The following report is an in depth, step-by-step analysis of the processes and experiments undertaken during the creation of the thesis film, "Lofty," written, directed, photographed, scored, and edited by Patrick William Smith. From inception to mastering the finished film, this report serves to highlight the filmmaker's rationale behind attempts at various experimental methods of pre-production, production, and post-production on the film. / text

This thesis examines the traditions of textual interaction that impact the forms of reading engaged in with fanfiction. This thesis continues by exploring how self-insertion fanfiction functions as a medium through which authors express their reading of the text primary through the emotional impact of the text through wish fulfillment, and the interaction of their cultural moment and the text. Furthermore, it argues that self-insertion fanfiction is a mode of literary critique in which the author acknowledges the effect of a mediated world on their perception of self and reality. Through this recognition of a constructed self, the author rejects the attractiveness of objective analysis, allowing them to critique the work from their subject position influenced by the text.

This study investigates the ways that children engage with a repeatedly viewed film in domestic settings. The research questions focus on the children's language, their multimodal behaviours while viewing and the understandings they form about a film. The study aims to provide insights for educators by demonstrating the range and nature of the educationally significant understandings, about film, that children construct. An initial survey of 9 and 10 year olds produced 17 children who nominated Harry Potter and the Chamber of Secrets (Columbus, 2002) as a favourite film that they had viewed at least 10 times. A video illustrating the research procedures was used to inform and to stimulate discussion with these children, to ensure that they were able to give educated consent. Observations of pairs of children viewing the film in their homes, followed by a series of activities to elicit discussion, created a set of rich data on the children's engagement practices and understandings of the film. Framed within the interpretivist paradigm, social semiotics and a sociocultural model of learning informed the generation and analysis of the data. A viewing practices engagement framework adapted existing frameworks in literature, literacy and critical literacy to better analyse viewing behaviours, responses and understandings. The engagement practice categories (literal, connotative, aesthetic, structural and critical) enabled multimodal and transcribed verbal data to be meaningfully linked. Several analytic approaches (including multimodal analysis and discourse analysis) were used to provide a full description of viewing engagement. The findings revealed variable levels of overt behaviour during viewing which did not relate to levels of understanding about the film. The range of understandings included aspects of characters, narrative, causation in the film and special effects. Discourse analysis revealed a range of viewing positions taken and social languages used, as well as gender differences in the balance of language used to attribute the film’s emotional effects. The findings provide evidence that children construct a range of educationally relevant understandings through their repeated home viewing of favourites, although structural and critical engagement was not well developed in this group. The findings are relevant to children's learning, audience research and the culture of childhood. The study has implications for parents, for primary school teachers and for education policy.

Submitted by Tiago Pereira Rodrigues (tiago7.letras@yahoo.com.br) on 2018-08-25T00:21:13Z No. of bitstreams: 1 pereira_rodrigues_t_me_arafcl.pdf: 1743860 bytes, checksum: dd5d3d44ee236f9d83c111ebe5043550 (MD5) / Rejected by Carolina Lourenco null (carolinalourenco@fclar.unesp.br), reason: Bom dia, Tiago, Para a aprovação no Repositório Institucional da UNESP serão necessárias algumas correções na sua dissertação. Solicitamos que realize uma nova submissão seguindo as orientações abaixo: *Remover as páginas em branco localizadas após a capa, folha de aprovação, epígrafe e lista de tabelas. A última p. do trabalho, que consta somente o nome da universidade, também deve ser excluída; *Numeração de páginas: de acordo com o Manual de Normalização da Biblioteca, todas as folhas pré-textuais do trabalho, a partir da p. de rosto, devem ser contadas sequencialmente, mas não numeradas. A ficha catalográfica não deve ser contada. A numeração deve figurar, a partir da primeira folha da parte textual, em algarismos arábicos, no canto superior direito da folha. Como a sua parte textual começa com uma Apresentação, você deve começar a numerar a partir dela. Portanto, após remover as folhas em branco, você deve numerar a Apresentação como p. 15. Lembrando também que quando o trabalho for digitado ou datilografado em anverso e verso, a numeração das páginas deve ser colocada no anverso da folha, no canto superior direito; e no verso, no canto superior esquerdo. *Adequar o sumário e listas de acordo com a nova numeração das páginas; *As margens devem ser: esquerda e superior de 3 cm e direita e inferior de 2 cm; *Ficha catalográfica: a entrada deve ser pelo último sobrenome: "Rodrigues, Tiago Pereira” e deve ser feita através do nosso sistema automático: http://www.fclar.unesp.br/#!/biblioteca/servicos/formulario-de-ficha-catalografica/ *De acordo com as exigências da FAPESP, você deve colocar o número de financiamento, tanto do CNPq quanto da FAPESP, na p. de rosto, folha de aprovação e agradecimentos; Para maiores esclarecimentos, acesse as normas da biblioteca: http://fclar.unesp.br/#!/biblioteca/normas-da-abnt/normalizacao/ ou procure as bibliotecárias da Seção de Referência (Elaine ou Camila): (16) 3334 6222. Agradecemos a compreensão. on 2018-08-27T12:14:11Z (GMT) / Submitted by Tiago Pereira Rodrigues (tiago7.letras@yahoo.com.br) on 2018-09-03T08:41:22Z No. of bitstreams: 1 Uma análise das criações lexicais mais frequentes na tradução da série Harry Potter para o português brasileiro.pdf: 1792723 bytes, checksum: 551f7e2255c41b6b705113f3f731b7ed (MD5) / Approved for entry into archive by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br) on 2018-09-03T17:03:22Z (GMT) No. of bitstreams: 1 rodrigues_tp_me_arafcl.pdf: 1770741 bytes, checksum: b69dcfaabf6ce98df5538767b9e050a9 (MD5) / Made available in DSpace on 2018-09-03T17:03:22Z (GMT). No. of bitstreams: 1 rodrigues_tp_me_arafcl.pdf: 1770741 bytes, checksum: b69dcfaabf6ce98df5538767b9e050a9 (MD5) Previous issue date: 2018-04-27 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta pesquisa lida com a morfologia, os sentidos e as simbologias de 35 criações lexicais mais frequentes na versão britânica da série Harry Potter e de seus correspondentes linguísticos pertencentes à versão brasileira. Nesse sentido, um dos objetivos da pesquisa foi identificar os processos de criação lexical mais recorrentes entre os vocábulos de ambas as versões. Outro objetivo foi verificar se os processos criativos dos vocábulos que não foram mantidos no texto de chegada influenciaram as escolhas morfológicas e lexicais da tradutora da série no Brasil, na criação de novas formas lexicais e no emprego de palavras já existentes em português em novos contextos ou com novos significados, no texto de chegada. Para tanto, foram descritos os processos criativos e os sentidos primários dos vocábulos em tela. A fim de facilitar a consulta das criações lexicais analisadas e de contextualizá-las, foi elaborado, também, um glossário bilíngue. Além disso, entre os dados obtidos, foram selecionados os vocábulos Dumbledore, Malfoy e Quirrell, que foram mantidos na tradução, com o intuito de realizar uma análise comparativa e detalhada acerca das relações simbólicas envolvendo os três vocábulos, nos textos de partida e de chegada. Em termos teórico-metodológicos, considerou-se a tradução como uma atividade interpretativa produtora de significados que nunca escapa da hierarquia de valores culturais da língua de chegada. Além disso, foram empregados os pressupostos da Linguística de Corpus e dos Estudos da Tradução Baseados em Corpus, bem como aqueles advindos de teorias de cunho lexical-morfológico que são relevantes para o entendimento e a descrição de fenômenos de criação lexical. Para a extração dos dados, foram utilizados um corpus paralelo contendo os textos de partida e de chegada da série, o software WorldSmith Tools (versão 6.0), obras lexicográficas e os corpora British National Corpus (World Version) e Lácio-Ref. No que concerne aos resultados, constatou-se que, entre as 35 criações lexicais mais frequentes no texto de partida, os processos criativos mais recorrentes são a composição por justaposição e a passagem de nome comum para nome próprio. Constatou-se, também, que entre essas criações, a maioria (19) foi mantida no texto traduzido. Quanto aos 16 vocábulos do texto de chegada que não são manutenções, identificou-se que os processos criativos mais recorrentes entre eles são a passagem de nome comum para nome próprio e outros processos que não foram encontrados na bibliografia consultada. Ao comparar esses 16 vocábulos com seus correspondentes no texto de partida, observou-se que tal comparação não permite verificar se as escolhas morfológicas e lexicais da tradutora foram influenciadas pelos processos criativos desses correspondentes. Os vocábulos mostraram que outros fatores podem ter influenciado essas escolhas, que são: sentidos do vocábulo de partida, o fato de o vocábulo de partida ser ou suscitar o étimo do vocábulo de chegada, estrutura do vocábulo de partida, determinada característica do referente, sistema da língua de chegada. Por meio das análises simbólicas dos vocábulos Dumbledore, Malfoy e Quirrell, verificou-se que o texto traduzido rompe redes simbólicas ao mesmo tempo em que mantém relações e sentidos, gera novos significados e novas relações e veicula traços culturais da língua de chegada. / This research deals with the morphology, the meanings and the symbologies of 35 most frequent lexical creations in the British version of the Harry Potter series and of their linguistic correspondents belonging to the Brazilian version. In this sense, one of the aims of the research was to identify the most recurrent lexical creation processes among the words in both versions. Another aim was to verify whether the creative processes of the words that were not maintained in the target text influenced the morphological and lexical choices of the translator of the series in Brazil, in the creation of new lexical forms and in the use of words already existing in Portuguese in new contexts or with new meanings, in the target text. For both aims, the creative processes and the primary meanings of the words in question were described. Also, to facilitate the consultation of the analysed lexical creations and to contextualise them, a bilingual glossary was elaborated. Furthermore, among the obtained data, the words Dumbledore, Malfoy and Quirrell, which were maintained in translation, were selected, in order to carry out a comparative and detailed analysis about the symbolic relations involving these three words, in the source and target texts. In theoretical and methodological terms, translation was considered as an interpretative activity that produces meanings and never escapes the hierarchy of cultural values existing in the target language. Furthermore, the presuppositions from Corpus Linguistics and Corpus-Based Translation Studies, as well as those from lexical and morphological theories that are relevant to understand and to describe lexical creation phenomena, were employed. To extract the data, a parallel corpus containing the source and target texts of the series, the software WordSmith Tools (version 6.0), lexicographical works and the corpora British National Corpus (World Version) and Lácio-Ref were used. In respect of the results, composition by juxtaposition and the change from common name to proper name were found to be the most recurrent creative processes among the 35 most frequent lexical creations in the source text. Also among these creations, most (19) was found to have been maintained in the translated text. Concerning the 16 words in the target text that correspond to the other 16 lexical creations belonging to the source text, it was identified that the most frequent creative processes among them are the change from common name to proper name and other processes that were not found in the consulted bibliography. When comparing these 16 words with their correspondents in the source text, it was observed that this comparison does not permit to verify whether the translator’s morphological and lexical choices were influenced by the creative processes of these correspondents. The words showed that other factors can have influenced these choices, namely: meanings of the source word, the fact that the source word is or arouses the etymon of the target word, structure of the source word, a certain characteristic of the referent, system of the target language. Through the symbolic analyses of the words Dumbledore, Malfoy and Quirrell, it was verified that the translated text breaks symbolic nets, whilst maintaining relations and meanings, generating new meanings and new relations and conveying cultural features of the target language. / CNPq: 132918/2016-1 / FAPESP: 2016/03328-5

xx, 800 p. : music. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Despite the immense popular and critical response given to the Harry Potter narrative and phenomenon, little has been written about the music for the Harry Potter films. I establish that the aesthetic differences that viewers perceive between the different Harry Potter films are largely due to the musical approaches of composers John Williams, Patrick Doyle, and Nicholas Hooper over the course of four director/composer collaborations for the first five films. This study provides a rare opportunity to examine the work of different composers for a continuing narrative. Moreover, when we explore how music is used in varied ways within the films, we see how each musical approach shapes film visuals into the narrative that the filmmakers sought to convey; when the music changes, the story changes. Music creates the geographic, cultural, and temporal landscapes that draw us in to Harry's 'muggle' and magical worlds. Music defines the way we perceive Harry's emotional experiences of love, joy, loss, and death, and also defines the philosophical perspectives on the nature of evil and its conquest. Sometimes, the music provides clues to the mystery long before visuals and dialogue address them, and musical relationships (with visuals and within the music itself) allow us to perceive the properties and powers of magic and humanity that may otherwise transpire unseen. Music also plays a role in the types of humor that are represented in the films--from socially-sanctioned transgressions, to macabre, to bawdy, deadpan, and caricature. However, while the core narrative themes in the films are closely related to the main themes in Rowling's original novels, an examination of how Rowling's descriptions of musical events compare with representations of these events in the films reveals that Rowling created a more nuanced social landscape (especially with regard to gender) than is re-contextualized with music in the films. / Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Mark Levy, Member, Music; Carl Bybee, Outside Member, Journalism and Communication

Made available in DSpace on 2018-07-27T18:26:11Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-08-07. Added 1 bitstream(s) on 2018-07-27T18:30:31Z : No. of bitstreams: 1 000869205.pdf: 1067197 bytes, checksum: dfb8b7697516bf4587ba49259e23cb65 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / In order to describe and verify the most common resources used in the creation of Harry Potter fanfictions in Brazil, this study presents the movement of consumers towards a more participative culture in the last two decades, its implications to debates on intellectual property and the impact of technological evolution on the production and circulation of media content. The work also examines the history of fanfiction and the existent mechanisms of reinterpretation of original narratives, as well as the expressive numbers that represent the success of J.K. Rowling's books both as an editorial phenomenon and fandom on the internet. Given the significant production inspired in the Harry Potter series by Brazilian fans, three representative fanfictions are analyzed, in the light of the specific ways the original is rewritten. Alternative universe, focus on secondary characters, slash and timeline expansion, which were found to be the most recurrent procedures in the rewritings, evince partiality for personal creation on the part of authors and readers

Hermione Granger is the most prominent female character in the Harry Potter series. She is also the only one in the trio of herself, Harry Potter, and Ron Weasley who is muggle-born. She is, therefore, most likely to be discriminated against in two aspects – on the basis of her sex and race. This essay examines Hermione with the help of Simone de Beauvoir’s The Second Sex and Edward W. Said’s Orientalism to show how she is represented and portrayed as “the Other” in these two aspects. In which aspect is she more likely to suffer from discrimination, or is it the combination of the two that is essential? As discrimination on the basis of sex, race, ethnicity, religion, and other aspects continues to grow in Western societies, it is important to look at how this widely popular literary series handles these issues.

This essay will examine the youth novel Harry Potter and the Philosopher’s Stone by J.K. Rowling. The aim of this essay is to find tendencies of how the novel favours non-stereotypical male behaviour and characteristics. Using gender criticism, the novel and its most central male characters are analysed to highlight their gender characteristics. Symbols and metaphors constitute a part of the analysis for a more comprehensive examination. The results of this essay show that the male characters are divided into two factions, the good side and the evil side. It is evident that the male characters on the evil side are characterised by stereotypical male gender behaviour and the male characters on the good side tend to show a lack of stereotypical masculine traits. The Fantasy genre, which dictates a strong good versus evil storyline, extends this polarisation. The stereotypical male gender roles are therefore opposed and non-stereotypical male behaviour is promoted in the narration by favouring male vulnerability and ridiculing stereotypical masculine traits.

This study considers the visual representation of the alchemical idea of the philosopher’s stone (lapis philosophorum) in the Harry Potter films: Harry Potter and the Philosopher’s Stone (Columbus 2001), Harry Potter and the Chamber of Secrets (Columbus 2002), Harry Potter and the Prisoner of Azkaban (Cuaron 2004), Harry Potter and the Goblet of Fire (Newell 2005), andHarry Potter and the Order of the Phoenix (Yates 2007). The lapis philosophorum was believed to turn base metals into gold and produce an Elixir of Life. As such, it is envisioned as the ultimate alchemical idea, and this study emphasises how the lapis can function as a signifier for an alchemical worldview within the Harry Potter films. Because the concept and symbolism of the Harry Potter films is largely based on JK Rowling’s (1997; 1998; 1999; 2000; 2003; 2005; 2007) original novels, this study provides a detailed comparison of how alchemical imagery is used in the novels and contrasts this with the visual imagery of the films. This study undertakes a hermeneutic analysis of the transmission of alchemical ideals from the literary to the visual medium. It also provides a detailed analysis of interrelated visual icons in the Harry Potter films that represent the idea of the lapis as an embodiment of alchemical perfection. In addition, by studying the interplay between alchemical imagery in the Harry Potter novels and films, and comparing the worldviews represented by each, this study is able to analyse the dynamics of the hermeneutic process. This study concludes with a consideration of how alchemical theory relates to the discipline of hermeneutics, how it influences the process of interpretation, and ultimately the relationship between the alchemical worldview and current perspectives on authorship. / Dissertation (MA)--University of Pretoria, 2008. / Visual Arts / unrestricted

How can a character from a children’s book become so divisive that he causes arguments amongst adults? This essay uses transactional reader response theory to explain the reason why the character Severus Snape from the Harry Potter book series by J.K. Rowling is so controversial. Applying notions from reader response theorists such as Rosenblatt and Iser together with earlier research on Snape will show how the reader’s opinion is affected by both the text itself and their own personal experience. A poll was created and posted on Facebook with over a thousand replies. This data is analysed and used to apply the theory on real examples. The conclusion of the essay is that Snape is both good and bad. He acts heroically but is also vindictive and petty. Snape is perhaps the most human of all Rowling’s characters and each reader recognises a little of themselves in him that they can relate to. Because of ongoing arguments regarding Snape readers have to constantly defend their opinion. As the opinion is re-evaluated it is also strengthened each time readers reconsider the story of Snape and, like Snape himself once asked Professor Quirrell to do, decide where their loyalties lie.