ARCHETYPAL SYMBOLS AND CONFLICT IN PETER SHAFFER'S EQUUS

Skripsi ini mengungkapkan interprestasi simbol arketip dan konflik yang muncul dalam sebuah drama tragedi karya Peter Shaffer berjudul Equus. Fokus dari penelitian ini adalah menganilisis makna dari simbol dan konflik yang hadir pada naskah. Penelitian menggunakan teori arketip dari Carl Gustav Jung sebagai sumber utama dan berbagai macam sumber lainnya. Metode penelitian terdiri dari tiga tahapan yaitu pengumpulan data, analisis data dan penyajian hasil analisis secara deskriptif. Hasil dari penelitian ini menemukan bahwa ada lima simbol arketip yang berpengaruh terhadap dua karakter utama pada naskah, dan simbol arketip juga berpengaruh terhadap konflik yang muncul dalam diri beberapa karakter. Kata Kunci: Arketip, Konflik Internal, Konflik Eksternal, Equus, Simbo

Characters and Speech Acts in Drama. A Case Study of The Beauty Queen of Leenane

Tämä pro gradu -tutkielma käsittelee näytelmässä olevia henkilöhahmoja, heidän välisiä puheaktejaan ja heidän välistä hierarkiaa. Tutkielmassa keskitytään yhteen näytelmään, jonka nimi on Vuoriston Kaunotar (The Beauty Queen of Leenane). Tutkimus keskittyy näytelmätekstiin, ei näytelmäesitykseen. Tutkimuksen kohteena on näytelmän kaksi päähenkilöä, Mag (äiti) ja Maureen (tytär). Tutkielman teoreettisina viitekehyksinä toimivat Culpeperin (2001) kehittämä karakterisaatiomalli sekä Searlen (1969) kehittämä puheaktien luokittelu. Tutkimusmateriaali puheaktien osalta rajattiin koskemaan vain käskyjä, koska niitä oli suhteellisesti sopiva määrä ja niiden määritelmät olivat selkeät. Käskyjen avulla pystyttiin tutkimaan henkilöhahmojen välistä hierarkiaa sekä keskittymään siihen, mitä tietoa hahmoista voi saada tutkimalla heidän puheaktejaan. Lisäksi tutkittiin, miten Searlen kehittämien puheaktien onnistuneisuusehdot täyttyivät heidän puheakteissaan. Tutkimus antoi yllättävän lopputuloksen. Tytär oli selvästi ylempänä hierarkiassa kuin äitinsä. Hierarkia näkyi siinä, että tytär antoi paljon enemmän käskyjä äidilleen kuin päinvastoin. Äiti myös noudatti käskyjä useammin kuin tytär. Analysoitujen käskyjen lukumäärä oli pieni, joten niiden perusteella ei voitu tehdä mitään merkittäviä johtopäätöksiä siitä, millaisia hahmoja äiti ja tytär olivat. Ainoastaan käskyissä esiintyvien tiettyjen ja useasti toistuvien sanojen perusteella voitiin sanoa, että hahmot olivat melko suoraviivaisia. Käskyjen onnistuneisuusehdot täyttyivät vain kahdessa tapauksessa. Tässä kohtaa piti myös ymmärtää tutkimuksen kohde eli näytelmä. Ristiriitoja täynnä oleva teos on paljon mielenkiintoisempi kuin sovinnainen näytelmä.fi=Opinnäytetyö kokotekstinä PDF-muodossa.|en=Thesis fulltext in PDF format.|sv=Lärdomsprov tillgängligt som fulltext i PDF-format

A Pragmastylistic Analysis of Positive Politeness Strategies in Orhan Pamuk’s The Museum of Innocence

The research is concerned with positive politeness strategies used by Kemal, as the main character, in Orhan Pamuk’s The Museum of Innocence through pragma-stylistic perspective. The aims of this research are looking for the kinds of positive politeness strategies used by Kemal and describing how those linguistic politeness strategies realized in his utterances. The research data are utterances produced by Kemal taken from the novel. This research applied linking qualitative and quantitative research in order to be productive for descriptive, exploratory, inductive and opening-up purposes. Besides, it also applied content analysis method to reach a greater comprehension of what occur and how to explain the recent situation in the novel. The findings revealed that Kemal applied fifteen kinds of positive politeness strategies when he conversed with other main character. Positive politeness strategies realized by noticing of hearer’s condition, exaggerating, intensifying interest to hearer, using  identity markers, seeking agreement, avoiding disagreement, presupposing common ground, making a joke, putting pressure on hearer to cooperate with speaker, showing his offer/ promise, being optimistic, including hearer in his activities, giving or asking for reasons, assuming reciprocity, and giving gifts to hearer. His utterances are also realized in the form of reference, substitution, ellipsis, conjunction, repetition, synonym, and antonym. Key words: Positive politeness strategies, pragma-stylistics, Orhan Pamuk, The Museum of Innocence DOI: 10.7176/RHSS/12-16-08 Publication date:August 31st 2022

Multimodality and deaf children's participation in informal literature socialization contexts

En este artículo realizamos un análisis del discurso y la interacción multimodal de una sesión de cuentacuentos realizada en una biblioteca en la que el narrador está acompañado por una intérprete de lengua de signos española (LSE). El caso forma parte de una investigación más amplia que examina sesiones de cuentacuentos en bibliotecas, librerías infantiles y parques como espacios de socialización literaria en contextos de aprendizaje informal. Analizamos, por una parte, la relación cambiante entre los medios/modos desplegados en el relato y las dificultades que esto genera para los espectadores sordos y, por otra parte, la propia participación de los niños sordos en esta sesión. El análisis hace explícita la complejidad del acto de interpretación en LSE y la situación asimétrica en la que se encuentra la infancia sorda en estas sesiones de cuentacuentos. Igualmente, el episodio analizado invita a plantear el desarrollo de una conciencia multimodal como parte de las competencias literarias y discursivas que potencialmente favorecen la clase de eventos narrativos analizadosIn this article we present an analysis of discourse and multimodal interaction in a storytelling session that took place in a library in which the main narrator is accompanied by a Spanish Sign Language (LSE) interpreter. This case is part of a larger project that examines storytelling sessions in libraries, bookstores and parks as informal literature socialization contexts. On one hand, we examine the changing relationship between media/modes displayed in the story and the difficulties that this generates for deaf children. On the other hand, we explore deaf children's participation in the event. Our analysis makes explicit the complexities involved in LSE interpretation and the asymmetrical standing of deaf children in these types of events. Also, with the analysis of this episode we consider multimodal awareness as a possible discursive and literary competence that is fostered in these narratives event

"The well-dissembled mourner": lightning's (dis)course in the still lives of Thomson's "Celadon and Amelia"

This essay investigates the sources and intertexts of a famous narrative episode in James Thomson's popular long poem "The Seasons" (1746), namely the sentimental tale of "Celadon and Amelia." From its first publication onwards, this episode was repeatedly excerpted, illustrated and re-told, especially in the late eighteenth and early nineteenth centuries. As such, this story (of two pastoral lovers who are parted when one is struck by lightning) has a long afterlife and is implicated in the Romantic configurations of cultural affect that dominate Western understandings of art and literature up to the present day. However, while its widespread influence on later writers, artists and readers has been extensively studied, the composite sources of the tale have yet to be fully recovered. This article therefore undertakes such a recovery. In doing so, it not only reveals the wide range of media on which Thomson drew, from newspapers and scientific discourse to poetry and devotional works, but also offers a challenge to a long-established critical tradition which reads the whole of “The Seasons” as dominated by movement and sequence. Instead, it is argued, the static or "statuesque" finale of the "Celadon and Amelia" episode is replicated in many places throughout the poem, moments which reflect Thomson’s competitive engagements with intertexts in a variety of static media, and which cumulatively represent an attack on the authenticity and memorial efficacy of conventional funerary genres such as sculpture and epitaph

Subjetividade e dualismo homem-animal em The Jaguar, de Ted Hughes

Este trabalho objetivou traçar um paralelo e estabelecer uma conversa entre os dualismos de homem e animal. Para que esta discussão se articulasse dentro do campo literário, escolhemos como objeto de pesquisa o poema The Jaguar (1957), de Ted Hughes. Iniciamos nossa discussão passando pelos princípios narrativos poéticos e estabelecemos uma conexão entre os estudos de Descartes e Heidegger, filósofos que discutem os animais e a animalidade. Para além disso, discutimos a historicidade do autor e analisamos o poema de Hughes a partir da perspectiva do olhar e do aprisionamento animal e a relação dialética entre seres humanos e não-humanos; a partir dessa reflexão, tecemos novos olhares para a subjetividade animal

AMERICAN CULTURAL VALUES AS REFLECTED IN THE CHARACTER OF BRAD COHEN IN PETER WERNER’S MOVIEFRONT OF THE CLASS

This study focuses on American cultural values reflected by Brad Cohen in Front of the Class Peter Werner's movie. Front of the Class movie describes some reflections of American cultural values depicted by the main character named Brad Cohen. The aims of this study are to describe the intrinsic and extrinsic aspects of the movie. The writer employs library research to support the data analysis derived from some references such as some related books, journals, articles, and encyclopedias. To analyze the intrinsic aspects, the writer uses some theories of narrative elements and cinematographic elements. To analyze the extrinsic aspects, the writer applies theory of personal and cultural values by Roy D'Andrade. Furthermore, the writer also involves some aspects of cultural values from Shalom H Schwartz's theory. The result of this study shows that, based on Roy D'Andrade's theory, the main character of the movie, Brad Cohen has applied individualism, altruism, and industry value aspects. In addition, the writer finds some similar American cultural values items of Roy D'Andrade's theory and Shalom H. Schwartz's theory. Those items are choosing my own goal, being creative, treating people equally, being honest, enjoying life, and pursuing knowledge

Narrative patterns in FarCry3

Thesis is submitted in partial fulfilment for the degree of Master of Arts (Digital Arts) to the Faculty of Humanities, School of Arts, University of the Witwatersrand, Johannesburg, 2016.This paper aims to go down into the rabbit-hole, by analysing the narrative experience derived from games and investigate how it functions in conjunction with the gameplay. This analysis will focus in detail on a case study of Ubisoft's 2012 title Far Cry 3 (FC3). FC3 is a sequel to Far Cry (2004), the original title was developed by Crytek, and produced by Ubisoft. The sequels have been Ubisoft Montreal creations. I have selected FarCry3 as it is commercially successful, as of February 2013 it sold over 4, 5 million copies (Phillips, T. "Far Cry sales hit 4.5 million" 2013). It also received various nominations, including an award for its story, during the 9th British Video Game Awards (Reynolds “Bafta Game Awards 2013” 2012). FC3 can, therefore, be viewed as being indicative of what the populist gaming community desires in a game, an indicator of present trends in narrative development in games. For this paper, I intend to use Hendry Jenkins’ narrative model to analyse how FC3 structured. As a result, illuminating how FC3, manages to engage with a cogent narrative, while operating in conjunction with an engaging game mechanic. I intend to present the structures as they exist within the case study's fictional world. In this research report I will argue that FC3 incorporates multiple narrative structures which promote gameplay. I will play the FC3 critically to gain an overall perspective and through the use of in play videos to select key scenes for analysis within my case study. With the knowledge invested, I intend to apply Jenkins’ narrative architecture in my analysis. [No abstract provided. Information taken from introduction].MT201

Mati Undi "Täna õhta viskame Lutsu" tegelaskonna analüüs

Bakalaureusetöö uurimiskeskmeks on Mati Undi näidend “Täna õhta viskame lutsu”. Teos on kirjutatud Oskar Lutsu teoste motiividel. Töö fookuses on eelkõige näidendi tegelaskond.Töö koosneb neljast sisupeatükist. Esimene peatükk annab ülevaate Mati Undi ja Oskar Lutsu elu- ja loominguteest. Tuuakse välja mõlema autori elukäik ja olulisemad teosed. Samuti saab selles peatükis lugeda, mis ühendab kahte autorit, ning mida kujutab endast näidend “Täna õhta viskame lutsu”. Peatüki eesmärgiks on tutvustada lugejale mõlemat autorit ning neile omast ja ühist. Alapeatükk “Hunt ja Luts või Lutshunt” toob lisaks autorite ühisosale välja ka näidendi lühiiseloomustuse, et lugejal oleks olemas põhiline ja oluline näidendi vormist ja keelest. Teine sisupeatükk keskendub töös kasutatud meetmetele ja teooriale. Töö kolmandas peatükis analüüsitakse näidendi üheksat tegelast – Arnut, Tootsi, Kiirt, Teelet, Imessoni, Lutsu, Vanaema, Sumpfentroppi ja Bolotovi.Töö viimase ehk neljanda peatüki eesmärk on luua tervikpilt näidendi tegelaskonnast