This doctoral thesis is situated within the digital design field of architecture, and is a continuation of the licentiate thesis Architectural Prototypes: Modes of Design Development and Architectural Practice, presented at the KTH School of Architecture in 2008. The doctoral thesis investigates the current status of the digital design field of architecture, and identifies a number of related discourses. Within this field, it identifies a period of formation, which in recent years has turned into a process of reformation. It contributes to this ongoing reformation by proposing two alternate areas of future practice and research within the field. A speculative approach is considered to be important for a continued mode of exploration within the field, and is suggested as away to bring new scope to the digital design field. A number of key terms from the field of science fiction studies have been investigated to support the construction of a speculative framework for further development. A strategic approach is regarded as crucial to the way new design potentials that have emerged within the digital design field to be implemented into general architectural practice, and to further inform the field itself. Key concepts have been imported from the field of strategic management in the formulation of a framework for digital design strategies. The notion of the prototype, as explored in the previous licentiate thesis, resurfaces as a prototypical approach, which could be equally employed in the speculative approach and the strategic approach. The doctoral thesis is also situated within the field of research-by-design, in the way architectural design projects have been facilitated as contextualized experiments, selected, documented and aligned in regard to terminology, and analyzed through a series of design project enquiries. / QC 20120528

Dans le cadre de ce travail, il est question d’analyser un corpus de néologisme épuisé dans plusieurs journaux de 19ème siècle. En effet, nous avons étudié des nouvelles formes néologiques, lexicales et syntaxiques, et les procédés de formation néologique que les journalistes avaient choisis pour faire face à la modernité que le monde arabe et du coup la langue arabe ont connue à cette époque, appelée l’époque de la renaissance où le lexique a connu un plein essor à l’aide de plusieurs procédés de formation néologique, tels l’emprunt, le changement sémantique et la création morphosyntaxique. Cet essor paraît en réalité comme le résultat nécessaire d’une alliance de deux facteurs: celui de la communauté linguistique, avec ses besoins de se renouveler sans cesse et le temps qui accentue cette nécessité; celle de créer des mots nouveaux pour répondre à ses besoins nouveaux. Nous avons traité ce sujet en trois parties : la première porte sur des problèmes théoriques de la néologie. Autrement dit, une réflexion théorique sur le phénomène même où nous avons ainsi soulevé quelques-unes des problématiques dérivant de l’analyse de la néologie, tels, l’histoire et la définition de la néologie et celle du néologisme auxquelles nous avons consacré le premier chapitre de la deuxième partie, la néologie et les approches linguistiques modernes que nous avons traitées dans le deuxième chapitre et le problème des typologies et de classifications abordé dans le troisième chapitre.La deuxième partie, quant à elle, nous l’avons consacrée à l’analyse des néologismes lexicaux de notre corpus en trois chapitres où nous avons traité dans chacun l’un des aspects de la néologie. Dans le premier, nous avons analysé les néologies de forme, d’après l’approche théorique d’A. Roman qui divise le système de l’arabe en deux sous-systèmes à savoir le système de nomination qui se préoccupe de la formation des unités lexicales simples et son jumeau le système de communication qui se charge de la formation des unités complexes. Le deuxième chapitre, nous l’avons réservé à l’analyse des autres néologismes crées par d’autres moyens du système de l’arabe. Il s’agit, dans ce cas, des néologismes sémantiques produits par des procédés sémantiques, en l’occurrence le processus tropologique, métaphore et métonymie, paratropologique, extension et resserrement de sens. Dan le troisième chapitre, nous avons étudié les néologismes venus d’autres systèmes linguistiques, en l’occurrence des termes que les journalistes ont empruntés à des langues étrangères.Dans la troisième partie, nous avons abordé le problème de néologie syntaxique en deux chapitres: dans le premier, nous avons traité les néologismes survenus dans le domaine verbal, notamment les nouvelles relations entre des modus verbaux et leurs expansions complétives. Quant au deuxième, nous y avons révélé et analysé certains changements concernant quelques fonctionnels, tels que, des coordonnants, des translatifs. / Within the framework of this work, it is question to analyze a corpus of neologism exhausted in several newspapers of 19th century this Indeed, we studied new neological, lexical and syntactical forms, and the processes of neological formation which the journalists had chosen to face the modernity which the Arabic world and the blow the Arabic language knew about this time period, called up the period of the revival where the lexicon knew a full development by means of several processes of neological formation, such the loan, the semantic change and the morphosyntactic creation. This development appears in reality as the necessary result of an alliance of two factors that of the speech community, with its needs being ceaselessly renewed and the time which stresses this necessity: that to create new words to answer These new needs. We treated this subject in three parts: The first one concerns theoretical problems of the neology.Such, the history and the definition of the neology and that of the neologism to whom we dedicated the first chapter of the second part the neology and the modern linguistic approaches which we treated in the second chapter and the problem of the typologies and the classifications approached on the third chapter.The second part, as for her, we dedicated her to the analysis of the lexical neologisms of our corpus in three chapters where we treated in each one of the aspects of the neology. In the first one, we analyzed the neologies of shape, according to the theoretical approach of A. Roman who divides the system of Arabic into two sub-systems namely the system of appointment which worries about the formation of the simple unités items and his twin the system of communication which takes care of the formation of the complex units. The second chapter, we reserved him(it) for the analysis of the other neologisms create by the other means of the system of Arabic. It is, in that case, about semantic neologisms produced by semantic processes, in this particular case the process tropologique, metaphor and metonymy, paratropologique, extension and contraction of sense. In the third chapter, we studied the neologisms come from the other linguistic systems, in this particular case the terms which the journalists borrowed from foreign languages.In the third part we approached the problem of syntactic neology in two chapters: in the first one, we treated the neologisms arisen in the verbal domain, in particular the new relations between verbal modus and their substantival expansions. As for the second, we revealed there and analyzed certain changes concerning some functional, such as, co-ordinating conjunctions, translative.

No description available.

This dissertation examines dog and idiot tropes—and, specifically, the conflation thereof—in William Faulkner’s The Sound and the Fury (1929), John Steinbeck’s Of Mice and Men (1937), and Cormac McCarthy’s Blood Meridian, Or The Evening Redness in the West (1985). In addition to illustrating the key roles the idiot/dog figure plays in canonical works of twentieth-century U.S. fiction, it argues that this conflation is too often presumed to signify denigration (i.e. a social, political, and ethical exclusion) and degeneration (i.e. a biological threat). Around the turn of the century, the idiot/dog emerges as an aesthetic figure in conjunction with contemporaneous practices of dog breeding and eugenics, as well as co-extensive discourses of national progress and racial purity. In this context, literary idiot/dogs can be read as enciphering a violent historical subtext. Yet, rather than simply condemn this figure as a dehumanizing stereotype, this dissertation challenges such a reductive approach on the grounds that it risks reproducing a hermeneutic that is both ableist and speciesist. A new approach is proposed: reading for the tropological confusion of idiocy and caninity and the destabilizing affective and epistemological effects this poses for liberal subjectivity. Reading for tropological confusion in the fictions of Faulkner, Steinbeck, and McCarthy not only develops new interpretations of three canonical works; it unlocks the idiot/dog figure as a site of textual excess. In so doing, this dissertation makes original contributions to twentieth-century U.S. fiction scholarship, Disability Studies, Animal Studies, and biopolitical theory. The idiot/dog figure’s in/determination—a paradoxical embodiment of humanized canine animality and animalized human mental disability—catalyzes hermeneutic and affective uncertainties. Ultimately, both impinge upon questions of readers’ own abilities to: (i) fully parse the fictions idiot/dogs appear in, and (ii) self-reflexively understand themselves as autonomous, human(e) subjects. Each chapter carefully elaborates this figure’s centrality to the textual operations of, respectively, The Sound and the Fury, Of Mice and Men, and Blood Meridian in terms of their narrative and meta-narrative dimensions; this reveals under-examined continuities. By arguing for idiot/dogs’ disruptive potentials (i.e. affective, epistemological, and ethical), this dissertation bridges and extends previous Disability Studies and Animal Studies interventions that link literary representations to social and material contexts. Also, it further intervenes in these subfields by elaborating the biopolitical reasons for and ramifications of the idiot/dog figure’s emergence in twentieth-century Anglo-American fiction. Each chapter outlines how and why idiot/dog figures constitute a means for harmonizing readers’ experiences, thoughts, desires, and feelings with the normative U.S. social and symbolic order—a national order that hinges on recognitions and denials of human subjectivity, as well as on the production of subjectivity in which fiction is implicated. Ultimately, by closely analyzing literary idiot/dog figures, this dissertation contributes a biopolitical critique of the ontological production and governability of readerly subjects themselves. / Graduate / 2021-09-05

This project is by and large a project of elucidation: it may add something to studies of Kenneth Burke, but I doubt it adds much to Kenneth Burke's studies. This thesis begins and ends with analyses of Burke's famous motto Ad Bellum Purificandum (or Toward the Purification of War). The Introduction focuses on "war" while the Conclusion focuses on "purification." In short, purified war is a dialectical activity which actively and perpetually pits divergent perspectives against each other. Such an activity keeps the conflictual nature of divergent perspectives in verbal and symbolic arenas rather than physical ones. Burke owes this formulation to Friedrich Nietzsche's concept of "war" as an attitude toward life. Even as a project of elucidation, this formulation of Ad Bellum Purificandum still suggests related areas of study too extensive for one essay. The chapters of this thesis each comprise a foray into these areas. First, it is clear that Burke intends Ad Bellum Purificandum to be a means toward approaching more universal vocabularies, or what Burke calls a "consciousness of linguistic action generally" (Burke, Grammar 317). This poses a significant difficulty especially in regards to Burke's critical basis in Nietzsche. The problem is this: if all language, symbols, and thought are irreducibly and subjectively metaphoric (as both Nietzsche and Burke clearly agree on) then a universal frame of epistemological reference is impossible. Resolving this paradox is key in the purification of war. This involves resituating Burke's "representative anecdote" which he connects to the purification of war. Next, a study of dialectic itself is necessary since Burke's use of war is essentially dialectical. Because dialectic is the proving of equal contraries, and because dialectic implies learning new perspectives, such a project would view dialectic vis-à-vis democracy vis-à-vis education. Finally this project explains whereby a study of war's purification turns toward Kantian concerns having begun from Nietzschean questions. These projects (and others) serve toward an understanding (and therefore more effective purification) of Burke's use of "war."

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Ce mémoire vise à explorer quelles conventions narratives dans les romans policier son essentiel pour un dénouement satisfaisant chez le lecteur. En utilisant une approche critique littéraire et (post)structuraliste de la création d’un texte, nous pouvons attribuer l’essentiel du sentiment de satisfaction produit par la fiction policière à la relation étroite entre l’écrivain et le lecteur. C’est en comprenant le rôle d'un lecteur et celui d'un écrivain que l'écrivain peut rédiger un texte satisfaisant. Ceci est accompli en utilisant les conventions narratives et les attentes du genre (et du format de l'art) et en les présentant d'une manière inattendue. Ce mémoire contribue à une compréhension plus approfondie des thèmes de la narratologie et de la fiction policière anglaise. En tant que corpus principal, le mémoire sera composé de deux études de cas distinctes qui serviront d'exemples afin de démontrer l'argument principal. La première étude de cas est Evil Under the Sun d’Agatha Christie, qui sert d’exemple d’un roman policier conventionnelle. Le deuxième cas d’étude est Caïn’s Jawbone de Torquemada, qui sert d’exemple d’un roman policier non conventionnelle. Le but de ces études de cas est d’analyser l’efficacité de certains aspects de l’intrigue narrative et la manière dont le lecteur et l’écrivain influencent la forme du récit. / This thesis aims to explore which narrative conventions and why certain narrative conventions in puzzle plots provide a satisfactory conclusion. Using a literary critical and (post) structuralists approach to the creation of a text, we can trace most of the feeling of fulfillment provided by detective fiction to the close relationship between the writer and the reader. By understanding the role of a reader and the role of a writer, the writer can craft a text that is satisfactory. This is accomplished by using narrative conventions and expectation of the genre (and of the format of the art) and delivering them in an unexpected manner. This thesis contributes to a deeper understanding of the topics of narratology and detective fiction. As a main corpus, the thesis will be composed of two separate case studies to be used as examples in order to demonstrate the main argument. The first case study is Agatha Christie’s Evil Under the Sun which serves as an example of a conventional puzzle plot. The second study case is Torquemada’s Cain’s Jawbone which serves as an example of an unconventional puzzle plot. The purpose of these case studies is to analyze the effectiveness of certain aspects of the puzzle plot narrative and how the reader and the writer influence the shaping of the narrative.

This paper is a qualitative study of signs and associations that seemingly communicate the influence of film tropes on female character design in video games. It analyzes and correlates the visual attributes and characteristics of the League of Legends character Zeri with the traditional attributes and trends of the Manic Pixie Dream Girl (MPDG) film trope, and applies theories within women’s representation and gender to examine the results. The findings suggest that Zeris design and description communicates the traditional characteristics of the MPDG such as quirky, energetic, nostalgic, retro, cute and “twee” and that several of these attributes may reflect an idealized portrayal of the female character rooted in fictive stereotypes. Furthermore the paper highlights the complex interaction between design elements and their ability to communicate (possibly unintended) concepts, and the concepts ability to transcend media formats.  This paper includes a design documentation after page 25 called "Kalasklister i Djurparken", which is the second part of the final exam project(s) at the Visual Communication program at Malmö University. "Kalasklister i Djurparken" is an image bank that aims to update the marketing of Helsingborg's djur- och lekpark (zoo and playground) in order to appeal more to children.

The present dissertation investigates similes and their importance in Eichendorff’s narrative work. The sources of the investigation consist of seven of Eichendorff’s narratives. Their 734 similes make up the corpus, which is presented in its entirety in the appendix. The context of the similes is partly included as well. Initially, I define the concept of “simile” more precisely, partly distancing myself from the definitions found in classical dictionaries of literary terms. After this, I describe my procedure for analysis in detail. This turned out to be necessary, since there was no similar study to be found on this topic in the extensive literature on Eichendorff. The search for models of types of similes brought me back to antique rhetoric as well as to Middle High German epic poems. In the first analysis, the types of similes occurring in the corpus are presented. The syntactic structures of image receivers and image givers are used as criteria. Four structures of similes occurred: a) classical similes and b) similes with image givers, which represent adverbial clauses and c) as / as if – clauses or are d) subject-related. The frequency and the development of frequency of types of similes are presented as well. In the second step of the thesis, I investigate whether similes tend to depict conditions/qualities or procedures/actions. It turned out that similes reflecting conditions/qualities, i.e. epic similes, dominated strongly. The high number of similes could possibly be explained by the functions carried out by epic similes in narrative texts. In the third part, I concern myself with the question whether the similes of the corpus are imaginative representations only and what kind of sensorial perceptions they express. Admittedly, the dominating percentage of the similes proved to be images, but more than fifteen per cent consist of sounds and other sensorial perceptions. Furthermore, imaginative similes, but also sounding similes express motion, so that they illustrate pictures in motion and sounding motion respectively. These come close to synaesthesia, whereas only five similes illustrate „pure“ synaesthesia. In contrast, subject-related similes are perceptions of different sensations and feelings, illustrating the inner life of a character not shared by any other character. Finally, the semantic content of the similes is investigated in order to determine the metamorphosis, i.e. the trope transfer from proprium to improprium. It turned out that only the classical simile originating in antique rhetoric is suitable for a semantic analysis. Above all, there is great variation in the trope transfer. The metamorphosis human being → nature dominates strongly, which makes the narrative text appear as a palimpsest, in which yet another world glimmer in front of the human being behind every character. However, the many trope transfers that convey reality → unreality could be interpreted as transitions and as a “magical code” of Eichendorff. Furthermore, the semantic analysis uncovers content and motives of classical similes. It becomes clear that pre-constructed – and only pre-constructed - content is imitated here. Consequently, it can be asserted that Eichendorff’s great number of similes constitute or at least contribute to the formulaic manner (according to Kohlschmidt) and the intertextuality (according to Nienhaus) in Eichendorff’s narrative work. Above all, the subject-related simile type turns out to be a typical representative of Romanticism because of its subjectivism. Together with its preformed semantic content, it constitutes the “romantic formula” of Eichendorff’s work.

This study examines changes over time in 40 different Sherlock Holmes films and 39 television series and movies spanning from 1900 to 2017. Quantitative observations were mixed with a qualitative examination. Perceptions of law enforcement became more positive over time, the types of crime did not vary, and representation of race and gender improved over time with incrementally positive changes in the representation of queer, mentally ill, and physically handicapped individuals. The exact nature of these trends is discussed. Additionally, the trends of different decades are explored and compared. Sherlock Holmes is mostly used as a vehicle for storytelling rather than for the salacious crimes that he solves, making the identification of perceptions of crime in different decades difficult. The reasons for why different Sherlock Holmes projects were created in different eras and for different purposes are discussed.