1,355,002 research outputs found
The Witcher 3: A Wild and Modern Hunt to Medievalise Eastern and Northern Europe
No full textReview of the video game The Witcher 3: Wild Hunt
Witcher
No full textwitch nExplanation Welcher (surname) Mrs. Witcher lives near us.YesJ. D. A. WIDDOWSON COLLECTOR'S PERMANENT FILEUsed INot used2Not use
The End of Masculinity, or a Sketch of the Witcher
No full textIn his article the author sketches a portrait of Geralt of Rivia, a title character of Andrzej Sapkowski’s Witcher series aw well as a video game The Witcher 3: Wild Hunt, while at the same time tracing the work of deconstruction inscribed in the figure of the hero. Most significantly, it is Geralt’s gender identity that becomes subject to deconstruction; a model of heroic, fatherly, withdrawn masculinity becomes subverted and unseamed – on the one hand by female corporality; on the other, by female politics – which results in questioning and rejecting the so far dominant model in favour of subjectivity suspended between femininity and masculinity (and their other variants)
The Fictional World of Sapkowski´s Witcher
No full textThe bachelor thesis is focused on fictional world of Andrzej Sapkowski in a way, in which has the author created it for his series of books called The Witcher Saga. Thesis is presenting a concept of narrative semantics in a way how does Lubomír Doležel explain it in his book Heterocosmica fiction and possible worlds. What follows after mentioning of his concept is the analysis of Sapkowski's world with some of the methods presented by Doležel. It becomes clear that if there is some repetitive element in The Witcher Saga, it is definitely connectivity, whether it is link to the real world, another fictional world or The Saga itself
Otis Lany Witcher
No full textThe Oklahoma A&M College World War I Veterans collection captures the memories and experiences of the men and women of Oklahoma Agricultural and Mechanical College who served in World War I. In 1919, a project headed by Maude Cass, the editor of the 1919 Redskin; Professor Maroney of the Department of History; Margaret Walters, Librarian; and J.W. Cantwell, the College President, was undertaken to survey these veterans. The surveys were returned along with photographs, letters, and newspaper clippings documenting these veterans’ experiences during World War I
Unicorn Symbolism in ‚The Witcher‘ Storyworld
No full textvan Beek A. Unicorn Symbolism in ‚The Witcher‘ Storyworld. Paidia : Zeitschrift für Computerspielforschung . 2021.Unicorns play an important role throughout The Witcher storyworld: A unicorn serves as Ciri‘s
guide between worlds. Yennefer and Geralt are also connected to unicorns: They like to have
sex on a stuffed unicorn’s back. This paper will focus on religious symbolism and medieval
unicorn discourses involved in The Witcher storyworld.1 Ciri’s connection to the unicorns and
especially her virginity in relation to mariology will be adressed as well. Further biblical
symbolism will be discussed in the Falka-desert episode in Time of Contempt2. Another
important unicorn episode occurs at the end of The Lady of the Lake3 when Yennefer and
Geralt, with Ciri’s help, transition to another world. The paper will explore the abundant
unicorn symbolism in the books and compare it to unicorn scenes in The Witcher 3: Wild Hunt4
and ultimately answer the question why Geralt and Yennefer have sex on a stuffed unicorn.Dieser Aufsatz untersucht religiöse Symbolik und Wissen über Einhörner im Mittelalter und ihre Rezeption in der Witcher Storyworld, insbesondere Ciris Verbindung zur den Einhörnern, Maria und ihre Jungfräulichkeit. Die Rezeption mittelalterlicher Diskurse in den Werken Andrzej Sapkowskis ist allgegenwärtig. Die Analyse vergleicht Einhornmotive im Spiel ,,The Witcher 3: Wild Hunt” und in den Witcher-Büchern
Reading It Still Again. A Few Words on Fairy Tales in the World of the Witcher
No full textThe article Reading It Still Again. A Few Words on Fairy Tales in the World of the Witcher discusses selected issues related to short stories from the volume The Last Wish by Andrzej Sapkowski, featuring the famous character of the Witcher, Geralt of Rivia. Offering a comparative close reading of The Lesser Evil and The Grain of Truth, Karolina Zastępska proceeds with contextualising the terms of, respectively, a fairy tale and a fantasy. By doing so, the author (re)approaches the narrative device of retelling, understood as here as a renarration of fairy tales, legends, themes and threads both from literary and cultural texts
Historical fiction and archaeological interpretation
No full textThe transformation of the material traces of the past into archaeological narrative is a fundamentally creative act. But what happens when archaeologists engage with the work and methods of historical novelists and filmmakers? Do they risk transgressing the long-established and widely perceived borderline between fact and fiction? In this introductory chapter, we explore these questions through an analysis of the intertwining of archaeological research and fiction writing to demonstrate both the risks and the tangible benefits involved. In practice, we find a surprisingly long, if contested, history of archaeological engagement with fictive techniques, which transcends shifting theoretical orientations. The second half of the chapter reviews some of the varied expressions of the use of fiction in archaeological research (e.g. fictive vignettes, imagined journeys) and discusses these authors’ motivations and intended outcomes. Finally, we address some of the key objections and challenges to the use of fictive techniques, before outlining examples of the great potential of archaeological engagement with historical fiction
Recommended from our members
A CO2-Silica Geothermometer for Low Temperature Geothermal Resource Assessment, with Application to Resources in the Safford Basin, Arizona
No full textData collected for this study include ground water chemical analysis, drillers" logs of water wells, geohydrologic and geologic information. Published chemical analysis were compiled from Witcher, 1981; Swanberg and others, 1977; Muller and others, 1973; Dutt and McCreary, 1970; and Hem, 1950. Additional analysis from an area near Buena Vista were obtained from a University of Arizona Master's thesis on a sub-economic mineral deposit (Yarter, 1981). Knechtel (1938) published several analysis from the area in a U.S. Geological Survey Water Supply Paper. Knechtel"s data were not included in our data base because they were relatively incomplete. Unpublished chemical analyses were obtained from files of the city of Safford"s engineers" office and from files of the U. S. Geological Survey, Water Resources Division, Tucson. Because available published and unpublished chemical analysis usually had no aluminum, boron, or lithium analysis and because reliability of pH and alkalinity data were generally unknown, field collection of an additional 42 chemical analysis of ground water was performed. Drillers' logs and geohydrologic information were obtained from Knechtel, 1938; Witcher, 1982; and from files of the Arizona Department of Water Resources, Phoenix and the U. S. Geological Survey, Water Resources Division, Tucson.Documents in the AZGS Document Repository collection are made available by the Arizona Geological Survey (AZGS) and the University Libraries at the University of Arizona. For more information about items in this collection, please contact [email protected]
Adapting the Witcher : analyysi transmediaalisesta tarinankerronnasta
No full textThis thesis studies The Witcher 3 videogame as an adaptation of The Witcher series books. The Witcher 3 is interesting in this aspect as it is a book to videogame adaptation as opposed to the more common film to videogame adaptations. The study uses ludology, narratology and theory of adaptation as its theoretical basis. The goal of the study is to see how much the videogame adapts from the books, and which elements, if any, have significant changes to them. The thesis also looks at elements in the videogame not present in the source material to see if said elements are regardless inspired by some aspect of the books. Finally, when clear changes between the two works are found, the possible reasons behind them are examined.
The elements of The Witcher 3 that are analysed include its characters as well as many elements of the books like their referential nature towards other works and the storyworld and its locales and how they have been adapted into videogame form. The analysis also touches on elements that appear in one media but are absent or diminished in the other, such as the music in The Witcher 3 videogame, as well as the narrators of the two works. Finally, the gameplay in the game is examined to see if it has adapted or been inspired by elements from the books. The gameplay is especially important to consider as it is the greatest difference videogames have to other forms of media.
This thesis finds that The Witcher 3 adapts many of the elements of The Witcher books. There are also some elements which have clearly been changed, and in these cases the main factor behind the changes seems to be something typical to videogames, for example player agency. The goal of an adaptation is not necessarily to be faithful to the original work, and thus changes that allow the work to better adapt to the needs of the medium are often made, as such compromise allows the adaptation to work in the media type it is made in rather than being restrained by the source material.Tämä pro gradu -tutkielma tutkii The Witcher 3 videopeliä adaptaationa Noituri kirjasarjasta. The Witcher 3 on mielenkiintoinen tutkimuskohde sillä se on adaptaatio kirjasta videopeliin, verrattuna paljon yleisempiin adaptaatioihin elokuvista videopeliksi. Tämä tutkielma käyttää teoreettisena pohjana ludologiaa, narratologiaa ja adaptaatiotutkimusta. Tämän tutkielman tavoite on ottaa selvää kuinka paljon The Witcher 3 videopeli pohjautuu Noituri sarjan kirjoihin, sekä tutkia mitä elementtejä videopeli adaptoi ja mitä se muuttaa. Tutkielma tutkii myös osia videopelistä joita ei löydy kirjoista, ja sitä ovatko nämä videopelille tyypilliset osat kuitenkin jollain tavalla joihinkin kirjan elementteihin perustuvia. Lopuksi, kun selkeitä eroja adaptaation ja alkuperäisen välillä löytyy, pohdin mahdollisia syitä näille eroille.
Analysoituja osia The Witcher 3 pelissä ovat muun muassa sen hahmot, erityisesti Geralt joka on sekä kirjojen että pelin päähahmo, sekä monet muut elementit kirjassa kuten kirjojen viittauksellinen luonne muita kirjallisia teoksia kohtaan sekä tarinan maailma ja tässä esiintyvät sijainnit. Osa analyysistä keskittyy myös osiin teoksista joita toisesta teoksesta ei löydy, kuten musiikki The Witcher 3 videopelissä, tai kertojat molemmissa teoksissa, joissa on todella selkeitä eroja teosten välillä. Lisäksi tutkin myös myös videopelin peliosuutta, sillä pelillisyys on tärkeä osa videopelejä ja vaikka sille ei ole suoraa vertauskohtaa kirjoissa, voidaan sen elementtejä tarkastella ja katsoa, ovatko ne jonkun kirjassa löytyvän asian innoittamia.
Tämä tutkielma osoittaa, että The Witcher 3 adaptoi monia osia Noituri kirjoista. Tietyissä elementeissä on selkeitä eroja kirjojen ja pelin välillä, ja usein näissä tapauksessa syynä on jokin videopeleille tyypillinen tekijä, kuten esimerkiksi pelaajan vapaus tehdä valintoja. Adaptaation tehtävä ei ole olla uskollinen alkuperäisteokselle ja täten adaptaatiossa tehdään usein muutoksia jotta erilaisen mediatyypin vaatimukset täyttyvät, sen sijaan että adaptaatio olisi sidottu alkuperäisteoksen mediatyypille tyypillisiin keinoihin ja menetelmiin
- …
