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Syftet med denna undersökning är att genom en komparativ studie med utgångspunkt i teorier om dialogicitet, hyptertextualitet och transformation, analysera förekomsten av grekisk mytologi i The Lightning Thief (2005) – vilken påverkan dessa har och hur de tar sig uttryck i Riordans roman. De grekiska myterna i The Lightning Thief har jämförts med de som beskrivs i Grekisk Mytologi (1977) av Giovanni Caselli och Michael Gibson, En introduktion till grekisk mytologi (1989) av David Bellingham, samt Ovidius Metamorfoser (8 e.Kr.). Resultaten visar att de grekiska myterna har en förklarande funktion och agerar inspiration för Riordans egen berättelse. Likväl har författaren flyttat över de grekiska gudarna i myterna till The Lightning Thief och utgått från dem som modeller för framställningen av hans egna karaktärer. Dock har Riordan anpassat och moderniserat både myterna och gudarna för att de ska passa in i den värld som författaren själv har skapat.

Den här uppsatsen analyserar mytanvändningen i Rick Riordans bokserie om Percy Jackson med syfte att uppenbara kopplingar till dagens miljö- och klimatproblematik. Fokus placeras på bokseriens införande av antik grekisk mytologi och de ekokritiska analysmöjligheter som det skapar. Analysen utgår ifrån den ekokritiska teorin bl.a. med begrepp som antropocentrism, ekocentrism, och dikotomin natur - kultur. Analysen genomförs genom en närläsning av karaktärernas dialog och agerande för att utröna de olika perspektiv på miljökrisen som presenteras. Dessa förs sedan samman i en slutgiltig diskussion kring bokens ekokritiska aspekter och de samhällskritiska budskap som karaktärer och läsare ges. Uppsatsen resulterade i slutsatsen att en sorts samhällskritik ligger som bakgrund genom Riordans bokserie. Användningen av den antika mytologin uppenbarar dagens enorma miljöproblematik och de olika synsätt som finns inom miljörörelsen bl.a. genom de miljöer som beskrivs och karaktärernas utspel. Miljöerna som beskrivs är främst urbana samt nedskräpade och smutsiga. Platser där mytologiska varelser inte längre kan leva. Karaktärerna uttrycker en oro och en sorg över mänsklighetens destruktiva påverkan på sin omgivning och deras agerande visar på den riktning som Riordan önskar se och mana mot. Bokserien mynnar ut i en önskan om en framtida värld där människan lever på ett hållbart sätt tillsammans med naturen.

Using the biographical approach, this thesis examines the transfer of British art education methodology to B.C. schools. Early chapters make a close study of the school art curriculum in Britain and its comprehensive restructuring between 1890 and 1910. Later chapters analyse the transfer of these British ideas to B.C., showing how they eventually formed the basis of the British Columbia art curriculum. As a British immigrant in 1909, William Percy Weston belonged to the dominant ethnic and cultural group then settling in B.C.. With British training and teaching experience, he brought with him the belief, fundamental to British art education, that natural form was the basis of design and beauty. Never abandoning this notion, he spread his ideas well beyond the Provincial Normal School, where he was Art Master from 1914 to 1946. Apart from playing a major role in the art training of teachers he was largely responsible for writing the official provincial art text in 1924 and completely responsible for its 1933 revision. He dominated the 1936 rewriting of elementary and secondary art programmes which became a part of the province's complete overhaul of curricula. Weston also became a prominent artist. Among the first to develop a new vision of the western Canadian landscape, he was an important member of the local artistic community. He finally received national recognition, becoming a charter member of the Canadian Group of Painters in 1933 and the first B.C. Associate of the Royal Canadian Academy in 1936. Throughout the nineteen-thirties he exhibited extensively in national exhibitions and his work was chosen to represent Canada abroad. This thesis shows how British educational ideas were sustained in B.C. by the predominantly British educational establishment long after they were rejected in Britain. Investigating reasons, often unforeseen, for curricular change, the thesis raises important questions about the inadequacy of much curriculum history with its emphasis on official policy and disregard for classroom practice. In elucidating Weston's thought and practice contextually, the thesis points out the conditions which allowed Weston to have such wide influence, contrasting his educational conservatism with his artistic experimentation. Furthermore, it offers an explanation for the way in which school art education policy developed in B.C. and underscores the complex of reasons which encourages, or impedes, change in educational practice. Although ultimately Weston's predominance may have held up educational change in art within the province, he nevertheless brought a coherent and plausible philosophy of art education to B.C. schools, one that served the province well for three or more decades. His enthusiastic and able championing of that philosophy did much to encourage teaching of the subject. / Education, Faculty of / Educational Studies (EDST), Department of / Graduate

Now as to what are the ends to be attained; there will be an attempt to compare and contrast the outstanding Shelleyan qualities which have been quite generally accepted with those of the Cymric Celts. But it is quite evident by the very limitation of time and space at our disposal, that the present treatment of style in the Celt and Shelley must be somewhat restricted.

Denna uppsats analyserar filmen Percy Jackson och kampen om åskviggen (2010) och kontrasterar den mot sitt källmaterial, boken Percy Jackson och kampen om åskviggen (2005). Uppsatsens syfte är att bättre förstå skillnaden mellan en berättelse skriven i bokformat och och samma berättelse i filmformat. Skillnaderna mellan bok och film är ett väldigt debatterat ämne som skapar en splittring bland adaptionsteoretiker. Med hjälp av adaptionsteorin analyserar uppsatsen vändpunkterna i både boken och filmen och hur det påverka huvudkaraktärerna. Genom denna process förstår vi bättre vilka förändringar en adaption av ett verk från bokformat till filmformat kan medföra.

This dissertation examines the role of sibling kinship in shaping the poetry, drama, and fiction of English Romanticism (1789-1832). While critics have long associated Romanticism with a myth of solitary authorship and an archetype of isolated genius, I demonstrate that Romantic authors imagined subjectivity in the plural, curating a vision of identity-formation that is collective, shared, multiple, and relational. Embodied in the portrayal of sibling relationships, this inter-subjective paradigm delivers new frameworks for understanding the Romantic self as situated within networks of others—networks of those who are not quite the same yet not quite different; those who are both familiar and yet unknown. My study is the first to present a sustained consideration of the way Romantic writers invoked literary siblinghood as a model for the collaborative and collective nature of selfhood, and I propose that this focus on lateral sibling kinship offers alternatives to the conventional reproductive lenses through which the late-eighteenth and early-nineteenth-century family has been previously understood. Drawing from recent work in feminist and queer theory, psychology and psychoanalysis, and sociocultural histories of kinship, this dissertation contributes new readings of canonical texts by Percy Bysshe Shelley, Joanna Baillie, William Wordsworth, Jane Austen, and Mary Shelley. Chapter One considers two stage dramas by P. B. Shelley and Baillie as rewritings of Sophocles’s Antigone. In both plays, sisters use their fraternal-sororal relations to redefine familial systems of reproduction via horizontal means of transmission rather than through vertical lines of biological inheritance. In Chapter Two, I extend this discussion of sibling networks to Wordsworth’s Lyrical Ballads, where, I suggest, we find trans-subjective inter-relations that define the poet’s vision well beyond autobiographical references to his sister Dorothy. Austen’s novels serve as the focus of Chapter Three, which argues that the self-contained “I” of the Bildungsroman genre, as Austen incorporates it, in fact depends upon intimate epistemological exchanges between sororal characters who undergo a mutually influential process of development. Chapter Four concludes with a discussion of Mary Shelley’s Frankenstein. I suggest that the author critiques her central male protagonist for his failures to recognize how the reciprocity of male-female sibling sympathies underlies homosocial bonds. Taken together, these readings advance a version of Romantic subjectivity based upon lateral integration rather than egotistical solipsism. / 2027-02-28T00:00:00Z

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