Le Sou shen ji搜神記est l’œuvre la plus représentative et influente du genre zhiguai志怪, sa valeur historique et artistique est incomparable par rapport aux autres œuvres pareilles. Son auteur Gan Bao幹寶est un historien et lettré très réputé sous la Dynastie Dong Jin. Parmi ses nombreuses œuvres historiques et littéraires, c’est le Sou shen ji qui a connu le plus grand succès. Cette œuvre recueille autour de quatre cent soixante-quatre récits indépendants l’un de l’autre, et dont les sujets sont d’une variété considérable, reflétant dans une certaine mesure la mentalité et les croyances des Chinois de l’époque. Dans notre thèse nous avons fait des recherches sur cette œuvre dans une perspective sémiotique, employant la théorie sémiotique de Greimas. Dans la partie discursive, nous avons fait des analyses discursives et culturelles autour de la conception chinoise du shen et à partir de quatre catégories : les dieux dotés d’une fonction (shen神), les immortels (xian仙), les revenants (gui鬼), et les yaoguai妖怪, pour dessiner une image plus claire du « shen » pour les Chinois. Nous voyons que la conception du shen dans la culture chinoise, se trouvant au carrefour de la religion, de la politique, et de l’éthique, n’est pas un concept défini sur le plan théologique et transcendantale. Dans la partie narrative, nous nous concentrons sur les traits narratifs des récits fantastiques du Sou shen ji, en essayant en même temps, de construire un modèle narratif plus applicable à ces récits et à la description d’une relation intersubjective. / Sou shen ji is the most representative and influential work of the zhiguai genre, its historic and artistic value is unmatchable, compaired with other works of the same genre. The author, Gan Bao, is a very famous historian and scholar in Dong Jin dynasty. Among his numerous historical and literary works, it is Sou shen ji, who has had the biggest success. This work collects around four hundred and sixty-four stories independent one from each other, and the subjects are also very various, reflecting to some extent the mentality and the beliefs of the Chinese of the time. In this thesis, we have studied this work in a semiotic perspective, using the semiotic theory of Greimas. In the discursive part, we have done some analyses, from a discoursive and a cultural point of view, of the chinese conception of shen, from four categories : the gods who have a function (shen神), the immortals (xian仙), the ghosts (gui鬼), and the yaoguai妖怪, in order to draw a clearer picture of the conception of shen to the chinese. We can see that in the chinese culture, the conception of shen, located at the intersection of the religion, the politics, and the ethics, is not a concept defined in theological and transcendental termes. In the narrative part, we focus on the narrative features of the stories in Sou shen ji, and at the same time, we also try to build a narrative model which is more applicable to these stories and to the description of the intersubjective relationship.

La musique dans Pilgrimage de Dorothy Richardson joue un rôle important. C'est avant tout un élément crucial dans la quête identitaire de la protagoniste, Miriam Henderson. Récit de la formation d'une artiste, Pilgrimage est aussi celui de la quête d'une identité religieuse, nationale et féminine de la protagoniste. La musique accompagne le récit et offre la possibilité à Miriam de (ré)évaluer sa relation aux différentes religions organisées, de redéfinir son anglicité et de construire une identité féminine authentique. La musique ouvre également la voie à la « joie indépendante », au « centre de son être » où se loge une identité préexistante sur laquelle repose l'identité authentique qu'elle cherche. Par ailleurs, la musique aide Richardson à rompre avec la tradition romanesque du dix-neuvième siècle et à exprimer sa défiance à l'égard du langage et sa capacité à représenter la « réalité ». En intégrant les principes musicaux à la construction du texte narratif, l'auteur met en valeur son désir d'utiliser la musique comme modèle du fonctionnement sémiotique du texte narratif, d'influer sur la façon dont celui-ci fait sens et le communique en réfractant la « réalité » sur un axe à la fois vertical et horizontal et présente ainsi sa conception du temps comme échappant à la division entre passé, présent et futur. En outre, Richardson a recours à la musique pour mieux représenter la conscience, le processus de réflexion et le monde intérieur de sa protagoniste. Enfin, l'accompagnement musical sollicite la coopération de la conscience créatrice du lecteur en s'assurant sa collaboration dans la construction de la « réalité » que le roman tente de représenter. / Music plays an important role in Pilgrimage by Dorothy Richardson. On the one hand, music is a crucial element in the protagonist's search for identity. Reading Pilgrimage as a story of a quest and the formation of an artist shows that the quest of the protagonist Miriam Henderson is also that of a religious, national and feminine identity accompanied by music. Music provides the protagonist with the opportunity to (re)assess her relationship with various organized religions, redefine her Englishness, and build an authentic female identity. Music also reveals the “independent joy,” at “the center of being,” where a pre-existing identity can be found upon which the authentic identity that Miriam seeks rests. On the other hand, Richardson relies on music to break with the nineteenth-century writing conventions and express her distrust in the capacity of language to render “reality.” Her effort to integrate musical principles in the construction of the narrative emphasizes her desire to use music as a model for the semiotic functioning of the text, to influence how the text makes sense and communicates it refracting “reality” on an axis, both vertical and horizontal, thus presenting her concept of time which is outside the division into past, present and future. Furthermore, Richardson uses music to represent consciousness, the thinking process, and the inner world of the protagonist. Finally, the musical accompaniment generates the cooperation of the reader's creative consciousness securing his collaboration in the construction of the “reality” that the novel is trying to represent.

In 2015, the Narrative model was created as a result of a study exploring how episodic games keep player’s interests through combining narrative and gameplay. In this thesis, the Narrative model is used as a framework for designing a language game for children to see whether that makes players more inclined to keep playing than a game not designed based on the model. Two games were created and evaluated in a within subject controlled experiment. Player enjoyment was measured by using GameFlow as a basis for interview questions and Likert scales. The results indicated that the game based on the model more successfully achieved GameFlow than the game that was not. As such, it was concluded that the model can be used as a tool for game design to increase the desire to keep playing a game, but that it needs further study to be validated.

Under en lång tid har Harlequin-romaner och romantiska fantasier varit populära bland kvinnor. Den klassiska berättelsen om hjältinnan som finner kärleken med den perfekta mannen är specifikt riktad mot kvinnor. Det har forskats kring dessa romantiska fantasier, men det saknas forskning om hur dessa romantiska fantasier representerar maskuliniteten bland de manliga karaktärerna. Målet med det här arbetet är att försöka fylla en del av det tomrummet. Med hjälp av William Labovs narrativa modell och en kvalitativ textanalys har jag analyserat två filmer inom genren chick flick, Bridget Jones’s Diary (2001) och Bridget Jones: Edge of Reason (2004). Min analys visar att maskuliniteterna som framställs i romantiska berättelser följer väldigt stereotypiska maskulina drag. Exempelvis använder sig de manliga karaktärerna ofta av fysiskt våld för att visa sin manliga dominans och genom att vinna i ett slagsmål vill de visa vem som är den bästa mannen för Bridget Jones. / Harlequin novels and romantic fantasies have been popular with women for a number of years. The classic story of the heroine finding her true love with the perfect man is directed specifically to women, for their enjoyment. While there have been studies about the romantic fantasies themselves, there’s a distinct lack of research on how these romantic fantasies portray the male characters and their masculinity. This study is a step towards filling that gap. Using a combination of William Labov’s narrative model, as well as a qualitative textanalysis, to examine two chick flicks, Bridget Jones’s Diary (2001) and Bridget Jones: Edge of Reason (2004), I have found that the masculinities portrayed in romantic fantasies follow very stereotypical male behavior. For example, the male characters will often resort to physical violence to prove their male dominance and by winning a fight they want to prove that they are the right man for Bridget Jones.

This research pursues the use of the Bible in counseling. The focus is to identify the different theological paradigms in which the Bible is used and the different ways that counsellors make use of the Bible in therapy. It also pursues the experiences that the clients had of such counsellors in the use of the Bible. Therapists and clients from different theological backgrounds partake in this study. An overview is given of the shift that is taking place from a modern to a postmodern approach about reality, truth, and knowledge and the effect there of on the use of the Bible in therapy. The aim of the research is to explore if an evangelical christian in a postmodern context can make use of the Bible as the inspired word of God. The implication of this can be profound for pastoral therapy. A narrative paradigm is adopted to dicuss the discourses that evolved from the research. / Practical Theology / M.Th. (Pastoral Therapy)

This research pursues the use of the Bible in counseling. The focus is to identify the different theological paradigms in which the Bible is used and the different ways that counsellors make use of the Bible in therapy. It also pursues the experiences that the clients had of such counsellors in the use of the Bible. Therapists and clients from different theological backgrounds partake in this study. An overview is given of the shift that is taking place from a modern to a postmodern approach about reality, truth, and knowledge and the effect there of on the use of the Bible in therapy. The aim of the research is to explore if an evangelical christian in a postmodern context can make use of the Bible as the inspired word of God. The implication of this can be profound for pastoral therapy. A narrative paradigm is adopted to dicuss the discourses that evolved from the research. / Philosophy, Practical and Systematic Theology / M.Th. (Pastoral Therapy)