This thesis was to me, more than anything else, a pursuit of fascinations. I began with an obsession with stairs: exploring different types, the symbology associated with them, and why I was so adamant about making every fire stair beautiful. This led me to a program and a site - a theater on the corner of Swann St. and 14th St. in northwest Washington D.C.; a building necessitating stairs, in an area of the city that was full of artists and theaters, but which lacked a movie theater. I was compelled to design a magical building, a movie theater of building elements as characters. My professors urged me to choose an opening night movie as inspiration for the design; I was instantly enamored with the idea of designing around Alice and her Adventures in Wonderland. To me, the characters, puns, and riddles in the book were perfect to imagine as the columns, walls, and stairs of my building. This allusion eventually morphed the building into two theaters, an above ground movie theater and a below ground performance theater. As I worked, I had two very important (and related) revelations. First, that a theater is very similar, both in function and layout, to a church. The layout of the building, therefore, I designed like that of a church or a temple. I constantly explored opposing worlds; the above ground dreamworld vs. the below ground reality, the inner sacred world vs. the outer public realm. The essence (the spirit, or soul) of the building is Alice. Second, I feel the most spiritual when I am designing. I realized over time that it was equally important to me to learn how to make my drawings feel as it was to design the building itself. My thesis became art IS religion. / Master of Architecture

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Essa dissertação apresenta mais uma aventura de Alice atravessando mais de um século de diálogos e figuras (e de que serve um livro sem figuras e nem diálogos, pensou Alice) com foco no surrealismo. A viagem parte do passeio de barco quando a estória de Alice foi contada pela primeira vez, chegando até as viagens da menina pela webland no mundo contemporâneo. As ilustrações de Lewis Carroll e John Tenniel apresentam a menina vitoriana, contrapondo às influências românticas e pré-rafaelitas de Carroll, à caricatura e às intertextualidades que cruzam às ilustrações de John Tenniel. Num Segundo momento a menina salta do livro de estórias infantis para o livro de imagens poéticas, viajando por um labirinto aonde encontra diversas Alices surrealistas. A femme enfant, a colagem, a imagem poética, a metamorfose, o objeto surrealista e o maravilhoso são os caminhos percorridos nessa aventura. Num terceiro momento Alice viaja pelo mundo contemporâneo aonde a ilustração ganha contornos mais complexos e desafiadores. Arte e ilustração se cruzam nas trilhas da menina de muitas faces. / This dissertation presents another adventure of Alice through more than a century of pictures and conversations (and what is the use of a book without pictures and conversations?, thought Alice to herself). The travel departs from the boat trip where the story of Alice was first told, arriving to the adventures of the girl in the web-land in contemporary world. The illustrations by John Tenniel and Lewis Carroll present the Victorian Alice, contrasting Carroll\'s influences of romanticism and pre-Raphaelism with the caricatures and intertextual procedures of John Tenniel\' illustrations. In a second moment the girl jumps from the book of children\'s stories to the book of poetic images, traveling through a maze where she will find several surreal Alices. Femme enfants, collages, poetic images, metamorphosis, surreal objects and the marvelous are paths crossed in this adventure. In the third part Alice travels in the contemporary world where illustration gets more complex and challenging contours. Art and illustration are on the trail of the girl of many faces.

Diss. Stockholm : Stockholms universitet, 2008.

Thesis (M.A.)--Georgia State University, 2005. / Title from title screen. James Darsey, committee chair; David Cheshier, Mary Stuckey, committee members. Electronic text (237 p.) : digital, PDF file. Description based on contents viewed July 12, 2007. Includes bibliographical references.

Essa dissertação apresenta mais uma aventura de Alice atravessando mais de um século de diálogos e figuras (e de que serve um livro sem figuras e nem diálogos, pensou Alice) com foco no surrealismo. A viagem parte do passeio de barco quando a estória de Alice foi contada pela primeira vez, chegando até as viagens da menina pela webland no mundo contemporâneo. As ilustrações de Lewis Carroll e John Tenniel apresentam a menina vitoriana, contrapondo às influências românticas e pré-rafaelitas de Carroll, à caricatura e às intertextualidades que cruzam às ilustrações de John Tenniel. Num Segundo momento a menina salta do livro de estórias infantis para o livro de imagens poéticas, viajando por um labirinto aonde encontra diversas Alices surrealistas. A femme enfant, a colagem, a imagem poética, a metamorfose, o objeto surrealista e o maravilhoso são os caminhos percorridos nessa aventura. Num terceiro momento Alice viaja pelo mundo contemporâneo aonde a ilustração ganha contornos mais complexos e desafiadores. Arte e ilustração se cruzam nas trilhas da menina de muitas faces. / This dissertation presents another adventure of Alice through more than a century of pictures and conversations (and what is the use of a book without pictures and conversations?, thought Alice to herself). The travel departs from the boat trip where the story of Alice was first told, arriving to the adventures of the girl in the web-land in contemporary world. The illustrations by John Tenniel and Lewis Carroll present the Victorian Alice, contrasting Carroll\'s influences of romanticism and pre-Raphaelism with the caricatures and intertextual procedures of John Tenniel\' illustrations. In a second moment the girl jumps from the book of children\'s stories to the book of poetic images, traveling through a maze where she will find several surreal Alices. Femme enfants, collages, poetic images, metamorphosis, surreal objects and the marvelous are paths crossed in this adventure. In the third part Alice travels in the contemporary world where illustration gets more complex and challenging contours. Art and illustration are on the trail of the girl of many faces.

2013 års nobelpristagare i litteratur var Alice Munro. Hennes noveller är ofta enkla skildringar av ”vanliga människors liv” och hur specifika händelser från t.ex. deras barndom på ett mer eller mindre tydligt sätt påverkat deras liv i olika riktningar. Hur de berörts och utvecklats av dessa. Det handlar om moraliska dilemman och livsöden. Munro lyckas i sitt berättande beröra många av de existentiella frågorna, och ändå möta berättelserna "rakt upp och ner”; hon moraliserar inte över händelserna hon målar upp. Jag tyckete mig dock bakom de moraliska valen och livsödena skymta skuld och skuldkänslor i berättelserna, även om det inte uttalades. Det fick mig att tänka kring skuld… varför är det så svårt att tala om? Vad är skuld överhuvudtaget? När möter vi den, och varför? Jag bestämde mig för att börja nysta i dessa frågor, åtminstone litegrann. Resultatet blev denna uppsats, som berör ämnet skuld – vad det är, och vilken roll det kan ha i berättelser om mänskligt liv.

No description available.

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-02-28Bitstream added on 2014-06-13T18:47:56Z : No. of bitstreams: 1 minaki_sm_me_arafcl.pdf: 715175 bytes, checksum: 15b728652dc0abcb85b8db6fdfac4d2f (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa tem como objetivo principal analisar, sob o ponto de vista da voz narrativa, dois contos: Monsieur Les Deux Chapeaux e Carried Away, presentes, respectivamente, nas coletâneas The Progress of Love (1986) e Open Secrets (1994), da escritora canadense Alice Munro, contista cuja obra tem como pano de fundo a vida rural e semi-rural de Ontário. Neste trabalho, busca-se mostrar, tomando como ponto de partida os conceitos teóricos de Genette [19--], as implicações e os efeitos da voz dos narradores dos contos em questão, caracterizados pelo uso de recursos em comum, como narração heterodiegética, tempo nãocronológico, memória e retrospecções. A atenção desta pesquisa é voltada também à presença de outras vozes, que fazem contraponto com a voz da instância narrativa. Essas vozes, possibilitando a criação de um universo polifônico, fazem-se presentes não apenas pelas personagens que se manifestam, mas também por intertextualidades e interdiscursividades, promotoras de efeitos diferenciados e geradoras de incertezas quanto ao sentido do relato. Além dos contos mencionados, é preciso lembrar que outras narrativas de The Progress of Love e Open Secrets foram incluídas neste estudo, a fim de que se pudesse demonstrar as estratégias mais comuns e peculiares adotadas por Munro na construção de suas histórias. / The aim of this work is to analyze, according to the point of view of the narrator's voice, two short stories - Monsieur les Deux Chapeaux and Carried Away, each one included, respectively, in the collections The Progress of Love (1986) and Open Secrets (1994). Both short stories were written by Alice Munro, a Canadian author whose works present as scenery the country and semi-country life of Ontario, her homeland. In this paper, the objective is to show, taking into consideration Genette's theory about narration, the effects of the narrators' voice of both compositions, which are marked by the use of resources in common, as heterodiegetic narration, memory and retrospection. Besides the narrator's voice, this work also calls attention to other voices which constitute Monsieur les Deux Chapeaux and Carried Away. Those voices, responsible for creating a polyphonic universe, are represented not only by the characters' voices, but also by intertextualities and interdiscoursivities, resources which provoke a series of effects, generating uncertainties in the meaning of the narration. Beyond Monsieur les Deux Chapeaux and Carried Away, its worth mentioning that this work also includes the study of other short stories of The Progress of Love and Open Secrets, in order to show the most relevant strategies used by Alice Munro in the construction of her narratives.

References to stories and storytelling appear throughout Alice Munro's five short story cycles: DANCE OF THE HAPPY SHADES, LIVES OF GIRLS AND WOMEN, SOMETHING I'VE BEEN MEANING TO TELL YOU, WHO DO YOU THINK YOU ARE? and THE. MOONS OF JUPITER. This thesis contends that stories--mentioned briefly or recounted at length--provide counterpoint to experience for Munro's characters. Oral and written stories influence them throughout life, but especially in youth, when they eagerly identify with, and imitate, fictional figures. In LIVES and WHO, storytelling becomes central because their protagonists are a writer and an actress. Occasionally, the narrators in all five works reflect on the difficulty of expressing truth in fiction, but SOMETHING raises this issue repeatedly. By embedding stories within her narratives, Munro imitates the workings of memory; moreover, she draws attention to her narratives as texts rather than glimpses of reality. A feminine perspective on narrative gradually emerges, in which the woman narrator sees her task not as imposing order, but as discovering order that already exists. / Arts, Faculty of / English, Department of / Graduate