57 research outputs found
The television work of Alfred Hitchcock
No full textThe thesis uses close textual analysis to study and evaluate the television work of Alfred Hitchcock. The corpus consists of the twenty shows personally directed by Hitchcock, including his appearances before and after those shows. In response to most previous writing, which tends to compare the programmes with Hitchcock’s films (often unfairly) the thesis emphasises them as products of television. Programmes are evaluated on the basis of their perceived success as television- if they harness conditions related to television production and integrate them with narrative themes or to create meaning. Hitchcock is considered to be the major creative force in each programme.
Chapter One provides a variety of important contexts including a brief history of US television of the 1950s, key literature on Hitchcock and analyses of contemporaneous programmes not directed by Hitchcock. The textual analysis chapters (2-8) consider aesthetic or thematic programme aspects. Chapter Two studies the various roles played by Hitchcock’s appearances as series host. Chapter Three considers the impact of censorship on programmes frequently dealing with murder, violence and insanity. Chapter Four analyses Hitchcock’s implementation of varieties of voice-over narration, a common device in short dramatic forms. Chapter Five studies Hitchcock’s use of point-of-view shots, particularly in relation to their role in the delivery of the narrative twist. Chapter Six considers the key Hitchcock theme of detachment from the world. Chapter Seven looks at moments from the programmes which demonstrate how aesthetic is influenced by television production conditions.
Hitchcock created a number of television masterpieces. His achievements in television are in many ways comparable in quality and consistency to his theatrical films. Even when considered in the context of other 1950s US anthology dramas, the Hitchcock-directed programmes are superior on many levels. Elements of his film style were highly suited to television production. Many of his greatest achievements embrace and harness television production conditions in their presentation strategies to create an integration of style and meaning
A peça-paisagem de Gertrude Stein: traduzindo Four Saints in Three Acts
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2015.Esta pesquisa foi realizada pensando na tradução da peça-paisagem, peça-ópera, Four Saints in Three Acts, escrita em 1927, pela autora norte-americana Gertrude Stein (1874-1946). A peça foi elaborada musicalmente por Virgil Garnett Thomson (1896 ? 1989), crítico e compositor americano que, após estabelecer uma amizade com Stein, pediu se ela poderia escrever um libreto, uma ópera, para que ele fizesse o arranjo musical. Four Saints, publicada na obra Last Operas and Plays (1949), inicia na página 440 e termina na página 480. Nesta pesquisa serão apresentadas duas traduções para o português brasileiro das primeiras seis páginas da peça ? páginas 440 a 445 ? escrita em língua inglesa. Uma das traduções teve o foco mais literal, buscando manter o significado das palavras; e a outra, considerando as peculiaridades do texto steiniano, teve o foco mais autoral, fazendo uma dosagem entre forma e conteúdo, privilegiando ambos. A peça foi apresentada pela primeira vez em 1934 no Wadsworth Atheneum museum, em Hartford, Connecticut, nos Estados Unidos. Duas semanas depois foi para a Broadway; também foi comentada em diversas colunas de jornais e em rádios, levando à fama uma nova forma de teatro.Abstract : This research was conducted considering the translation of the play-landscape, play-opera, Four Saints in Three Acts, written in 1927 by American author Gertrude Stein (1874-1946). The play was set to music by Virgil Garnett Thomson (1896 - 1989), American composer and critic who, after establishing a friendship with Stein, asked if she could write a libretto, an opera, for him to do the musical arrangement. Four Saints, published in the work Last Operas and Plays (1949), starts on page 440 and ends on page 480. In this research it will be presented two translations to Brazilian Portuguese of the first six pages of the play - pages 440 to 445. One of the translations had a more literal focus to keep the meaning of words; and the other, considering the steinian text peculiarities, had a more authorial focus, making a mix between form and content, focusing both. The play was first performed in 1934 at the Wadsworth Atheneum museum in Hartford, Connecticut, in the United States. Two weeks later it went to Broadway; it was also commented on several columns of newspapers and radio stations, leading to fame a new form of theater
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Interface Rhetoric, or A Theory for Interface Analysis: Principles from Modern Imagetext Media -- Late 18th Century to Present
No full textThis study sought to determine the principles of interface rhetoric through a review of the relevant history and theory involved in imagetext media. Defining interface as the surface that limits the view of an artifact’s content, it focuses on the media of the illustrated book, comics, and the video game, particularly artifacts of those media inspired by the content of Lewis Carroll’s Alice books. Methodologically, it used the history of aesthetics and technology related to imagetext and the theories of these media in order to discern the rhetorical principles of interface distinctive to each medium. It takes the perspective of W. J. T. Mitchell’s concept of "imagetext," Umberto Eco’s sense of semiotics, Maurice Merleau-Ponty's phenomenology of perception, and Don Ihde's phenomenology of technology in its analysis of the media’s artifacts. The results of the analyses are a group of rhetorical principles for each medium that explain the operation of logos, pathos, and ethos in each medium’s interface. The explanations refer to Wayne Booth’s “implied author” and Kenneth Burke’s "terminological screens." In the final analysis, this study argues for understanding the relative ubiquity of imagetext in media stemming from the 1830s to present. It takes the stance that changes in aesthetics and technology enabled the rise of imagetext interfaces and the media that had them. More importantly, it formulates the architectonic principles of interface rhetoric regardless of the specific media
Pure Mafia - a novel about child labour, plus thesis and commentary
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This PhD in Creative Writing consists of three parts. The first part is a full-length novel, approximately 80K words, entitled Pure
Mafia. It is a drama about child labour and the Pakistani “carpet mafia”. This is
intertwined with the story of an unhappily married man undergoing a midlife crisis who
has an affair with a younger woman; the latter is instrumental to the main plot about
child labour. The book’s second main theme is British Pakistanis. An overarching theme
is abuse and exploitation, both personal and global, but ultimately of redemption and
renewal. The story is set in 2010/2011, mainly in London, England, with a middle
section in Lahore, Pakistan. The second part is an academic thesis, approximately 20K words, entitled Cheap Labour = Child Labour, on the main theme of the novel, child labour. It attempts to show that child labour is an inevitable consequence of cheap labour generally, and that the only way to tackle child labour is to address cheap labour. The thesis has been consciously and deliberately written as an objective, third person, standalone document and for this reason does not mention the novel. It is partly designed to fulfil the general
PhD criterion of demonstrating scholarship and research. The third part is a subjective, first person critical commentary, approximately 15K words, on the writing of the novel and the thesis, the connection between them, and the research context; it is entitled Pure Mafia: A critical commentary. It explains why
the main thesis is on child labour, rather than on the creative process or an English
Literature thesis; however, the commentary does include in some detail an insight into
the creative process, as well as a discussion of influences and tradition of writing. The final section of the commentary summarises this entire PhD’s original
contribution to knowledge
The virtual image : Brazilian literature in English translation
No full textThe
aim of this thesis is to
examine
how the virtual
image
of Brazil
and
its literature is
constructed
in the Anglo-American world. To this
end, a survey of
Brazilian literary
works
in English translation was
carried out.
Having
gathered this data, it became
possible to establish
correlations
between the historical
moments when such translations
were made, when their number
increased,
and the events occurring at
those times in the international
panorama, as well as to look into the
role of sponsors, publishers and translators in the
selection and
production of such translations.
The data
also allowed a profile of
Brazilian literary
works
in
English translation to be drawn. It became
possible to suggest that
such works
fall into four
main categories:
`authorial
works',
'topical
works',
`ambassadorial
works'
and `consumer-oriented
works'.
In
order
to look
more closely
into how the translation process
has helped to
shape
the
virtual
image
of Brazilian literary
works
in
the Anglo-American world, an analysis of a sample of
translations
of
such works was made. Included in this
sample were
the translations
of works
by Machado de Asis, by Indianist
and
Regionalist
wirters,
culminating
in
an examination of translations of
GuimarAes Rosa's
works.
Having looked
at these aspects of
the translation
process, what
remained
to be done
was to investigate
to what extent
Brazilian
literary
works
in English translation
are read
by the English-
speaking public.
To this
end, a survey of availability and
library
readership was undertaken. Finally,
a reading experiment was carried
out
in
which native speakers of
English
were asked to read the short
story
'A terceira
margem
do
rio',
by GuimarAes Rosa.
The
conclusion attempts to pull all these threads together and
to indicate directions for further
research
The Ophelia versions : representations of a dramatic type, 1600-1633
No full text‘The Ophelia Versions: Representations of a Dramatic Type from 1600-1633’ interrogates early modern drama’s use of the Ophelia type, which is defined in reference to Hamlet’s Ophelia and the behavioural patterns she exhibits: abandonment, derangement and suicide.
Chapter one investigates Shakespeare’s Ophelia in Hamlet, finding that Ophelia is strongly identified with the ballad corpus. I argue that the popular ballad medium that Shakespeare imports into the play via Ophelia is a subversive force that contends with and destabilizes the linear trajectory of Hamlet’s revenge tragedy narrative. The alternative space of Ophelia’s ballad narrative is, however, shut down by her suicide which, I argue, is influenced by the models of classical theatre. This ending conspires with the repressive legal and social restrictions placed upon early modern unmarried women and sets up a dangerous precedent by killing off the unassimilated abandoned woman.
Chapter two argues that Shakespeare and Fletcher’s The Two Noble Kinsmen amplifies Ophelia’s folk and ballad associations in their portrayal of the Jailer’s Daughter. Her comedic marital ending is enabled by a collaborative, communal, folk-cure. The play nevertheless registers a proto-feminist awareness of the peculiar losses suffered by early modern women in marriage and this knowledge deeply troubles the Jailer’s Daughter’s happy ending.
Chapter three explores the role of Lucibella in The Tragedy of Hoffman arguing that the play is a direct response to Hamlet’s treatment of revenge and that Lucibella is caught up in an authorial project of disambiguation which attempts to return the revenge plot to its morality roots. Chapters four and five explore the narratives of Aspatia in The Maid’s Tragedy and Penthea in The Broken Heart, finding in their very conformism to the behaviours prescribed for them, both by the Ophelia type itself and by early modern society in general, a radical protest against the limitations and repressions of those roles.
This thesis is consistently invested in the competing dialectics and authorities of oral and textual mediums in these plays. The Ophelia type, perhaps because of Hamlet’s Ophelia’s identification with the ballad corpus, proves an interesting gauge of each play’s engagement with emergent notions of textual authority in the early modern period
The socio-cultural milieux of the left in post-war Britain
No full textThis thesis examines the relationship between activist subjectivities and the shaping of Britain’s late
sixties extra-parliamentary left cultures. Based on the oral narratives of ninety men and women, it
traces the activist trajectory from child to adulthood to understand the social, psychological, and
cultural processes informing the political and personal transformation of young adults within the
new left cultures that emerged in the wake of Britain’s anti-war movement, the Vietnam Solidarity
Campaign (VSC). To this end the study charts the development of the political and cultural shifts on
the left over the decade from the early 1960s to the early 1970s. It shows how throughout this
period dialogue between inner and outer activist life occurred against a background of ongoing
realignment on the left from a fluid, eclectic cultural network around the VSC to a demarcated post-
VSC left after 1969, that saw increasing divergence between a non-aligned libertarian New Left on
the one hand and a Trotskyist far left milieu on the other.
The study seeks to claim a valid space for Britain’s left activist landscape within the political,
social and cultural framework of ‘1968’ and British post-war historiography. Privileging individual
and collective subjectivities, the thesis examines ways of belonging inside Trotskyist and non-aligned
left milieux by situating the respondents, their radical histories and activist cultures within the
changing post-war fabric. It shows that investigating individual and collective memories provides
deeper understanding of the ‘cognitive maps’ that young men and women created, as they
attempted to situate themselves as radical, global beings as well as local, gendered social citizens.
As micro-studies the individual stories reveal how the experience of social, emotional and
political maturation from child to adult intersected with a specific social and political moment – the
formation of a new and distinctive left culture that came to full fruition only in the aftermath of 1968
with the arrival of Women’s Liberation and the new personal politics. Exploring the social and
psychological impact of post-war childhood and youth, the study engages with the political and
emotional impact of Women’s Liberation on the men and women within the cultural context of the different left milieux.
Overall, the thesis questions how, from the mid-1960s to the early 1970s, the variant
cultures of the milieux penetrated public and private spaces, and shaped early life experiences of
work, political activity, family, and political and personal relations in order to understand how
activism shaped social patterns and psychic being
Effects of variable magma supply on mid-ocean ridge eruptions : constraints from mapped lava flow fields along the Galápagos Spreading Center
No full textAuthor Posting. © American Geophysical Union, 2012. This article is posted here by permission of American Geophysical Union for personal use, not for redistribution. The definitive version was published in Geochemistry Geophysics Geosystems 13 (2012): Q08014, doi:10.1029/2012GC004163.Mapping and sampling of 18 eruptive units in two study areas along the Galápagos Spreading Center (GSC) provide insight into how magma supply affects mid-ocean ridge (MOR) volcanic eruptions. The two study areas have similar spreading rates (53 versus 55 mm/yr), but differ by 30% in the time-averaged rate of magma supply (0.3 × 106 versus 0.4 × 106 m3/yr/km). Detailed geologic maps of each study area incorporate observations of flow contacts and sediment thickness, in addition to sample petrology, geomagnetic paleointensity, and inferences from high-resolution bathymetry data. At the lower-magma-supply study area, eruptions typically produce irregularly shaped clusters of pillow mounds with total eruptive volumes ranging from 0.09 to 1.3 km3. At the higher-magma-supply study area, lava morphologies characteristic of higher effusion rates are more common, eruptions typically occur along elongated fissures, and eruptive volumes are an order of magnitude smaller (0.002–0.13 km3). At this site, glass MgO contents (2.7–8.4 wt. %) and corresponding liquidus temperatures are lower on average, and more variable, than those at the lower-magma-supply study area (6.2–9.1 wt. % MgO). The differences in eruptive volume, lava temperature, morphology, and inferred eruption rates observed between the two areas along the GSC are similar to those that have previously been related to variable spreading rates on the global MOR system. Importantly, the documentation of multiple sequences of eruptions at each study area, representing hundreds to thousands of years, provides constraints on the variability in eruptive style at a given magma supply and spreading rate.This work was supported by the National Science Foundation grants OCE08–49813, OCE08–50052, and OCE08–
49711.2013-02-2
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