Kaneki Ken's Character Arc: a Hero's Journey Analysis

Total Page:16

File Type:pdf, Size:1020Kb

Kaneki Ken's Character Arc: a Hero's Journey Analysis Hafiz Priyansyah Kaneki Ken’s Character Arc: A Hero’s Journey Analysis Kaneki Ken’s Character Arc: A Hero’s Journey Analysis Hafiz Priyansyah English Language and Literature Universitas Pendidikan Indonesia ABSTRACT Literature has a trend that has grown its fame across the globe, called manga. They are similar in form with Western comic books, but with a different style and structure of the story’s presentation. One of the key elements of a manga’s story, the characters, pique the interest of the researcher. Kaneki Ken is the protagonist of the Tokyo Ghoul series that possesses this interesting characterization to look into. He goes through a journey that changes his characterization in a certain point in the story. To analyze this characterization, two analysis methods are used; Vogler’s (1996) hero’s journey theory and Sicoe’s (2013) character arc theory. The hero’ journey theory is used to gain an understanding of the events Kaneki goes through in his story, while the character arc theory is used to determine the kind of change he experiences. The result shows that Kaneki’s journey is a tragic hero’s journey, different from the traditional hero’s journey, and that he experiences the fall arc, which is, essentially, a tragedy. Furthermore, analysis of Kaneki’s unorthodox hero’s journey leads to the discovery of how an idolized character can start a serialization of literature, and how a serial literature, especially mangas, tend to be devious towards the hero’s journey theory. Keywords: Kaneki Ken, Hero’s journey, Character Arc 57 Passage2018, 6(3), 57-87 INTRODUCTION One of the methods to analyze a Manga is a growing trend in the world. character development pattern is the According to Koulikov (2016), character arc theory. Character arc English-language research articles (Sicoe, 2013) is a theory that talks about about manga is increasing all around the change of a character in a story. It the world. In his research, he shows an could be any change, such as increasing amount of English- personality change, physical change, language-research articles in the world emotional change, and behavioral from 1993 to 2015. This trend is change. However, most character arc accompanied by another growing trend analyses tend to study the change of in the genre of mangas. In 2005, Maria characterization of a character. For Lin, a content-writer for a manga example, Wisehart (2015) proposed a magazine, wrote that there is now a character development pattern in the trend among western readers of manga. form of an enneagram, a diagram Western manga-readers now prefer to consisting of nine different patterns for read psychological and dark fantasy a character development. He claims genres, which are arguably the minority that the enneagram follows the theory genres among manga genres. These of a character arc, where a character kinds of genres are popular for their does not remain stagnant. Further into deep thinking and character interaction, his study, Wisehart (2015) analyzed the where they entice readers to pay character arc of Maleficent from the attention to the smallest instances of the famous movie and screenplay character interactions, as they may Maleficent by using this enneagram as signify something important in the a method. The result shows that story. One of the most famous manga Maleficent undergoes a Growth characters of the psychological genre character arc, where she does not who displays a fascinating character necessarily change, but improves her development is Kaneki Ken from the values, such as her morality, empathy, manga Tokyo Ghoul. and ethic. This could be seen in the start 58 Hafiz Priyansyah Kaneki Ken’s Character Arc: A Hero’s Journey Analysis of the story, where she was portrayed as as the story brings the notion of two very apathetic towards her own worlds, which is a famous notion of the children, then becomes significantly hero’s journey theory, consisting of the more compassionate and cares deeply ordinary human world and the for them. extraordinary ghoul world. The character arc framework With the use of these two can be used in collaboration with the theories, this research aims to uncover hero’s journey (Vogler, 1992) theory. the character arc of Kaneki Ken, the The hero’s journey is a character protagonist of Tokyo Ghoul. The kind analysis method that studies a character of character arc is determined, and the from event to event. The hero’s journey events are portrayed by the hero’s theory was proposed and popularized journey theory. Afterwards, this by Joseph Campbell (1949) and has research examines in greater detail been used to analyze and become a regarding the events that cause the basic structure for much old and changes, how these events change popular literature thereafter. Several Kaneki Ken, and what prominent examples would include Oedipus, Star meaning can be interpreted from the Wars, and Jane Eyre. changes. The hero’s journey mainly Pertaining to other studies of concerns itself with the journey a characters, numerous other character character experiences in order to analyses using the hero’s journey and change. Therefore, the hero’s journey is character arc theory has been conducted a method that can fit studies related to on various genres of literature. Several character arcs, because the character of said analyses are Bray (2017), Black arc theory determines the kind of (2003), and Lewis (2013). The change a character experiences after a characters being analyzed are Hamlet journey they have experienced. The from the play Hamlet, Harry Potter researcher also considers this theory to from the Harry Potter series, and be able to fit the story of Tokyo Ghoul, Walter White from the television show 59 Passage2018, 6(3), 57-87 Breaking Bad, respectively. Bray a dark fantasy world, where creatures (2017) used the hero’s journey and who survive by eating human flesh, character arc theory by combining them known as ghouls, take the shape of with one another to determine how ordinary humans and live among Hamlet undergoes the events portrayed human society. In the beginning of the in the hero’s journey, and experiences story, Kaneki is depicted as an innocent the fall character arc, despite having and average college student who is in been through a successful hero’s love with a girl he often saw drinking journey. Black (2003) and Lewis coffee in his favorite café. After asking (2013) used the two theories to analyze her out on a date, which she gracefully their respective characterizations. accepts with a smile, he came under Where Black (2003) proves the point attack by her, who turns out to be a on how the hero’s journey theory used ghoul and is looking to make him her in Harry Potter is a compelling story meal. Surviving the attempt, Kaneki structure to follow, Lewis (2013) wakes up in a hospital room, returns determines that Walter experiences the home, and is then shocked as he is no Fall arc. From these studies, it can then longer able to taste human food, such as be concluded that the hero’s journey bread or hamburger. Much to his and character arc theory has been used dismay, he has been turned into a half- by combining them with one another as ghoul by an unknown party, resulting in an analysis method, and that there is no him being unable to eat human food and study that has been conducted by using being in need of eating humans. these theories on a comic series Noticeably, Kaneki experiences character. This research is expected to a physical change, from a human to a be able to fill the gap and provide more ghoul. Further into the story, Kaneki insight on the two theories. will need to cope with his new nature as As a character, Kaneki has a ghoul. He will also need to find experienced some arguably interesting shelter from the government and variable changes. The story is set in organization and other ghouls. These 60 Hafiz Priyansyah Kaneki Ken’s Character Arc: A Hero’s Journey Analysis aspects that become the driving point then fit to each of the phases of the for Kaneki are shown in a hero’s journey (Vogler, 1992) theory. narratological manner, according to the As a comic series, however, theory of narrative events proposed. In there are visual properties and images other words, there will be events in the used as supporting arguments for the story portraying how he come to terms description of the events and characters with his new nature, how he will learn from the research. This is in coherence to live as a ghoul, how he will with Gravett’s (2005) statement communicate with his human friends, regarding visual images as supporting and many more. These events are aspects of a comic book that can be categorized by the hero’s journey used to clarify or amplify the words theory into several specific parts, used, presenting more depth in a comic before being analyzed in order to book story. As these events are determine the change and the cause of primarily focused on the narrative the change in Kaneki’s character arc. elements of the series instead of its The research was conducted by visual properties, the series’ visuals and analyzing these events in detail, where images are not the main concern of the the story is segmented into parts based research, but the supporting data of the on one event to another’s change of research. narrative elements. Referring to As has been mentioned Genette’s (1980) and Meister’s (2011) previously, the purpose of this research theory on narrative events, visual and is to describe the character arc of textual items are made into a single Kaneki Ken.
Recommended publications
  • New Media and Narratology in Cinematic Art James Anthony Ricci University of South Florida, [email protected]
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-15-2015 Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art James Anthony Ricci University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons Scholar Commons Citation Ricci, James Anthony, "Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art" (2015). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/6021 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art by James A. Ricci A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Margit Grieb, Ph.D. Hunt Hawkins, Ph.D. Victor Peppard, Ph.D. Date of Approval: November 13, 2015 Keywords: New Media, Narratology, Manovich, Bakhtin, Cinema Copyright © 2015, James A. Ricci DEDICATION This dissertation is dedicated to my wife, Ashlea Renée Ricci. Without her unending support, love, and optimism I would have gotten lost during the journey. ACKNOWLEDGMENTS I owe many individuals much gratitude for their support and advice throughout the pursuit of my degree.
    [Show full text]
  • Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
    WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal.
    [Show full text]
  • Tokyo Ghoul Jumpchain V1.0 by Tokyoanon Welcome to Tokyo but As You May Have Guessed, There’S Some Differences to the One You’Re Familiar With
    Tokyo Ghoul Jumpchain v1.0 By TokyoAnon Welcome to Tokyo but as you may have guessed, there’s some differences to the one you’re familiar with. As you may have guessed, the main difference is the existence of Ghouls, a subspecies of humanity with a high count of Rc cells. These cells have the appearance of a curled up fetus, sometimes called “liquid muscle”, they flow like blood and can become as solid as teeth. The crucial part is that they’re what ghouls need to keep on living and these cells are only found in humans and other ghouls. The problem being is that humans are much tastier than a ghoul. Though there are prevalent rumours of ghouls gaining great power through cannibalizing each other Now to make it … worse, the tongue of a ghoul is much different than that of a human so every human food except black coffee will taste awful. It’ll even give them food poisoning too and weaken them should they try to digest it. With the only other choice being to starve, ghouls naturally prey on humanity, living among them and eating at least one human a month. Perhaps more, if the ghoul is insatiable or cruel. However, humanity is not without its claws. The Commission of Counter Ghoul, claimed to be founded 100 years ago to exterminate a powerful One-Eyed ghoul, serves as humanity’s sword and shield against ghouls. They’re headed by the venerable Washuu family whose members have hunted ghouls for well over a century, though with a heavy hand caring only for results not lives.
    [Show full text]
  • Exploring the Procedural Rhetoric of a Black Lives Matter-Themed Newsgame
    Special Issue: Gamifying News Convergence: The International Journal of Research into Endless mode: New Media Technologies 1–13 ª The Author(s) 2020 Exploring the procedural Article reuse guidelines: sagepub.com/journals-permissions rhetoric of a Black Lives DOI: 10.1177/1354856520918072 Matter-themed newsgame journals.sagepub.com/home/con Allissa V Richardson University of Southern California, USA Abstract A week after the back-to-back police shootings of Philando Castile and Alton Sterling in early July 2016, a game developer, who goes by the screen name Yvvy, sat in front of her console mulling over the headlines. She designed a newsgame that featured civilian–police interactions that were plucked from that reportage. She entitled it Easy Level Life. The newsgame is fashioned in what developers call ‘endless mode’, where players are challenged to last as long as possible against a continuing threat, with limited resources or player-character lives. This case study explores the procedural rhetoric of Easy Level Life to investigate how it condemns police brutality through play. Using Teun van Dijk’s concept of ‘news as discourse’ as the framework, I found that this newsgame followed the narrative structure of a traditional newspaper editorial very closely. I explain how the situation–evaluation–conclusion discursive model best describes how Easy Level Life conveys its political ideologies. I conclude by suggesting that this discursive model should perhaps become a benchmarking tool for future newsgame developers who aim to strengthen their arguments for social justice. Keywords Black Lives Matter, discourse analysis, journalism, newsgames, procedural rhetoric, race, social justice Introduction It was a simple request.
    [Show full text]
  • Character Arcs—What About ‗Em?
    Photo by Riccardo Romano Contents Character arcs—what about ‗em? .................................................................... 3 Starting and ending the character arc .............................................................. 3 Finding the character arc .................................................................................. 4 Shaping character arcs—the middle ................................................................ 6 Micro character arcs in scenes ......................................................................... 7 Micro character arcs in sequels ....................................................................... 8 Are character arcs necessary? .......................................................................... 9 Character arcs and gender .............................................................................. 10 Everything you ever wanted to know about character arcs .......................... 11 Why characters should arc ............................................................................. 11 Finding your character arc ............................................................................. 12 Developing the character arc ......................................................................... 13 Testing out your character arc beginning ....................................................... 14 The middle of the character arc ...................................................................... 14 Ending the character arc ...............................................................................
    [Show full text]
  • Book of Immortals: Disciple: Volume 1 (An Antagonist's Story, Alternative Reality, Antihero Fantasy) Online
    YoFxL [Pdf free] Book of Immortals: Disciple: Volume 1 (An antagonist's story, alternative reality, antihero fantasy) Online [YoFxL.ebook] Book of Immortals: Disciple: Volume 1 (An antagonist's story, alternative reality, antihero fantasy) Pdf Free Kassandra Lynn ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #88104 in eBooks 2014-08-23 2014-08-23File Name: B00MZYS8ZS | File size: 44.Mb Kassandra Lynn : Book of Immortals: Disciple: Volume 1 (An antagonist's story, alternative reality, antihero fantasy) before purchasing it in order to gage whether or not it would be worth my time, and all praised Book of Immortals: Disciple: Volume 1 (An antagonist's story, alternative reality, antihero fantasy): 0 of 0 people found the following review helpful. WowBy Jasmine RobersonI absolutely loved this story! It threw me through quite a few loops at first and it really brought me home and touched my heart and soul. I love this book! And I love how it's not about the main protagonist, the protagonist of this story is actually a side character which made it even more interesting cause then you get someone else's story and root for them instead of the actual lucky protagonist who seemed to be more of a spy than anything. Told my friends about this book too. I'm going to buy the next one and start it asap!0 of 0 people found the following review helpful. Love the storyline and the character developmentBy NicLawUnlike many of the other reviewers here, I did not receive a free copy of this book in exchange for writing an honest review.
    [Show full text]
  • A Genealogy of Antihero∗
    A GENEALOGY OF ANTIHERO∗ Murat KADİROĞLU∗∗ Abstract “Antihero”, as a literary term, entered literature in the nineteenth century with Dostoevsky, and its usage flourished in the second half of the twentieth century. However, the antihero protagonists or characters have been on stage since the early Greek drama and their stories are often told in the works of the twentieth century literature. The notion of “hero” sets the base for “antihero”. In every century, there are heroes peculiar to their time; meanwhile, antiheroes continue to live as well, though not as abundant as heroes in number. The gap between them in terms of their personality, moral code and value judgements is very obvious in their early presentation; however, the closer we come to our age, the vaguer this difference becomes. In contemporary literature, antiheroes have begun to outnumber heroes as a result of historical, political and sociological facts such as wars, and literary pieces have tended to present themes of failure, inaction, uncertainty and despair rather than heroism and valour. This study argues that Second World War has the crucial impact on the development of the notion of modern antihero. As a consequence of the war, “hero” as the symbol of valour, adventure, change and action in the legends and epic poems has been transformed into “antihero” of failure and despair, especially in realist, absurdist and existentialist works written during/after the Second World War. Keywords: Antihero, Hero, Heroism, Protagonist, Romantic Hero, Second World War, Post-war Öz Anti-kahramanın Soykütüğü Edebi bir terim olarak “anti-kahraman” ya da “karşı-kahraman”, on dokuzuncu yüzyılda Dostoyevski ile edebiyata girmiştir ve kullanımı yirminci yüzyılın ikinci yarısında doruğa ulaşmıştır.
    [Show full text]
  • Plot? What Is Structure?
    Novel Structure What is plot? What is structure? • Plot is a series of interconnected events in which every occurrence has a specific purpose. A plot is all about establishing connections, suggesting causes, and and how they relate to each other. • Structure (also known as narrative structure), is the overall design or layout of your story. Narrative Structure is about both these things: Story Plot • The content of a story • The form used to tell the story • Raw materials of dramatic action • How the story is told and in what as they might be described in order chronological order • About how, and at what stages, • About trying to determine the key the key conflicts are set up and conflicts, main characters, setting resolved and events • “How” and “when” • “Who,” “what,” and “where” Story Answers These Questions 1. Where is the story set? 2. What event starts the story? 3. Who are the main characters? 4. What conflict(s) do they face? What is at stake? 5. What happens to the characters as they face this conflict? 6. What is the outcome of this conflict? 7. What is the ultimate impact on the characters? Plot Answers These Questions 8. How and when is the major conflict in the story set up? 9. How and when are the main characters introduced? 10.How is the story moved along so that the characters must face the central conflict? 11.How and when is the major conflict set up to propel them to its conclusion? 12.How and when does the story resolve most of the major conflicts set up at the outset? Basic Linear Story: Beginning, Middle & End Ancient (335 B.C.)Greek philosopher and scientist, Aristotle said that every story has a beginning, a middle, and an end.
    [Show full text]
  • Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
    i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism.
    [Show full text]
  • The Narrative Structure Booklet
    ACT 1 The opening of a narrative typically establishes characters, setting, themes and engages the audience. It features a catalyst that sends the character on their journey. By the end of the Act 1, the main character reaches a turning point where they commit to the action. o Establishing genre and tone. The opening of a narrative plays an important role in establishing genre and tone. When filmmakers establish genre, they enter into a contract with the audience. If a narrative doesn’t deliver on the promise of genre, the audience will be dissatisfied and disappointed. In a horror film, for example, expects suspense, a few scares and a hefty dose of gore. Anyone who has ever seen a film that is too formulaic or cliched will understand how tedious slavishly following genre conventions can be. o Establishing character. All stories are about a character trying to achieve a goal. Narratives always establish characters – their traits, motivation and goals – within the first act. To become involved in a story, the audience needs to know who the characters are and what they want. Establishing character also means establishing their flaws. Characters always change. Screenwriters often refer to this change as a ‘character arc’. As noted in Writing Movies: “Another mark of protagnoists is their ability change. In pursuing their goals, protagonists meet obstacles that force them to adjust and adapt and, in turn, they grow or transform in some way. This progression is called an arc.” o Establishing setting. The first act of a narrative also establishes the setting. The setting is where the narrative unfolds.
    [Show full text]
  • Graphic No Vels & Comics
    GRAPHIC NOVELS & COMICS SPRING 2020 TITLE Description FRONT COVER X-Men, Vol. 1 The X-Men find themselves in a whole new world of possibility…and things have never been better! Mastermind Jonathan Hickman and superstar artist Leinil Francis Yu reveal the saga of Cyclops and his hand-picked squad of mutant powerhouses. Collects #1-6. 9781302919818 | $17.99 PB Marvel Fallen Angels, Vol. 1 Psylocke finds herself in the new world of Mutantkind, unsure of her place in it. But when a face from her past returns only to be killed, she seeks vengeance. Collects Fallen Angels (2019) #1-6. 9781302919900 | $17.99 PB Marvel Wolverine: The Daughter of Wolverine Wolverine stars in a story that stretches across the decades beginning in the 1940s. Who is the young woman he’s fated to meet over and over again? Collects material from Marvel Comics Presents (2019) #1-9. 9781302918361 | $15.99 PB Marvel 4 Graphic Novels & Comics X-Force, Vol. 1 X-Force is the CIA of the mutant world—half intelligence branch, half special ops. In a perfect world, there would be no need for an X-Force. We’re not there…yet. Collects #1-6. 9781302919887 | $17.99 PB Marvel New Mutants, Vol. 1 The classic New Mutants (Sunspot, Wolfsbane, Mirage, Karma, Magik, and Cypher) join a few new friends (Chamber, Mondo) to seek out their missing member and go on a mission alongside the Starjammers! Collects #1-6. 9781302919924 | $17.99 PB Marvel Excalibur, Vol. 1 It’s a new era for mutantkind as a new Captain Britain holds the amulet, fighting for her Kingdom of Avalon with her Excalibur at her side—Rogue, Gambit, Rictor, Jubilee…and Apocalypse.
    [Show full text]
  • Female Anti-Heroes in Contemporary Literature, Film, and Television Sara A
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 2016 Female Anti-Heroes in Contemporary Literature, Film, and Television Sara A. Amato Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Amato, Sara A., "Female Anti-Heroes in Contemporary Literature, Film, and Television" (2016). Masters Theses. 2481. https://thekeep.eiu.edu/theses/2481 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Graduate School� f.AsTE�ILLINOIS UNIVERSITY" Thesis Maintenance and Reproduction Certificate FOR: Graduate Candidates Completing Theses in Partial Fulfillment of the Degree Graduate Faculty Advisors Directing the Theses RE: Preservation, Reproduction, andDistribution of Thesis Research Preserving, reproducing, and distributing thesis research is an important part of Booth Library's responsibility to provide access to scholarship. In order to further this goal, Booth Library makes all graduate theses completed as part of a degree program at Eastern Illinois University available for personal study, research, and other not-for-profit educational purposes. Under 17 U.S.C. § 108, the library may reproduce and distribute a copy without infringing on copyright; however, professional courtesy dictates that permission be requested from the author before doing so. Your signatures affirm the following: • The graduate candidate is the author of this thesis. • The graduate candidate retains the copyright and intellectual property rights associated with the original research, creative activity, and intellectual or artistic content of the thesis.
    [Show full text]