kan kategoriseras som skräckroman utifrån de kriterier som Yvonne Leffler lyfter fram i Skräck som fiktion och underhållning från 2001. John Ajvide Lindqvist karaktärisering intertextualitet skräck The Smiths
2	“In Our Different Ways We Are The Same”: Representations of Disability in the Music and Persona of Morrissey Manco, Daniel Jeremy 31 July 2009 (has links) No description available. Mass Media Minority and Ethnic Groups Music Morrissey Smiths Disability
3	Bargain theater a dramaturgical analysis of a flea market / Medlin, Allison Kay. Molnar, Joseph J., January 2008 (has links) (PDF) Thesis (M.S.)--Auburn University, 2008. / Abstract. Includes bibliographical references (p. 103-105).
4	Det populärkulturella minnet i samtida skönlitteratur : En intertextuell läsning av Amanda Svenssons Hey Dolly / The “Popular Cultural Memory” in Contemporary Fiction : An Intertextual Reading of Hey Dolly by Amanda Svensson Peltola, Mikael January 2010 (has links) Adapting the concept of the ”popular cultural memory” and its necessary “context knowledge” established by Karin Kukkonen, this bachelor thesis seeks to examine how this memory is “at work” and expresses itself in contemporary fiction, by doing an intertextual reading of the swedish author Amanda Svensson's debut Hey Dolly. Within the intertextual structures of Hey Dolly the reader encounters allusions and references that address almost everything from contemporary popular culture to established authors in the swedish canon, mainly as means for the characters to help them express their emotions and thoughts, by “choosing” from already available content of popular culture to use and modify. The intertextuality alluding to the popular cultural memory does at the same time address the concept of the ideal reader throughout the novel. This ideal reader is addressed by the narrator as one of those “in the know”, as competent enough to see this “popular cultural memory” at work in the novel by “getting” these intertextual allusions and references. Thus any (real) reader has to be equipped with the same expertise of popular culture as the narrator in order to fully understand this intertextuality. The intertextual practices of Hey Dolly should be understood as traits used by the author to express and implicate her/his awareness of the texts “surroundings”, traits indeed found even in the name of Hey Dolly's main protagonist, symptomatically influenced from contemporary, western American commercial culture. Given the premiss where this intertextual framework relies on a heavily contemporary influenced popular cultural context, it potentially would run the risk of not being understood, should future popular culture contexts operate under different premisses. In this regard the high cultural canon memory would have to be regarded as being more stable and “reliable” than the popular cultural memory, as the norms for the canon are more fixed and rarely negotiated. Arguing that this intertextual reading of Hey Dolly is of an immense value and significant for understanding how the Zeitgeist operates and should be approached, this thesis is still based on the premiss where the intertextual reading of Hey Dolly has largely been nonexistent when looking at how Hey Dolly has been received. Instead in the swedish media we find a consistent dominance of how its reception has been read from almost exclusively a gendered point of view, where Hey Dolly is seen and regarded as the forthcoming of a new representation of the girl/woman ideal. The intertextual reading of Hey Dolly would instead be regarded as “secondary” at best, where the story by itself is self sufficient, even if the reader lacks the necessary context knowledge of how this ”popular cultural memory” is at work in the text. Hey Dolly Amanda Svensson Karin Kukkonen popular cultural memory popular culture Mikhail Bakhtin Julia Kristava intertextuality postmodernism Neil Gaiman Tory Amos The Smiths Harry Martinsson Karin Boye Hey Dolly Amanda Svensson Karin Kukkonen populärkulturellt minne populärkultur Mikhail Bakhtin Julia Kristava intertextualitet postmodernism Neil Gaiman Tory Amos The Smiths Harry Martinsson Karin Boye Literature Litteraturvetenskap
5	Geology of the Phil Pico Mountain Quadrangle, Daggett County, Utah, and Sweetwater County, Wyoming Anderson, Alvin D. 25 April 2008 (has links) (PDF) Geologic mapping in the Phil Pico Mountain quadrangle and analysis of the Carter Oil Company Carson Peak Unit 1 well have provided additional constraints on the erosional and uplift history of this section of the north flank of the Uinta Mountains. Phil Pico Mountain is largely composed of the conglomeratic facies of the early Eocene Wasatch and middle to late Eocene Bridger Formations. These formations are separated by the Henrys Fork fault which has thrust Wasatch Formation next to Bridger Formation. The Wasatch Formation is clearly synorogenic and contains an unroofing succession from the adjacent Uinta Mountains. On Phil Pico Mountain, the Wasatch Formation contains clasts eroded sequentially from the Permian Park City Formation, Permian Pennsylvanian Weber Sandstone, Pennsylvanian Morgan Formation, and the Pennsylvanian Round Valley and Mississippian Madison Limestones. Renewed uplift in the middle and late Eocene led to the erosion of Wasatch Formation and its redeposition as Bridger Formation on the down-thrown footwall of the Henrys Fork fault. Field observations and analysis of the cuttings and lithology log from Carson Peak Unit 1 well suggest that initial uplift along the Henrys Fork Fault occurred in the late early or early middle Eocene with the most active periods of uplift in the middle and late Eocene (Figure 8, Figure 24, Appendix 1). The approximate post-Paleocene throw of the Henrys Fork fault at Phil Pico Mountain is 2070 m (6800 ft). The Carson Peak Unit 1 well also reveals that just north of the Henrys Fork fault at Phil Pico Mountain the Bridger Formation (middle to late Eocene) is 520 m (1710 ft) thick; an additional 460 m (1500 ft) of Bridger Formation lies above the well on Phil Pico Mountain. Beneath the Bridger Formation are 400 m (1180 ft) of Green River Formation (early to middle Eocene), 1520 m (5010 ft) of Wasatch Formation (early Eocene), and 850 m (2800 ft) of the Fort Union Formation (Paleocene). Stratigraphic data from three sections located east to west across the Phil Pico Mountain quadrangle show that the Protero-zoic Red Pine Shale has substantially more sandstone and less shale in the eastern section of the quadrangle. Field observations suggest that the Red Pine Shale undergoes a facies change across the quadrangle. However, due to the lack of continuous stratigraphic exposures, the cause of this change is not known. Eocene Red Pine Shale Uinta Mountains Bridger Formation Wasatch Formation Henrys Fork Fault Uplift uplift history anticline syncline Laramide Green River Formation Bishop Conglomerate inverted cobble stratigraphy unroofing unroofing sequence conglomerate Phil Pico Mountain Flaming Gorge Utah Wyoming Paleocene clast erosional history north flank facies change strike-slip fault Madison Limestone Weber Sandstone Vr VrTwo VrOne geologic mapping geology glacial deposits Smiths Fork Uinta thrust cuttings lithology log erosion Carson Peak well geologic map cross-section stratigaphy stratigraphic column unit descriptions tectonic history Tertiary depositional deposition Proterozoic Precambrian Geology

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