Information kring mobbing och utanförskap är viktig men kan ofta upplevas som torr och ointressant. Detta kandidatarbete utforskar fantasyillustrationer som ett sätt att hantera svårare ämnen genom berättande och underhållning. Jag har forskat kring berättande och fantasygenren som verktyg för att kunna diskutera svårare ämnen på ett mindre konfronterande och mer lättmottagligt sätt samt hur illustration kan användas som ett medium för att berätta. Detta har lett till min gestaltning, en fantasyberättelse om mobbning och utanförskap vid namn ”Himlen, Havet och Riddaren”. Jag har samarbetat med Lotusmodellen och deras Trygga Klassen arbete för att utveckla en berättelse och sedan genom en process av konceptarbete utvecklat karaktärer och en visuell värld av unga riddare på en ö i ett grönt hav. Jag har använt mig av storyboarding och ett flertal illustreringsbaserade berättarmetoder som färgmening och komposition för att skapa en berättelse som är tydlig trots att den saknar text eller berättare. Jag har testat och använt digitala illustrationsmetoder för att arbeta effektivt och hinna med ett stort arbete under kort tid. Resultatet är en video bestående av 36 illustrationer som tillsammans bildar en berättelse som visualiserar mobbing och utanförskap med ett positivt budskap och en stämning som förstärks med timing, ljudeffekter och musik. / Information about bullying and exclusion is important but can often be perceived as dry and uninteresting. This bachelor thesis explores fantasy illustrations as a way to deal with more difficult topics through storytelling and entertainment. I have researched storytelling and the fantasygenre as a tool for discussing more difficult topics in a less confrontational and more receptive way as well as how illustration can be used as a medium for storytelling. This has led to my design, a fantasy story about bullying and exclusion called “Himlen, Havet och Riddaren”. I have collaborated with Lotusmodellen and their Trygga Klassen work to develop a story and then through a process of concept art developed characters and a visual world of young knights on an island in a green sea. I have used storyboarding and a number of illustration-based storytelling methods such as colour meaning and composition to create a story that is clear even though it lacks text or narrator. I have tested and used digital illustration methods to work efficiently and get a great deal of work done in a short time. The result is a video consisting of 36 illustrations that together form a story that visualizes bullying and exclusion with a positive message and a mood that is enhanced with timing, sound effects and music.

Yakuwarigo, or role language, is a Japanese term used to describe different typesof exaggerated spoken languages that are used in Japanese fiction. Yakuwarigo isoften assigned to a character based on, for example, the character’s personality,age, or occupation, and it can be different from how people actually speak in reallife.In the present study, the first research question intended to find out which type ofyakuwarigo was used when translating certain fantasy characters from English toJapanese. This was done by analyzing the dialogue of four characters from thenovel Howl’s Moving Castle (1986) written by Diana Wynne Jones. The aim ofthe second research question was to see if the personalities of the characters couldbe interpreted differently by the reader in the translated novel due to the use ofyakuwarigo.The results show that two witches both used a mix of onna-kotoba and otokokotoba, and additionally one of them used ojōsama-kotoba and the other obāsango. A wizard used otoko-kotoba and shōnen-go/jōshi-go, and a demon used mostlyotoko-kotoba with a hint of Edo-kotoba. The role languages seemed to fit most ofthese characters, but the demon’s personality was deemed to have changed in thetranslation.

This essay will examine gothic traits in young adult and children's fantasy, specifically the fantasy series Septimus Heap (2005-2013) by Angie Sage. In order to get a better overview of the material i will be looking at the series as a whole and from there examining the parts i find relevant.  The basis of my analysis will be the gothic traits identified by Fred Botting in Gothic (2013) and a close reading of Septimus Heap (2005-2013). My analysis will be divided in to categories based on these gothic traits, and sub-categories based on what parts of the source material I am discussing. I conclude that several gothic traits, as defined by Botting, are present and recurring in Septimus Heap (2005-2013) but that aspects of these may sometimes differ from Bottings description of the classic gothic traits.

Hra Fantasy Premier League poskytuje miliónom hráčov po celom svete možnosť stať sa na chvíľu manažérom svojho vlastného klubu. Výsledky a bodové ohodnotenie v hre závisia na správnom predvídaní, ako sa budú hráči chovať v skutočných futbalových zápasoch. Ak by pri tomto rozhodovaní pomáhal software na predikciu a analýzu budúcich výkonov hráčov, výsledky v hre sa môžu rapídne zlepšiť. Táto diplomová práca sa zaoberá návrhom a implementáciou predikčného modelu, ktorý využíva neurónové siete na predikcie časových radov počas celej sezóny v hre. Boli použité metódy na spracovanie dát o hráčoch a kluboch za posledné 4 sezóny. Výkonnosť a presnosť predikčných metód boli testované na dátach z poslednej sezóny Premier League a predikcie algoritmu sa vo väčšine prípadov blížili realite. Ak by sa užívateľ držal predikčného modelu v hre stopercentne, získal by väčší počet bodov ako bežný hráč, ktorý žiadny predikčný model nepoužíva.

Syftet med denna uppsats är att ur ett genreteoretiskt och komparativt perspektiv med hjälp av metoden närläsning undersöka vilka av gotikens genrekonventioner som förekommer i svensk urban fantasy. Romanerna som analyseras är Nene Ormes Udda verklighet (2010), Mats Strandbergs och Sara Bergmark Elfgrens Cirkeln (2011), samt Charlotte Cederlunds Middagsmörker (2016). De gotiska genrekonventioner som används vid analysen är hämtade från Mattias Fyhrs definition av gotik i hans doktorsavhandling De mörka labyrinterna (2003). I diskussionsdelen kombineras dessa med Alastair Fowlers teori ur Kinds of Literature (1982) kring hur olika genrer förefaller ha en rörlighet och flyta in i varandra. Resultatet av analysen visar att samtliga av Fyhrs kategorier finns representerade i de tre romanerna, och skiljer sig något i hur de gestaltas. Följande slutsatser dras: att många likheter förekommer såsom att de drömmar och syner som skildras är vitala för böckernas handlingar, att huvudkaraktären i samtliga analyserade romaner är kvinnlig, utom i Cirkeln där fem perspektiv förekommer varav ett är manligt, att alla romaner har sina egna varianter på fantasytroperna Rådet och Den utvalda, samt att urban fantasy inte går att se som en modern variant av gotiken utan snarare utgör en sentida ättling till gotikgenren.

Although the contemporary fantastic short story in Argentina and Uruguay is widely recognized and studied, its origins during the nineteenth century are generally unknown. This study proposes to (1) identify examples of the nineteenth century fantastic, (2) place the works in the context of literary history, and (3) study their narrative conventions and topics. A reading of the nineteenth century fantastic reveals that there is a conventional narrative cluster consisting of three elements: personalized, first-person narrator; frame discourse; and suspended narration. Although there are some variations on this pattern, these conventions generally hold true throughout the nineteenth century. The narrative elements are examined from two perspectives: their contrast with the dominant conventions of realism, and their function within the fantastic. The stories are divided into four categories based on their topic. The first category is the dream fantastic, in which a dream provides self-knowledge or salvation. The second grouping is the fantastic of madness; in these stories, madness can be a divine gift or a destructive force. The third section is the scientific fantastic, in which the scientism of the 1800's is questioned. The final division is the folkloric fantastic, which deals with the supernatural. This study concludes by pointing out that the conventions of the nineteenth century do not continue into the twentieth. The generation of the 20's and 30's formed new concepts of the realistic and the fantastic. Therefore, they altered the previous narrative pattern and abandoned scientism as a literary topic. This study includes stories by these authors: Carlos O. Bunge, Miguel Cané, Macedonio Fernández, Martín García Mérou, Juana Manuela Gorriti, Carlos Guido y Spano, Julio Herrera y Reissig, Eduardo L. Holmberg, William Henry Hudson, Leopoldo Lugones, Carlos Monsalve, Carlos Olivera, Horacio Quiroga, and Eduardo Wilde.

Le Cycle de Kraven de Xavier Mauméjean met en place un réseau référentiel qui repose sur le recyclage systématique d’éléments historiques et littéraires. Afin de bien saisir le fonctionnement de ce cycle narratif, il importe de se pencher sur cette dynamique référentielle exacerbée relevant d’une poétique du recyclage (au sens de réutilisation) qui se manifeste par l’emprunt de nombreux référents historiques et littéraires, que le récit modifie à divers degrés. Au moyen de la notion de recyclage, des travaux sur la récupération de l’Histoire par l’uchronie et d’études sur le steampunk, esthétique dont relève le Cycle de Kraven, ce mémoire examine les effets de ce recyclage sur le fonctionnement du récit, mais aussi sur le lecteur. En effet, par un imposant mélange de références authentiques et fictives, le Cycle de Kraven cherche à mystifier le lecteur qui se trouve au centre d’un fourmillement intertextuel brouillant les frontières entre Histoire et fiction. Une réflexion sur le paratexte vient compléter l’analyse du Cycle de Kraven, puisque préface, notes en bas de page, liste de livres et bon de commande contribuent grandement à la création d’un effet de mystification. / Cycle de Kraven, from French author Xavier Mauméjean, establishes a referential network based on a systematic recycling of historical and literary elements. In order to fully understand how this narrative cycle works, one needs to look into these exacerbated referential dynamics which depends on a poetics of recycling. This manifests itself through the borrowing of multiple historical and literary referents, modified at various levels throughout the story. Through the notion of recycling, works on the recovery of history through uchrony and studies on the steampunk genre – being Kraven's primary aesthetic – this dissertation looks into the effects this recycling has on the story's working, as well as on the reader himself. Indeed, through its impressive blending of genuine and fictional references, Cycle de Kraven bemuses the reader who finds himself or herself exploring a intertextual universe where history and fiction may hardly be differed from one another. A study on the paratext concludes this analysis of Cycle de Kraven since elements such as the preface, the footnotes and the purchase order form contribute to the befuddlement of readers.

This study is concerned with men's sexual fantasies content that appears either within partner's sexual lovemaking or during masturbation. Except fantasy description and classifying it also pays attention to the associations with sexual satisfaction. The study results have proved that they appear much more and in higher variety with masturbation. One of the most popular fantasies is lovemaking with the own partner. Most men state one deviant fantasy at least, homosexual fantasy is an ordinary phenomenon even with heterosexual men. From the point of sexual satisfaction some differences have been approved in the fantasy content in contrast with unsatisfied individuals. Sharing mutual fantasy with the own partner has been approved to be very important.

Autor: Daniel Kadlec Vedoucí práce: PhDr. Tamara Bučková, Ph.D. Univerzita Karlova v Praze Název práce: K vymezení žánru fantastiky na příkladu románové trilogie Inkoustový svět od Cornelie Funkeové Počet stran: 77 Název: K vymezení žánru fantastiky na příkladu románové trilogie Inkoustový svět od Cornelie Funkeové Abstrakt: Práce se zabývá fantastickou literaturou a na příkladu románové trilogie "Inkoustový svět" od CORNELIE FUNKEOVÉ poukazuje na některá specifika dvoudimenzionálních příběhů. V teoretické části je nejprve na základě rešerše definován pojem fantastická literatura / fantastika a posléze blíže popsány čtyři k ní náležející žánry - fantasy, science fiction, pohádka a fantastická povídka resp. fantastický román. Vlastní analýza trilogie "Inkoustový svět" je zaměřena na pojetí dvoudimenzionality a roli osudu v tomto díle. Předpoklad, že v "Inkoustovém světě" vytváří autorka dvě rovnocenné autonomní roviny světa reality a světa fantasie, se podařilo prokázat, stejně jako premisu výrazné role osudu, jenž lze změnit jen za pomoci vlastností jako jsou láska, přátelství a ochota k sebeobětování. Klíčová slova: fantastická literatura / fantastika; fantasy; dimenze reality vs. dimenze fantasie; Inkoustový svět; Cornelia Funkeová Author: Daniel Kadlec Supervisor: PhDr. Tamara Bučková, Ph.D. Charles...

This master's thesis deals with the influence of The Kalevala and the Finnish language on the English writer John Ronald Reuel Tolkien and his work. The main purpose is to provide a possibly most complex description of The Kalevala's influence on Tolkien. Firstly, the background of The Kalevala, the role of Elias Lönnrot during its birth and its importance, and secondly, Tolkien, his work and his discovery of The Kalevala are introduced. The main part of the thesis focuses on Tolkien's inspiration by The Kalevala out of three different perspectives. The first one is the influence of the Finnish language on Quenya, one of Tolkien's fictional languages. The second one is The Kalevala's importance for Tolkien from a general point of view - especially the influence of Lönnrot's role, The Kalevala's mythology, several abstract aspects of The Kalevala led by the importance of singing and The Kalevala's structure is crucial. The third one is Tolkien's inspiration by The Kalevala from a concrete point of view. Particularly the importance of The Kalevala's character Väinämöinen and the story of the Sampo is significant here.