Working with different media in language teaching is increasingly popular. Lewis Carroll’s novel Alice’s Adventures in Wonderland originally used two different media: text and images. This essay investigates how the novel, published in 1865 with illustrations by John Tenniel, and Tim Burton’s film adaptation (2010) relate to each other, and how the different media in which the story is presented can be used in teaching. The main objective is to see what parts were illustrated in the original novel, and how those illustrations and Tim Burton’s film adaptation (Alice in Wonderland 2010) are related. The essay also looks at how the results from this analysis can be used in teaching multimodal literacy – that is the ability to understand the meaning created through different media. The analysis shows that Tenniel’s illustrations mainly depict Alice and the meetings she has during her adventures, that his illustrations were more often than not taken into consideration in the film adaptation and that the film differs from the original story. The latter makes the juxtaposition of the illustrations and the novel even more suitable for using in multimodal teaching English in the upper education.

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When arriving to a new city one can have a hard time finding a place to stay or overall feel lost and a lack of belonging; A problem which could be solved through architecture by providing young people in the same situation: a temporary home and friends to keep when moving out, also local events: inviting in established citizens already having a network in which they can take you in.My architectural solution follows three requirements which I’ve set: 1. Even though there is no land shortage, one should utilize existing urbanized spaces. 2. Leaving spaces for action, interaction and dwelling (instead of a maximized footprint for profit). 3. A balanced relation between private, public and community areas.The research leading up to this included advantages and disadvantages of skyscrapers, the basic human needs for fulfillment, recreational areas providing for it and lastly contemporary architectural projects that have accomplished such.To start off the design process of the studio project a central parking lot was selected to be transformed into an intersecting node of the city areas, creating a city network. After exploring possible mass-void and private-public configurations of the plot, the final variant was motivated by sun studies as it has the most sun exposure and least shadow. It was also the most fun, warm and welcoming form, where the curves move you on the plot. Lastly, the program consists of a mixed use of housing, common spaces and recreational areas, with different activities of differing scale.

The rediscovery of a number of Walt Whitman's early fictions prompts a discussion of where they belong within the larger web of Whitman scholarship. Though we have been aware of the existence of these writings for quite some time, frequently these works return to obscurity soon after being discovered due to the lack of research regarding them. This thesis presents an alternative framework whereby these novels can be integrated into a hypertextual model centered on Leaves of Grass (1855) and Whitman's overall authorial identity. I build on Ed Folsom and Kenneth Price's work creating a hypertext archive incorporating Whitman's works, allowing constraints associated with traditional print form to be overcome. My analysis centers on the recently rediscovered novel The Life and Adventures of Jack Engle (1852) due to its unique publication date. Because we possess so little of Whitman's public writing from the immediate leadup to his first publication of Leaves of Grass, I focus on tracing linguistic and thematic development across the two works. With the help of digital textual analytical tools, I find specific links between the works and argue that Whitman used the novel to experiment with transcendental language and themes that would characterize his later poetic voice. Based on this connection, novels like The Life and Adventures of Jack Engle thrive due to their ability to offer new perspectives on the source text of Leaves of Grass. Within this model, Leaves of Grass also gains new importance due to highlighting the value of the satellite texts like The Life and Adventure of Jack Engle, remedying their previous ambiguous value when isolated. I then discuss how this hypertextual model aids scholars to more easily incorporate Whitman's fiction into future research due to the increased accessibility it provides. Finally, the thesis discusses how this model repositions the role of the archive as more than simply a receptacle of preservation. Instead, it now operates as a source of redefinition by providing artifacts that reimagine period and authorial narratives through this hypertextual model.

Throughout much of the twentieth century Walt Disney wielded considerable influence in American culture. By identifying and commercially exploiting a strain of environmental thought that sentimentalized and romanticized nature, Walt Disney influenced the attitudes of millions of Americans concerning how they conceptualized environmental issues. The Walt Disney Company’s nature documentaries and their popularity as both entertainment as well as educational material helped disseminate the virtues of conservation within the American mindset. The Disney interpretation of conservation clashed with other post-war environmental understandings of the ethic, as did the company’s consistently inaccurate representations of nature on film. Disney’s particular strain of environmentalism, based on an Edenic appreciation for nature, the belief that to conserve land it must be developed, and practice of moralizing to humans through anthropomorphized depictions of animal behavior, stood out in contrast to other existing post-war environmental mindsets during the controversy surrounded the proposed construction of a vacation resort in Mineral King, California, following Disney’s death. / History

Esta dissertação estuda comparativamente o grotesco presente no manuscrito Alices Adventures Underground, de Lewis Carroll e no filme Alice (1988) do diretor Jan Svankmajer. Considerando a diferença dos campos narrativos em que atuam, relevou-se a especificidade de cada suporte, identificando como cada artista desenvolveu a estética em seu trabalho. Para focar a análise, selecionamos alguns aspectos: o início das histórias, o personagem do coelho branco, as mudanças de tamanho sofridas por Alice, a união do humor e do horror e o encerramento das narrativas. Observamos como esses elementos, marcantes no manuscrito de Carroll, reverberam na obra do cineasta surrealista, levando à construção de um filme capaz de ampliar, com maestria, os elementos da estética do grotesco, estabelecendo um diálogo criativo com o escritor vitoriano. / This thesis studies, through comparison, the grotesqu e found in the manuscript by Lewis ,jer. In view of the difference between their narrative fields, the specific traits of each medium were taken into consideration, and it was recognized how both the writer and the film director developed aesthetics in their work. To refine the analysis, some aspects were selected: the beginning of the stories, the White Rabbit character, the size changes through which Alice goes, the joining together of hu mor and horror, and the ending of the tales. We remark how these elements, so distinguished in Carrolls manuscript, echo in the work of the surrealist filmmaker, leading him to the creation of a film capable of masterly increasing the elements in the aesthetic of the grotesqu e, establishing a creative dialogue with the writer from the Victorian era.

Romanerna som ligger till grund för uppsatsens analys är Thomas Bailey Aldrich The story of a bad boy, Mark Twains Tom Sawyers och Huckleberry Finn samt Richmal Cromptons Just William. Syftet med uppsatsen är att undersöka de litterära gestalter som tar sig skepnad i företeelsen "bad boys" och de frågor som ställs i uppsatsen är: Hur och varför uppkom företeelsen "bad boys"? Hur växte genren "bad boys" fram? Vad karaktäriserar "bad boys" företeelsen? Uppsatsens narratologiska utgångspunkter bygger bland annat på Mieke Bals teori om fabelns och de textanalytiska begrepp som Maria Nikolajeva redogör för: tid och plats, författarens och läsarens föreställning av författaren, samtid och tidsperspektiv. Uppsatsen tar även stöd i R.W. Connell, John Stephens och Kenneth B. Kidds teorier. Uppsatsen visar att "bad boys"-genren har sitt ursprung under en period då bilden av mannen var under förändring och romaner för pojkar blev allt mer robusta."Bad boys" – genren karaktäriseras av driftiga pojkgestalter som delvis formar sin identitet i pojkgänget. "Bad-boys"- genren är även en konsekvens av de ändrade förhållandena för unga pojkar i USA. Dessa pojkar sågs ofta som små vandaler och det är dessa som återspeglas i "bad-boys" genren.

Esta dissertação estuda comparativamente o grotesco presente no manuscrito Alices Adventures Underground, de Lewis Carroll e no filme Alice (1988) do diretor Jan Svankmajer. Considerando a diferença dos campos narrativos em que atuam, relevou-se a especificidade de cada suporte, identificando como cada artista desenvolveu a estética em seu trabalho. Para focar a análise, selecionamos alguns aspectos: o início das histórias, o personagem do coelho branco, as mudanças de tamanho sofridas por Alice, a união do humor e do horror e o encerramento das narrativas. Observamos como esses elementos, marcantes no manuscrito de Carroll, reverberam na obra do cineasta surrealista, levando à construção de um filme capaz de ampliar, com maestria, os elementos da estética do grotesco, estabelecendo um diálogo criativo com o escritor vitoriano. / This thesis studies, through comparison, the grotesqu e found in the manuscript by Lewis ,jer. In view of the difference between their narrative fields, the specific traits of each medium were taken into consideration, and it was recognized how both the writer and the film director developed aesthetics in their work. To refine the analysis, some aspects were selected: the beginning of the stories, the White Rabbit character, the size changes through which Alice goes, the joining together of hu mor and horror, and the ending of the tales. We remark how these elements, so distinguished in Carrolls manuscript, echo in the work of the surrealist filmmaker, leading him to the creation of a film capable of masterly increasing the elements in the aesthetic of the grotesqu e, establishing a creative dialogue with the writer from the Victorian era.

Hemingway claims in Green Hills of Africa that "all modern American literature comes from one book by Mark Twain called Huckleberry Finn." If this basic idea is applied to his own work, elements of Adventures of Huckleberry Finn appear in some of Hemingway's Nick Adams stories and his novel The Old Man and the Sea. All major characters and several minor characters in these works share the quality of natural innocence, composed of their primitivism, sensibility, and active morality. Hemingway's Nick, Santiago, and Manolin, and Twain's Huck Finn and Jim reflect their authors' similar backgrounds and experiences and themselves come from similar environments. These environments are directly related to their continued possession and expression of their natural innocence.