Thesis (M.S.)--University of Wisconsin--La Crosse, 2002. / Includes bibliographical references.

Thesis (M.A.)--York University, 2004. Graduate Programme in Études Francaises. / Typescript. Includes bibliographical references (leaves 93-100). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11865

Thesis (Ph. D.)--University of Washington, 1987. / Vita. Bibliography: leaves [130]-135.

abstract: This dissertation examines how violent fantasizing influences the behavior of a brutal sub-class of murderers--mass and serial killers. Specifically, fantasy gives the perpetrator a profane catharsis due to his or her inability to cope with reality. The researcher identified, four common fantasy scripts: (Revenge Fantasy; Sexual, Sadistic and Misogynistic Fantasy; Suicidal-Homicidal Ideation; and Search for Validation through Infamy and Media Attention Fantasy) that more or less, play into the motivations and actions of mass and serial killers. Thus, it is important to understand why and how the killer moves from an all-consuming imaginative space to actually harming others. The methodology used for this research was "ethnographic content analysis" and, to a lesser extent, empirical phenomenology and semiotics. Source materials that were analyzed included: artifacts generated by the offenders prior to commission of their crimes (e.g., diaries, manifestos, blogs, drawings, photographs, and videotapes); official findings of governmental review panels; other public documents; survivor, witness or family accounts; news reports; and work conducted previously by other academics. This dissertation is particularly novel, in that the role of fantasy has not received much critical analysis with respect to mass murder. Likewise, the researcher's examination of current theory on the ontogenesis of moral dysfunction led to an original interpretation in the works of criminologists, Eric Hickey and Lonnie Athens. From a synthesis of Hickey's trauma-control theory and Athens' esoteric constructs of "self" and "other" a more cohesive understanding of the homicidal personality emerged. Essentially, the researcher argues that the intersection of early derailing influences and pervasive life losses result in a fragmented concept of self, which the now deeply unstable individual seeks to validate through violent fantasy and homicidal acts. It is further proposed that these findings may lead to future inquiry into: methods for early intervention and diversion of an at-risk population; and where the foregoing is impractical, better methods of detecting, mitigating the harm caused by and quickly apprehending these particularly violent offenders. / Dissertation/Thesis / M.S. Justice Studies 2011

abstract: Bohuslav Martinù (1890-1959) was a prolific composer who wrote nearly 100 works for piano. His highly imaginative and eclectic style blends elements of the Baroque, Impressionism, Twentieth-century idioms and Czech folk music. His music is fresh and appealing to the listener, yet it remains intriguing as to how all the elements are combined in a cohesive manner. Martinù himself provides clues to his compositional process. He believed in pure musical expression and the intensity of the musical idea, without the need for extra-musical or programmatic connotations. He espoused holistic and organic views toward musical perception and composition, at times referring to a work as an "organism." This study examines Martinù's piano style in light of his many diverse influences and personal philosophy. The first portion of this paper discusses Martinù's overall style through several piano miniatures written throughout his career. It takes into consideration the composer's personal background, musical influences and aesthetic convictions. The second portion focuses specifically on Martinù's first large-scale work for piano, the Fantasie et Toccata, H. 281. Written during a time in which Martinù was black-listed by the Nazis and forced to flee Europe, this piece bears witness to the chaotic events of WWII through its complexity and intensity of character. The discussion and analysis of the Fantasie et Toccata intends to serve as a guide to interpretation for the performer or listener and also seeks to promote the piano music of Bohuslav Martinù to a wider audience. / Dissertation/Thesis / D.M.A. Music 2011

The focus of this study is a trend in British children’s literature concerning the ancientness of British landscape, with what I argue is a Neo-Romantic sensibility. Neo-Romanticism is marked by highly subjective viewpoints on the countryside, and I argue that it illuminates our understanding of post-war children’s literature, particularly in what is often called its Second Golden Age. Through discussion of four generally overlooked authors, each of importance to this formative publishing era, I aim to explore certain aspects of the Second Golden Age children’s literature establishment. I argue that the trend I critique is characterised by ambiguity, defined by the imaginative practice entailed in the archaeological view.

This thesis discusses twentieth century children's fantasy fiction. The writers whose creative output is dealt with include Penelope Lively, Alan Garner, Susan Cooper, Pat O'Shea, Peter Dickinson, T.H.White, Lloyd Alexander and, to a lesser extent, C.S.Lewis and J.R.R.Tolkien. These authors have been chosen because their books, whilst being of a broadly similar nature, nevertheless have a sufficient diversity to illustrate well many different important aspects of children's fantasy. Chapter I examines the sources of modern fantasy, presents the attitudes of different authors towards borrowing from traditional sources and their reasons for doing so, and looks at the changing interpretation of myths. Chapter II talks about the presentation of the primary and secondary worlds and the ways in which they interact. It also discusses the characters' attitudes towards magic. Chapter III looks at the presentation of magic, examines the traditional fairy-tale conventions and their implementation in modern fantasies, and discusses the concepts of evil, time, and the laws governing fantasy worlds. Chapter IV deals with the methods of narration and the figure of the narrator. It presents briefly the prevailing plot patterns, discusses the use of different kinds of language, and the ideas of pan-determinism and prophecy. The concluding chapter considers the main subjects and aims of children's fantasy, the reasons why the genre is so popular, and its successes and failures.

AN ABSTRACT OF THE THESIS OF JAIME MOSS for the Master of Fine Arts degree in MASS COMMUNICATIONS AND MEDIA ARTS, presented on FEBRUARY 13TH, 2014 at Southern Illinois University Carbondale. TITLE: ARCHIVING LOSS: THE PAPER MAN BEHIND THE MASK MAJOR PROFESSOR: Sarah Lewison, H.D. Motyl, Fern Logan, Dru Vratil This paper is companion to the narrative short, The Man Who Burned Paper. Both this paper and the film deal with the subject of identity loss as an archive, building on the work of sociologists Andrew J. Weigert and Ross Hastings. Drawing on several sources, including the work of literary scholars, affect theorists, and an excerpt from This American Life, this paper explores what it is to create and lose an identity both experimentally and existentially. It develops beyond this exploration by reconstructing it through a cinematic format that uses memories, flashbacks, and body doubles to narrate one man's identity construction and his journey to come to terms with its loss. It concludes that while identity loss is a unique experience, reflecting upon the loss and dysfunction it can bring can create space to understand the sorrow and pain that accompanies it. It is with hope that the findings discovered from this deeply personal and challenging process will act as a guide towards future actions that allow for new opportunities that improve the quality of life and a broader mindset.

Orientador: Maria de Lourdes Ortiz / Banca: João Batista Toledo Prado / Banca: Marcio Roberto do Prado / Resumo: Este trabalho se propõe inicialmente a investigar as características literárias que definem a ficção de Fantasia e os livros de Role Playing Games, para em seguida demonstrar o processo dialógico existente entre tais categorias discursivas. Para tanto, serão examinados livros da série de Role Playing Games nacionais intitulada "Tormenta", uma das peças mais exemplares na produção brasileira do gênero, bem como o romance de Fantasia "O Inimigo do Mundo", de Leonel Caldela, que representa a primeira incursão da literatura de Fantasia nacional pelos universos temáticos dos Role Playing Games. Pretende-se, com isso, demonstrar que mais do que se apropriar de temas e figuras da Fantasia, os Role Playing Games estabelecem com ela uma relação de troca e reciclagem, observação esta que será apoiada pelas teorias de Mikhail Bakhtin e seus principais comentadores brasileiros / Abstract: This work proposes initially to investigate the main literary features that define Fantasy literature and Role Playing Game books, in order to subsequently demonstrate the dialogic process involving them both. In order to better illustrate this relations, this work will focus on the series of brazilian Role Playing Game books named "Tormenta", one of the most exemplar works on national genre production, as well as the Fantasy novel "O Inimigo do Mundo", by Leonel Caldela, that represents the first attempt of incursion in the fields of RPG-based fiction by our literature. The intention is to demonstrate that, more than simply appropriating itself from literature's themes and figures, Role Playing Game books establish with them a complete relationship of Exchange and recycling, and this observations will here be understood under the lights of Mikhail Bakhtin's theories, as well as his main Brazilian researchers' / Mestre

Denna uppsats har som utgångspunkt att genren fantasy inte enbart skall ses som eskapistisk utan som en möjlighet att behandla närliggande samhällsproblem som kan tydliggöras med hjälp av att läsaren blir satt i ett annat, helt främmande perspektiv. Utifrån detta undersöks ur ett genusvetenskapligt perspektiv två kvinnliga protagonister från Erika Johansens trilogi The Queen of the Tearling  med verken The Queen of the Tearling, The Invasion of the Tearling och The Fate of the Tearling. Syftet med undersökningen är att utreda huruvida dessa karaktärer kan anses bryta mot traditionella kvinnliga normer Tidigare forskning i ämnet kvinnliga protagonister inom genren fantasy har varit svår att finna, dock går det att hitta artiklar och inlägg utanför den egentliga forskningen om hur de traditionella kvinnliga normerna inom fantasy framförallt presenterar en vacker jungfru, ofta i behov av räddning, men gemensamt för alla traditionella kvinnliga protagonister är att hon är vacker. En ny stereotyp av kvinnlig protagonist har också växt fram och hon tar formen som vad man kallar en ”stark kvinna”. Denna starka kvinna målar upp en motbild mot den traditionella jungfrun i nöd och kan istället slåss och klara sig själv. Kritiken kring denna nya stereotyp kretsar kring att hon enbart har fått överta de traditionellt manliga attributen, istället för att porträttera en komplex, kvinnlig och stark karaktär. Denna uppsats undersöker därför om de två kvinnliga protagonisterna i Johansens romaner bryter mot dessa två stereotyper. Som bakgrund till undersökningen presenteras Erika Johansens egna uttalanden om hennes intentioner med romanerna. Hon har med sin karaktär Kelsea försökt skapa en kvinnlig protagonist utan de traditionella skönhetsattributen. Trilogin handlar om Kelsea som blir drottning över riket Tearling. Riket är korrupt och förfallet och Kelsea måste använda alla sina krafter för att försvara det och ställa allt till rätta. Hon kämpar mot invasioner från grannriket såväl som förruttnelse inom riket och lyckas genom att offra allt att ställa riket till rätta igen. I analysen undersöks två karaktärer, Kelsea Glynn och Lily Mayhew. Den första delen undersöker Kelsea Glynn i förhållande till begreppen makt, utseende och romantik för att se hon hennes förhållande till dessa kan anses vara normbrytande. Den andra delen av analysen fokuserar på Lily Mayhew som framförallt fungerar som en kontrasterande karaktär till Kelsea det undersökts också hur hon kan anses normbrytande. Slutsatsen av analysen blir att både Kelsea och Lily trots sina olikheter är normbrytande karaktärer. Kelseas förhållande till makt utvecklas genom hennes inre styrka och hennes handlingar till sitt folk, vilket är normbrytande då många kvinnliga protagonister traditionellt får mycket av sitt inflytande från sin födda position och genom sin skönhet. Förhållandet till skönhet är också det normbrytande då Kelsea förklaras vara alldaglig och stereotypen den vackra goda drottningen ifrågasätts av Kelseas mor, som var en vacker men svag och självisk drottning. Den traditionella normen om romans och vad det skall betyda för den kvinnliga protagonisten bryts också av Kelsea då hon inte intresserar sig för någon sann kärlek utan värderar hennes självständighet och plikt till sitt folk högre. Dock söker hon ändå närhet och visar känslor vilket visar hur hon även bryter mot stereotypen ”den starka kvinnan”. Karaktären Lily Mayhew bryter mot de traditionella normerna på sitt eget vis då hon alltid har strävat efter att uppnå dem för att under berättelsens gång bryta sig fri från denna väg och bli självständig och stark. Lily är Kelseas motsats då hon beskrivs som vacker och medvetet har vunnit sin position i samhället genom detta då hon gifte sig med sin mäktiga, rika man. Lily har också alltid intresserat sig för skönhetsideal och vackra kläder. Lily vill dock inte ha barn, vilket är normbrytande, och hon är olycklig i sitt äktenskap då hennes man är grym och kontrollerande. Utifrån Lilys äktenskaps situation skulle hon kunna jämföras med den vackra jungfrun i nöd och hade därför kunnat förväntas bli räddad av en romantisk hjälte, men Lily räddar sig själv genom att inspireras av starka, självständiga kvinnor och applicerar deras ideal till sig själv och flyr från sin make. Utifrån detta kan man konstatera att både Kelsea Glynn och Lily Mayhew kan anses vara normbrytande kvinnliga protagonister som båda bryter mot de traditionella kvinnonormerna och mot den nya stereotypen den ”starka” kvinnan.