The group of six short stories is unified around a central theme of remembrance, as the title of the collection suggests. In all of the stories but one, the memories of a female character are evoked--a character who looks back in time, either to childhood or to the more recent past, to recall an event which was crucial in her life, an event which changed her. In each of these five stories, the speaker is a mature adult; however, in the sixth, "Fern James and the Kid," the story is told by an observer of the main character(s). The setting (and voice) in these stories is most often that of small-town southern Indiana.

The following dissertation uses fictional crime dramas to determine whether there are gendered patterns in the use of techniques of neutralization between and among male and female offenders. It utilizes a mixed method approach to answer three separate research questions: (1) how techniques of neutralization are used in fictional crime dramas, (2) whether such portrayals vary between and among male and female offenders, and (3) how elements of doing gender play a role in the gendered nature of males and female offenders’ techniques of neutralization. The sample included 124 episodes from four different fictional crime dramas and 383 individual offenses were used in the data. The quantitative data found that while both genders utilize the techniques in similar proportions, there are specific differences in their applicability. One salient difference was that men tended to commit offenses without using a technique of neutralization to excuse their offense more often than were women. The qualitative data showed several themes in how men and women utilized these techniques as well. Women were not depicted speaking the technique used for their offense as often as were men. Further, they were more likely to have someone else offer a technique on their behalf. When women did use a technique of neutralization they were likely to use more than one whereas, this was not found with men. There were also specific variations that occurred within each technique that played off of how the gender of the offenders was portrayed in the shows.

No description available.

No description available.

Research in the field of fictional and possible worlds examines the real and its hypothetical counterparts. The interaction between the actual and the fictional is a cause of debate within this field, and includes questions concerning the ontological status of fictional characters and their relation to reality. The following discussion will engage current positions in this debate. These include questions of reference regarding the correlation between fictional characters and actual personalities. Studying the transmedial migration of character properties from fictional worlds into the actual world engages with the possible as dependent on the actual, as well as the influence fiction can have on reality, by demonstrating how individual characters are perceived as packages of properties, some of which we identify and recognize as adaptable to our own behavior. Transmedial migration requires compatibility between different media. Accordingly, it is explained through the direct correspondence of fictional properties to actual properties, and the indirect correspondence of fictional characters to actual people. I am claiming that an interaction can be observed between different media, such as fictional worlds and the actual world, with particular emphasis on the example of fictional characters and their properties. In order to comprehend this we need a robust framework and the model that I am proposing here comprises the essential elements for such a framework. The transmedial migration of character properties from a textual medium, such as a Sherlock Holmes story, into the physical, social medium of the actual world is the action of adapting a fictional character’s package of properties into an actual person’s behavior. The agency of actual people in adapting fictional character properties to their corporal, social actions is what constitutes transmedial migration. This is a specific example of behavioral learning that recognizes certain behavior by the means of a label or trademark that is acquired from a fictional character. It is conceivable that any number of behavioral attributes, such as attitudes or habits, could be scientifically proven to have transmedially migrated by means of experimentation. Nevertheless, culturally and socially, it is only the definite identification of such character properties that substantiates my argument of transmedial migration through adaptation.

This paper focuses on Mark Twain's writing style and characterization in his fiction. The settings and characters of his fiction are in particular focus, specifically how Mark Twain draws on personal experiences and memories to make his characters and settings more relatable and realistic. A brief biography of Twain's life is given before the author goes into the specifics of characterization and settings.

The impetus of this thesis arose from an unfound text and the unsatisfied questions regarding the profession of architecture when I first entered the school. What exactly is an architect? What exactly does an architect do? These are questions that the young have when they consider pursuing an education in architecture - questions that are not always well answered by the media, which they are most familiar with - film. The characterization of architects in cinema continues to provide lay people with a skewed caricature of the architect - this is misleading and not the correct basis for considering a career in this field. This thesis seeks to reconcile the fictional/cinema architect with the real life practitioner. Throughout the past half-century the characteristics of fictional architect Howard Roark have been perpetuated in cinema architects creating an erroneous impression of the practitioner. Through a series of interviews with Toronto architects, a documentary film was created. Analysis of the interviews provided the basis for a comparison between the actual practice of architecture and the fictional impression provided by film architects. The thesis is constructed in two parts. The documentary film relates interwoven stories of seven architects. Twelve hours of interviews has been distilled down to a fifty-minute narrative revealing key common characteristics and views held by the architects. The text reviews the key content of the discourse with real life practitioners, their common characteristics and views, relating to the fictional cases. It is the intention of the author that the documentary film created at the centre of this thesis could provide potential architects and the layperson with a more accurate understanding of the actuality of the profession of architecture.

Thesis (B.A.)--Haverford College, Dept. of English, 2004. / Includes bibliographical references.

Thesis (M.A.)--Marshall University, 2002. / Title from document title page. Document formatted into pages; contains iv, 45 p. Includes bibliographical references (p. 44-45).

The impetus of this thesis arose from an unfound text and the unsatisfied questions regarding the profession of architecture when I first entered the school. What exactly is an architect? What exactly does an architect do? These are questions that the young have when they consider pursuing an education in architecture - questions that are not always well answered by the media, which they are most familiar with - film. The characterization of architects in cinema continues to provide lay people with a skewed caricature of the architect - this is misleading and not the correct basis for considering a career in this field. This thesis seeks to reconcile the fictional/cinema architect with the real life practitioner. Throughout the past half-century the characteristics of fictional architect Howard Roark have been perpetuated in cinema architects creating an erroneous impression of the practitioner. Through a series of interviews with Toronto architects, a documentary film was created. Analysis of the interviews provided the basis for a comparison between the actual practice of architecture and the fictional impression provided by film architects. The thesis is constructed in two parts. The documentary film relates interwoven stories of seven architects. Twelve hours of interviews has been distilled down to a fifty-minute narrative revealing key common characteristics and views held by the architects. The text reviews the key content of the discourse with real life practitioners, their common characteristics and views, relating to the fictional cases. It is the intention of the author that the documentary film created at the centre of this thesis could provide potential architects and the layperson with a more accurate understanding of the actuality of the profession of architecture.