River on Fire" is the story of Randall Smith, a foundling orphan growing up in the midwestern United States in the late 1960s. Without the intimate guidance of loving parents, Randall struggles to understand a dangerous and confusing world during one of the most tumultuous times in modern history. Immensely readable and filled with humor and irony, "River on Fire" will both warm and break your heart. A Discussion/Study Guide is included at the end of the novel. / https://dc.etsu.edu/alumni_books/1031/thumbnail.jpg

Written in the tradition of American political suspense thrillers such as "Fail-Safe" and "Seven Days In May," "Bearclaw" uses their idealistic and nationalistic elements to tell a story of an American President eager to lead the world's peoples in a quest to achieve man's "highest destiny," the conquest of space. Believing that this common goal will cause mankind to come together in a spirit of brotherhood, he misreads the historical purpose of the United States and, in the end, refuses to recognize the obvious truths of human frailty and ambition even though he has been victimized by them. The Introduction is a brief survey of the sociopolitical and literary forces which combined to create the American political suspense thriller and an attempt to define its place in the literary canon.

Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages. Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Accompanying DVD is titled "Director reel" and contains a trailer for the film.

Orientador: Arnaldo Cortina / Banca: José Luiz Fiorin / Banca: Luiz Gonzaga Marchezan / Resumo: Este trabalho foi elaborado em continuação de um projeto de iniciação científica, financiado pela FAPESP e sob a mesma orientação, que analisou os romances policiais mais vendidos no Brasil na década de 1970, a partir de um levantamento realizado por Cortina (2006), em sua constituição narrativa sob uma perspectiva semiótica. O embasamento teórico de nossa pesquisa foi a semiótica discursiva, ou semiótica greimasiana, que estabeleceu o esquema narrativo canônico, composto por quatro programas narrativos, quais sejam a manipulação, a competência, a perfórmance e a sanção, e que se manifesta em todo e qualquer texto. Nos romances policiais, os programas narrativos são realizados por dois sujeitos do fazer indispensáveis à trama: o criminoso e o detetive. Cada um deles traça seu percurso, paralelamente ao outro, e eles se cruzam no último programa narrativo, o da sanção, no qual o detetive sanciona o criminoso negativamente e é sancionado positivamente pela sociedade. Nesta pesquisa de mestrado, analisamos as obras mais vendidas no Brasil nos primeiros anos do século XXI, que corresponde ao período de janeiro de 2000 a fevereiro de 2007, selecionadas a partir da mesma fonte usada por Cortina em seu levantamento, qual seja o Jornal do Brasil, e classificadas como romances policiais pelos próprios autores e pela crítica. Estabelecemos um corpus de vinte e dois romances policiais e fizemos uma análise dos elementos constituintes da narrativa em cada um deles. Posteriormente, comparamos os romances da década de 1970 (tradicionais) - cujo foco da narrativa é o percurso do detetive - com os romances do século XXI (contemporâneos) - cujo enfoque foi modificado, a fim de elencar as mudanças ocorridas no gênero policial. Nosso objetivo foi ampliar o conceito de gênero policial a partir dessas diferenças, destacando a expansão do modelo proposto por... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Ce travail a été elaboré suite à un projet d'initiation scientifique, financé par FAPESP et dirigé par le même directeur. Celui-ci a analysé les romans policiers les plus vendus au Brésil dans les années 70 à partir d'une recherche réalisée par Cortina (2006) dans leur constitution narrative sur la perspective sémiotique. La théorie que soutient notre recherche est la sémiotique discursive, ou sémiotique greimasienne, qui a établit le schéma narratif canonique, composé par quatre programmes narratifs : la manipulation, la compétence, la performance et la sanction ; et qui se manifeste à tout les types de texte. Les programmes narratifs des romans policiers sont realisés par deux sujets indispensables à la trame : l'assassin et le détective. Chacun d'eux suit son parcours parallèlement à l'autre et ils se croisent au dernier programme narratif, la sanction, dans lequel le détective sanctionne l'assassin négativement et il est sanctionné positivement pour la société. Dans cette recherche de Master, nous analysons les oeuvres les plus vendues au Brésil pendant les premières années du XXIème siècle, qui correspondent donc à la période de janvier 2000 à février 2007, sélectionnées de la même source utilisée par Cortina dans sa recherche, le Jornal do Brasil, et classées « roman policier » par les auteurs et la critique. Nous établissons un corpus de vingt deux romans policiers et nous faisons l'analyse des éléments qui composent la narration dans chacun d'eux. Ensuite, nous comparons les romans des années 70 (traditionnels) - dans lesquels toute l'attention se porte sur le parcours du détective - avec les romans du XXIème siècle (contemporains) - dans lesquels l'attention de la narration change - afin de mettre en évidence les différences qui apparaissent dans le genre policier. Notre objectif était... (Complete abstract click electronic access below) / Mestre

Made available in DSpace on 2014-06-11T19:26:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-02-23Bitstream added on 2014-06-13T20:34:55Z : No. of bitstreams: 1 massi_f_me_arafcl.pdf: 642456 bytes, checksum: c4d08a95ae71109d6491fbfedd9ccba8 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Este trabalho foi elaborado em continuação de um projeto de iniciação científica, financiado pela FAPESP e sob a mesma orientação, que analisou os romances policiais mais vendidos no Brasil na década de 1970, a partir de um levantamento realizado por Cortina (2006), em sua constituição narrativa sob uma perspectiva semiótica. O embasamento teórico de nossa pesquisa foi a semiótica discursiva, ou semiótica greimasiana, que estabeleceu o esquema narrativo canônico, composto por quatro programas narrativos, quais sejam a manipulação, a competência, a perfórmance e a sanção, e que se manifesta em todo e qualquer texto. Nos romances policiais, os programas narrativos são realizados por dois sujeitos do fazer indispensáveis à trama: o criminoso e o detetive. Cada um deles traça seu percurso, paralelamente ao outro, e eles se cruzam no último programa narrativo, o da sanção, no qual o detetive sanciona o criminoso negativamente e é sancionado positivamente pela sociedade. Nesta pesquisa de mestrado, analisamos as obras mais vendidas no Brasil nos primeiros anos do século XXI, que corresponde ao período de janeiro de 2000 a fevereiro de 2007, selecionadas a partir da mesma fonte usada por Cortina em seu levantamento, qual seja o Jornal do Brasil, e classificadas como romances policiais pelos próprios autores e pela crítica. Estabelecemos um corpus de vinte e dois romances policiais e fizemos uma análise dos elementos constituintes da narrativa em cada um deles. Posteriormente, comparamos os romances da década de 1970 (tradicionais) – cujo foco da narrativa é o percurso do detetive – com os romances do século XXI (contemporâneos) – cujo enfoque foi modificado, a fim de elencar as mudanças ocorridas no gênero policial. Nosso objetivo foi ampliar o conceito de gênero policial a partir dessas diferenças, destacando a expansão do modelo proposto por... / Ce travail a été elaboré suite à un projet d’initiation scientifique, financé par FAPESP et dirigé par le même directeur. Celui-ci a analysé les romans policiers les plus vendus au Brésil dans les années 70 à partir d’une recherche réalisée par Cortina (2006) dans leur constitution narrative sur la perspective sémiotique. La théorie que soutient notre recherche est la sémiotique discursive, ou sémiotique greimasienne, qui a établit le schéma narratif canonique, composé par quatre programmes narratifs : la manipulation, la compétence, la performance et la sanction ; et qui se manifeste à tout les types de texte. Les programmes narratifs des romans policiers sont realisés par deux sujets indispensables à la trame : l’assassin et le détective. Chacun d’eux suit son parcours parallèlement à l’autre et ils se croisent au dernier programme narratif, la sanction, dans lequel le détective sanctionne l’assassin négativement et il est sanctionné positivement pour la société. Dans cette recherche de Master, nous analysons les oeuvres les plus vendues au Brésil pendant les premières années du XXIème siècle, qui correspondent donc à la période de janvier 2000 à février 2007, sélectionnées de la même source utilisée par Cortina dans sa recherche, le Jornal do Brasil, et classées « roman policier » par les auteurs et la critique. Nous établissons un corpus de vingt deux romans policiers et nous faisons l’analyse des éléments qui composent la narration dans chacun d’eux. Ensuite, nous comparons les romans des années 70 (traditionnels) – dans lesquels toute l’attention se porte sur le parcours du détective – avec les romans du XXIème siècle (contemporains) – dans lesquels l’attention de la narration change – afin de mettre en évidence les différences qui apparaissent dans le genre policier. Notre objectif était... (Complete abstract click electronic access below)

在去經典化的後現代情境中，大眾小說從低俗、不入流的文本中擢升為熱門的文化研究題材。過去二十年，大眾小說的相關研究不勝枚舉，其方向不外乎是從文化研究的觀點，探討資本主義社會與文本商品化的文化現象以及從結構的內涵中，建構大眾文學的形式與指涉。大眾小說以公式化寫作(formula writing)為主，但類似故事以不同的形式組合與文本相互指涉(intertextuality)的運作，往往帶給讀者創新的感受，將我們從純粹的結構思維拉進入美學層次。本文將針對此美學議題，提出討論，從狹隘的結構與形態論述出發，來分析大眾驚悚小說的美學意涵。 本文選擇了三本美國當代驚悚作家丁.昆士(Dean Koontz)的驚悚小說(thrillers)Watchers, Mr. Murder以及Phantoms，運用Propp在故事形態學(Morphology of the Folktale)一書中所提出的敘述功能(narrative functions)以及戲劇人物(dramatis personae)來分析此小說的敘述形式，指出此敘述功能的複製，並非Koontz小說成功的唯一要素，而是要從形式美學的觀點出發，才能透視其小說的獨特性與大眾性。因此本文進一步使用Santayana在其The Sense of Beauty一書中形式(form)之美學理論來探討文本的美學脈絡。 Propp在Morphology of the Folktale中提出了敘述功能及戲劇人物兩個觀念來分析任何公式寫作的基本架構。敘述功能與戲劇人物的夾雜運用，產生了小說結構的複雜性。從此一形態學的理論出發，來檢視Koontz的驚悚要素，不得不進入美學的討論，才能完整地看出小說吸引人或成為bestsellers的特質。Santayana在The Sense of Beauty中提到美學最重要也是最有特色的問題就是形式美。他解釋並歸納出事物的形式美，存在於 “對稱性(symmetry)”、“單一形式的多樣性” (multiplicity in uniformity)”以及“心靈自然的創造性(the spontaneous creation in mind)”等形式標準。從形態與結構的研究進入美學的範疇，正是本文的主要架構。 本文第一章分析美學的基本論述，從Propp的形態學到Santayana的形式美學作為本論文的理論基礎；第二章討論Watchers中的敘述功能及戲劇人物如何體現對稱性的美學元素；第三章試圖挖掘Mr. Murder裡符合單一形式的多樣性之美學結構及角色設計；第四章則是分析Koontz如何善用心靈自然的創造性來運用類型(types)及想像力(imagination)的結合，幫助塑造Phantoms中的The Ancient Enemy一角；第五章總結本文是如何結合大眾小說的結構研究及美學思維，突破以往驚悚小說的狹隘結構與公式論述，也超越文化研究忽略文本的內在性與美學性，希望透過挖掘驚悚小說的美學價值，來解釋大眾小說的大眾性與美學之間的關係，重新定位驚悚小說的文學地位與小說家Koontz在此文類寫作的獨特性。 / During the recent two decades, the reputation of the popular genre, especially of those popular fictions, has been raised from chintzy stories for the purpose of entertainment to literary or cultural works, attracting great attention from academics. Popular fictions have been studied culturally and structurally to probe into the social phenomena and cultural significance. Known as the formula writings, popular fictions employ the intertextuality and the various combinations of elements used in similar stories to create the freshness for the reading experience, and, by those narrative strategies, elevate themselves into the realm of aesthetics. Here, the noted American thriller writer Dean Koontz’s three novels, Watchers, Mr. Murder, and Phantoms, are brought into discussion. Using Propp’s ideas of 31 narrative functions and the dramatis personae in his Morphology of the Folktale alone with Santayana’s three elements in the beauty of form stated in his The Sense of Beauty, this thesis strives to see through the regular formula writings and uncover their aesthetic uniqueness in these three thrillers. The three elements in terms of the beauty of form discussed here are “symmetry,” “multiplicity in uniformity,” and “the spontaneous creation in mind.” This thesis aims to pinpoint the aesthetic values in popular thrillers, illustrating the relationship between the popularity and aesthetics by morphologically analyzing the finite patterns and structures and aesthetically unspooling the beauty elements in them. It is anticipated to relocate the position of popular thrillers in literature and to redefine Koontz’s status as the master of popular and classical thriller writings

This master's thesis in Library and Information Science examines how the genre division of the horror fictionis constructed at the children and youth department of a library by studying subject headings of the titles.The aim is to examine what is included in the genre, in the two labelings called vampire and nail-biter/spine-chiller, what separates them, and what difference there is between children and youth thrillers/horror fiction. Also the cover designs and how readers portray these books are studied. The study is made in order to develop the knowledge of the genre to help librarians and borrowers. The great popularity of the genre among borrowers and people in general, and the importance of having knowledge of things that borrowers are interested in, are the motivation of performing the study. The method is a case study and conducted with and based on genre theory which shows how a genre is defined, how it can be divided and what conventions there are for the horror fiction in particular. Discourse analysis helps to see in between what frames the thriller is constructed, and how these elements subdivide the genre and influence it and those who encounter it, library borrowers and librarians. Di-scourse analysis also examines the standards of the thriller.The analysis showed that the discourse of horror fiction includes both the expected features, in terms ofgenre conventions, such as ghosts and vampires, and more commonplace such as sisters. The differences and similarities of these parts in the genre were discussed and compared in the light of discourse analysis and genre theory in order to reveal how these constructions might influence the readers and the borrowers. The major conc-lusions of the study is that the encounter between the unexpected and menacing, and the everyday life is what makes the thriller frightening, now as in history, and so it follows its genre conventions. The discourse of the hor-ror fiction standards are difficult to influence by being expected of borrowers and otherwise they are not thrillers. The study has shown that certain subjects recur more often than other which may affect the borrower in its per-ception of the genre. The genre division helps giving the borrower different kinds of frights and experiences. The joint is that the supernatural is present in the whole genre and convey feelings of excitement and fear which is the most important representative of the genre. This is a two years master’s thesis in Archive, Library and Museum studies.

The Master Thesis “Translation Strategies Used in Translating Tess Gerritsen’s Medical Thrillers: Paulina Kruglinskienė’s Translation of the Novel The Surgeon and Jonas Čeponis’ Translation of the Novel Life Support” analyses two novels written by Tess Gerritsen (The Surgeon and Life Support) and their Lithuanian translations by Paulina Kruglinskienė and Jonas Čeponis. The following hypothesis was raised: translation by using an equivalent item and low localization strategy are the most popular and useful translation strategies in translating medical terminology. The aim of this paper is to find out what translation strategies are the most popular while translating medical terminology in Paulina Kruglinskienė’s and Jonas Čeponis’ translations of Tess Gerritsen’s medical thrillers. These particular translators were chosen for this analysis due to the following reasons: they are the main translators of Tess Gerritsen’s novels into the Lithuanian language (both have transated six novels each), what is more, they both have medical background as well as long experience in translation. The purpose of this paper is to find out whether Paulina Kruglinskienė and Jonas Čeponis use similar translation strategies while translating medical terms into the Lithuanian language and how these strategies influence the quality of translation. The theoretical part analyses various aspects related with the translation of Tess Gerritsen’s medical thrillers: genre theory, features of thriller... [to full text] / Baigiamajame Magistro darbe “Tess Gerritsen medicininių trilerių “Chirurgas” ir “Užkratas” vertimų analizė: Paulinos Kruglinskienės ir Jono Čeponio vertimai” analizuojami du šios rašytojos romanai ir jų vertimai į lietuvių kalbą. Buvo iškelta hipotezė, kad tikslus atitikmuo (equivalent) ir angliškų terminų vertimas, pakeičiant tik nelietuviškas raides ir galūnes šitaip pritaikant juos prie lietuvių kalbos taisyklių (low localization) yra pagrindinės medicininių terminų vertimo strategijos. Šio darbo tikslas yra sužinoti, kokias vertimo strategijas naudoja Paulina Kruglinskienė ir Jonas Čeponis, versdami Tess Gerritsen medicininius trilerius. Šie du vertėjai buvo pasirinkti dėl kelių priežasčių: jie abu yra pagrindiniai Tess Gerritsen medicininių trilerių vertėjai į lietuvių kalbą (abu yra išvertę po šešis šios autorės romanus), abu vertėjai turi medicininį išsilavinimą ir didelę vertimo patirtį. Darbo tikslas yra išsiaiškinti, ar šie vertėjai naudoja panašias vertimo strategijas medicininiams terminams versti, ar ne ir kokią įtaką tam tikrų vertimo strategijų pasirinkimas turi vertimo kokybei. Teorinėje dalyje yra analizuojami įvairūs aspektai, susiję su Tess Gerritsen medicininių trilerių vertimu: žanras, trilerio žanras, jo požanriai, medicininių trilerių bruožai ir savybės, medicininės terminologijos ištakos ir pagrindiniai terminų vertimo sunkumai bei Eirly E. Davies vertimo strategijos, pagal kurias buvo grupuojami medicininiai terminai ir medicininių terminų ištakos... [toliau žr. visą tekstą]

Le genre filmique – moteur par excellence de la cinématographie hollywoodienne – s’est imposé, au cours des dernières décennies, comme un champ théorique à part entière des études cinématographiques. Or, sa reconnaissance tardive au sein de la recherche universitaire témoigne du paradoxe structurant le champ cinématographique hollywoodien. En effet, la tension qu’entretient Hollywood entre l’industrie du divertissement et le cinéma d’art se révèle d’une façon particulière à travers la notion de genre cinématographique, qui s’avère à la fois un canevas de fabrication et un espace de création. Ce mémoire vise l’étude du genre filmique selon trois articulations : d’un point de vue institutionnel, d’abord, en questionnant les enjeux du champ cinématographique hollywoodien ; d’un point de vue théorique, ensuite, au moyen d’une plongée au sein des conventions et des procédés de trois genres filmiques ; et finalement, à travers l’analyse d’un corpus de films du réalisateur David Lynch. Ainsi, l’œuvre de Lynch, par son caractère marginal, inclassable et profondément étrange, donnera lieu à un parcours, certes, atypique, mais néanmoins significatif de ces trois niveaux de l’étude du genre filmique, dictant par le fait même une division en deux parties du travail. Dans un premier temps, le mémoire s’attardera à mettre en perspective la définition du champ hollywoodien et la trajectoire de Lynch, ce qui nous permettra d’identifier trois genres filmiques qui présentent un ancrage particulier au sein de la filmographie lynchienne, soit le thriller, le film noir et l’horreur. Dans un deuxième temps, nous procéderons à l’analyse filmique de Blue Velvet (1986), Lost Highway (1997) et Mulholland Drive (2001), trois films qui adoptent la logique de la trilogie en proposant, reprenant, puis aboutissant à un certain nombre de motifs issus des conventions génériques. Ainsi, les grilles de lecture des genres filmiques explorés par le cinéaste permettront d’observer la dimension à la fois classique et expérimentale de l’œuvre lynchienne par rapport à la cinématographie hollywoodienne tout en exposant les innovations du cinéaste à l’égard d’éléments génériques spécifiques. / The film genre – the driving force par excellence of Hollywood cinematography – has established itself in recent decades as a theoretical field in its own right in Film Studies. However, its late recognition within academia testifies to the paradox underlying Hollywood cinematography. Indeed, the tension that Hollywood maintains between the entertainment industry and art cinema is revealed in a particular way through the concept of cinematographic genre, which turns out to be both a canvas for production and a space for creation. This thesis aims to study the film genre according to three articulations: first, from an institutional perspective by questioning the challenges within the Hollywood cinematographic field from a theoretical point of view; second, by exploring the conventions and processes of three film genres; and thirdly, through the analysis of a corpus of films by director David Lynch. Thus, Lynch's work, by its marginal, unclassifiable and profoundly strange character, will lay the foundation for an admittedly atypical, but nevertheless significant analysis of these three levels of study of the film genre, thereby dividing this work in two parts. Initially, the thesis will focus on putting into perspective the definition of the Hollywood field and Lynch's trajectory, which will allow us to identify three significant film genres within Lynch’s filmography, namely the thriller, film noir and horror. In a second step, we will proceed with the filmic analysis of Blue Velvet (1986), Lost Highway (1997) and Mulholland Drive (2001), three films which adopt the logic of a trilogy by proposing, summarizing then culminating in a certain number of motifs from generic conventions. Thus, the analytical perspectives from the film genres explored by the filmmaker will allow us to observe both the classical and experimental style of the Lynchian work in Hollywood cinematography while exhibiting the filmmaker's contribution to certain elements of filmic genre.