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L'équipe Des Scénaristes De Lost Comme Un Auteur Pluriel Ou Quelques Propositions Méthodologiques Pour Analyser L'auctorialité Des Séries Télévisées
Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées Quentin Fischer To cite this version: Quentin Fischer. Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées. Sciences de l’Homme et Société. 2017. dumas-02368575 HAL Id: dumas-02368575 https://dumas.ccsd.cnrs.fr/dumas-02368575 Submitted on 18 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License UNIVERSITÉ RENNES 2 Master Recherche ELECTRA – CELLAM Lost in serial television authorship : L'équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l'auctorialité des séries télévisées Mémoire de Recherche Discipline : Littératures comparées Présenté et soutenu par Quentin FISCHER en septembre 2017 Directeurs de recherche : Jean Cléder et Charline Pluvinet 1 « Créer une série, c'est d'abord imaginer son histoire, se réunir avec des auteurs, la coucher sur le papier. Puis accepter de lâcher prise, de la laisser vivre une deuxième vie. -
Academics How St
WINTER 2019 VOLUME 16 • NUMBER 2 MORE THAN ACADEMICS HOW ST. FRANCIS IS HELPING GIRLS DEVELOP SOCIAL-EMOTIONAL SKILLS FOR LIFE IN THIS ISSUE 3 PRESIDENT’S MESSAGE 4 CHEERS TO A NEW CHAPTER & THANK YOU TO OUR BOARD OF TRUSTEES 5 EVENTS: PRESIDENT’S SOCIETY RECEPTION, SELFe, & THANKFUL THURSDAY 8 FEATURE: MORE THAN ACADEMICS PRESIDENT 18 TROUBIE NEWS Theresa Rodgers 22 WOMEN OF GRACE: NĀ WĀHINE O ‘OLU HULA BOARD OF TRUSTEES 25 SPIRIT OF SAN DAMIANO AWARD Roxanne Elliott ’94, Chair 26 ALUMNAE SPOTLIGHT: ELISE BAUER ’78 Jennifer O’Brien Cooley ’89 Dr. Pam DiTomasso ’72 28 ALUMNAE COMMUNITY Mary Geary Ellingson ’67 35 CALENDAR Noel Hesser, Regional Director of Catholic Schools, Ex Officio Alison Morr ’89 Helen Manfredi Pierson ’74 ON THE COVER Celia Puff “Human Connection No. 1” by Audrey Reyes ’20 Lincoln Snyder, Executive Director of Catholic Schools, Ex Officio “For my project, I decided to focus on human connection. Human connection is Celestine Syphax easily lost these days, and I hope that through my artwork and everyday actions I The Very Reverend Michael Vaughan, can reignite it. Humans are connected through both the dark and light moments Vicar General, Ex Officio of life; throughout all of this, there’s always a spark of color to bring us back home. Whether that’s through family, friends, or faith, we should always acknowledge its presence and be grateful.” ADVANCEMENT DEPARTMENT MaryAnne Kelly Director of Advancement Leigh Hiers ’96 Assistant Director of Advancement, Communications ThePax et Bonum magazine seeks to share with the reader the spirit of Linda Brida St. -
Set Chair for Matthew Fox "Jack" 11 - 1,200 Set Chair for Matthew Fox "Jack." Wooden Director's C
200 Set chair for Matthew Fox "Jack" 11 - 1,200 Set chair for Matthew Fox "Jack." Wooden director's c... 300 200 Set chair for Evangeline Lilly "Kate" 2 - 1,500 Set chair for Evangeline Lilly "Kate." Wooden directo... 300 200 Set chair for Jorge Garcia "Hurley" 3 - 400 Set chair for Jorge Garcia "Hurley." Folding camping ... 300 200 Set chair for Terry O'Quinn "Locke" 4 - 1,700 Set chair for Terry O'Quinn "Locke." Wooden director'... 300 Set chair for Dominic Monaghan "Charlie" 200 5 Set chair for Dominic Monaghan "Charlie." Wooden - 600 dire... 300 200 Set chair for Emilie de Ravin "Claire" 6 - 550 Set chair for Emilie de Ravin "Claire." Wooden direct... 300 200 Set chair for Yunjin Kim "Sun" 7 - 800 Set chair for Yunjin Kim "Sun." Wooden director's cha... 300 Set chair for Naveen Andrews "Sayid" 200 8 Set chair for Naveen Andrews "Sayid." Wooden - 850 director... 300 200 Set chair for Harold Perrineau "Michael" 9 - 375 Set chair for Harold Perrineau "Michael." Wooden dire... 300 200 Set chair for Michael Emerson "Ben" 10 - 1,900 Set chair for Michael Emerson "Ben." Wooden director'... 300 200 Set chair for Nestor Carbonell "Richard Alpert" 11 - 850 Set chair for Nestor Carbonell "Richard Alpert." Wood... 300 200 Set chair for Elizabeth Mitchell "Juliet" 12 - 2,000 Set chair for Elizabeth Mitchell "Juliet." Wooden dir... 300 Set chair for Jeremy Davies "Faraday" 200 13 Set chair for Jeremy Davies "Faraday." Wooden - 950 directo... 300 Chair back from on-set chair for Alan Dale "Widmore" 100 14 Chair back from on-set chair for Alan Dale - 375 "Widmore.".. -
Nouveautés - Mai 2019
Nouveautés - mai 2019 Animation adultes Ile aux chiens (L') (Isle of dogs) Fiction / Animation adultes Durée : 102mn Allemagne - Etats-Unis / 2018 Scénario : Wes Anderson Origine : histoire originale de Wes Anderson, De : Wes Anderson Roman Coppola, Jason Schwartzman et Kunichi Nomura Producteur : Wes Anderson, Jeremy Dawson, Scott Rudin Directeur photo : Tristan Oliver Décorateur : Adam Stockhausen, Paul Harrod Compositeur : Alexandre Desplat Langues : Français, Langues originales : Anglais, Japonais Anglais Sous-titres : Français Récompenses : Écran : 16/9 Son : Dolby Digital 5.1 Prix du jury au Festival 2 cinéma de Valenciennes, France, 2018 Ours d'Argent du meilleur réalisateur à la Berlinale, Allemagne, 2018 Support : DVD Résumé : En raison d'une épidémie de grippe canine, le maire de Megasaki ordonne la mise en quarantaine de tous les chiens de la ville, envoyés sur une île qui devient alors l'Ile aux Chiens. Le jeune Atari, 12 ans, vole un avion et se rend sur l'île pour rechercher son fidèle compagnon, Spots. Aidé par une bande de cinq chiens intrépides et attachants, il découvre une conspiration qui menace la ville. Critique presse : « De fait, ce film virtuose d'animation stop-motion (...) reflète l'habituelle maniaquerie ébouriffante du réalisateur, mais s'étoffe tout à la fois d'une poignante épopée picaresque, d'un brûlot politique, et d'un manifeste antispéciste où les chiens se taillent la part du lion. » Libération - La Rédaction « Un conte dont la splendeur et le foisonnement esthétiques n'ont d'égal que la férocité politique. » CinemaTeaser - Aurélien Allin « Par son sujet, « L'île aux chiens » promet d'être un classique de poche - comme une version « bonza? de l'art d'Anderson -, un vertige du cinéma en miniature, patiemment taillé. -
LOST the Official Show Auction Catalog
LOST | The Auction 70 1-310-859-7701 Profiles in History | August 21 & 22, 2010 221. JACK’S SEASON TWO COSTUME. Jack’s blue jeans, blue t-shirt and shoes worn in Season Two. $200 – $300 219. JACK’S SEASON TWO COSTUME. Jack’s blue jeans and green t-shirt worn in Season Two. $200 – $300 220. JACK’S SEASON TWO COS- TUME. Jack’s blue jeans and gray t-shirt worn in Season Two. $200 – $300 222. JACK’S MEDICAL BAG. Dark brown leather shoulder bag used by Jack in Season Two to carry medical supplies. $200 – $300 71 www.liveauctioneers.com LOST | The Auction 225. KATE’S COSTUME FROM THE EPISODE, “WHAT KATE DID.” Kate’s brown corduroy pants, brown print t-shirt, and jean jacket worn in the episode, “What Kate Did.” $200 – $300 223. KATE’S SEASON TWO ISLAND COS- TUME. Kate’s white tank top, beige long- sleeve shirt and brown corduroy cargo pants worn in Season Two. $200 – $300 224. KATE’S COSTUME FROM THE EPISODE, “WHAT KATE DID.” Kate’s jeans, jean jacket and Janis Joplin print shirt worn in the episode, “What Kate Did.” $200 – $300 226. HURLEY’S SEASON TWO COSTUMES. Hurley’s olive green shorts and red t- shirt worn on the Island in the episode, “S.O.S..” Includes Hurley’s black jeans, gray t-shirt and black hoodie worn in Season Two. $200 – $300 72 1-310-859-7701 Profiles in History | August 21 & 22, 2010 227. HURLEY’S MR. CLUCK’S CHICKEN SHACK COSTUME. Hurley’s black pants, green Mr. -
10 Lost Wanted
Wanted updated 03-12-13 LOST Season 1 Missing: Oceanic 815 Puzzle Cards (1:11 packs) M1 Charlie: Get it? Hurley: Dude, quit asking me Walkabout M3 Claire: I'm having contractions. Jack: How man Pilot Pt. 1 M4 Jack: Come on. Come on! Come on! Come on! Big Pilot Pt. 1 M5 Jack: We must have been at about forth thousan Pilot Pt. 1 M6 Michael: Hey, hey, where you going, man? Walt: Walkabout M7 Charlie: How does something like that happen? Pilot Pt. 1 M8 Pilot: Six hours in, our radio went out. No on Pilot Pt. 1 M9 Kate: Jack! Jack: There's someone else still o White Rabbit Numbers Die-Cut Cards (1:17 packs) 15 Sawyer: That what I think it is? Michael: Some Exodus, Pt. 2 23 Kate: I wanted you to make sure that Ray Mulle Tabula Rasa 42 Hurley: ...Stop! What are you doing?! Why'd yo Exodus, Pt. 2 Autograph Cards (1:36 packs) A-1 Evangeline Lilly as Kate Austen A-2 Josh Holloway as James "Sawyer" Ford A-3 Maggie Grace as Shannon Rutherford A-5 Mira Furlan as Danielle Rousseau A-6 William Mapother as Ethan Rom A-7 John Terry as Dr. Christian Shephard A-9 Daniel Roebuck as Dr. Leslie Arzt A-11 Kevin Tighe as Anthony Cooper A-12 Swoosie Kurtz as Emily Annabeth Locke AR1 (Redemption Card) Pieceworks Cards (1:36 packs) PW-1 Shirt worn by Evangeline Lilly as Kate Austen The Greater Good PW-2 T-shirt worn by Josh Holloway as Sawyer Ford Pilot PW-3 Top worn by Maggie Grace as Shannon Rutherford Hearts and Minds PW-4 T-shirt worn by Matthew Fox as Jack Shepherd All the Best Cowboys Have Daddy Issues PW-5 T-shirt worn by Dominic Monaghan as Charlie Pace Pilot PW-6 T-shirt worn by Terry O'Quinn as John Locke Numbers PW-8 T-shirt worn by Jorge Garcia as Hugo "Hurley" Reyes Hearts and Mind PW-10 Top worn by Yunjin Kim as Sun Kwon Exodus Pt. -
A Study of the Function and Meaning of Imagery Experienced by Rape Survivors
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1996 A Study of the Function and Meaning of Imagery Experienced by Rape Survivors Mary Qualey Beale Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the Social Work Commons Recommended Citation Beale, Mary Qualey, "A Study of the Function and Meaning of Imagery Experienced by Rape Survivors" (1996). Dissertations. 3692. https://ecommons.luc.edu/luc_diss/3692 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1996 Mary Qualey Beale LOYOLA UNIVERSITY CHICAGO A STUDY OF THE FUNCTION AND MEANING OF IMAGERY EXPERIENCED BY RAPE SURVIVORS A DISSERTATION SUBMITTED TO THE SCHOOL OF SOCIAL WORK IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DOCTOR OF SOCIAL WORK DEGREE BY MARY QUALEY BEALE CHICAGO, ILLINOIS MAY, 1996 Copyright by Mary Qualey Beale, 1996 All Rights Reserved. ii ACKNOWLEDGEMENTS I want to thank each member of my committee for all they have done for me in this dissertation process. My Chairman, Dr. Randolph Lucente, has been unerringly supportive of me, this project, my work, and my writing. I appreciate the freedom and respect he has given me as I have struggled and developed my ideas. He has had the ability to suggest just the right article or a new idea when I so needed that helped. -
Universidade Federal Do Rio De Janeiro Centro De
UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS ESCOLA DE COMUNICAÇÃO PATRÍCIA SILVA DE AZEREDO QUE MULHER VOCÊ SERIA EM UMA ILHA DESERTA? Aspectos da representação do feminino no seriado de TV Lost RIO DE JANEIRO 2007 UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS ESCOLA DE COMUNICAÇÃO Patrícia Silva de Azeredo QUE MULHER VOCÊ SERIA EM UMA ILHA DESERTA? Aspectos da representação do feminino no seriado de TV Lost Trabalho de conclusão de curso de graduação apresentado à Escola de Comunicação da Universidade Federal do Rio de Janeiro como requisito parcial para a obtenção do título de Bacharel em Comunicação Social com habilitação em Jornalismo. Orientador: João Freire Filho Rio de Janeiro 2007 Patrícia Silva de Azeredo QUE MULHER VOCÊ SERIA EM UMA ILHA DESERTA? Aspectos da representação do feminino no seriado de TV Lost Trabalho de conclusão de curso de graduação apresentado à Escola de Comunicação da Universidade Federal do Rio de Janeiro como requisito parcial para a obtenção do título de Bacharel em Comunicação Social com habilitação em Jornalismo . Aprovada em: ________________________ Prof. Dr. João Batista de Macedo Freire Filho, professor-adjunto, ECO/UFRJ ________________________ Profa. Doutoranda Mônica Machado Cardoso Rebello, professora-assistente, ECO/UFRJ ________________________ Prof. Dr. Paulo Roberto Gibaldi Vaz, professor-adjunto, ECO/UFRJ RESUMO AZEREDO, Patrícia. Que mulher você seria em uma ilha deserta? Aspectos da representação do feminino no seriado de TV Lost. Rio de Janeiro, 1996. Monografia (Graduação em Comunicação Social – Habilitação Jornalismo) – Escola de Comunicação, Universidade Federal do Rio de Janeiro, Rio de Janeiro, 2007; O trabalho busca analisar aspectos da representação do feminino nas três temporadas do seriado de TV norte-americano Lost, exibido no Brasil pelo canal AXN e pela Rede Globo. -
Indhold Getting LOST
Indhold Getting LOST ...................................................................................................................................................... 3 Fremgangsmåde og afgrænsningsfelt ............................................................................................................... 4 Beskrivelse af serien .......................................................................................................................................... 5 Føljetonformatet ............................................................................................................................................... 6 Episodernes opbygning og seriens plots ....................................................................................................... 7 Karaktererne .................................................................................................................................................. 8 Jacks plotlinje ................................................................................................................................................. 9 White Rabbit’s konstruktion og karakterfremstilling .................................................................................. 10 316’s konstruktion og karakterfremstilling ................................................................................................. 15 En strukturalistisk analyse af karakterens konstruktion ............................................................................. 19 Psychologial traits/habitual -
Countess Kate
Countess Kate Charlotte M. Yonge Countess Kate Table of Contents Countess Kate............................................................................................................................................................1 Charlotte M. Yonge........................................................................................................................................1 CHAPTER I...................................................................................................................................................1 CHAPTER II..................................................................................................................................................7 CHAPTER III..............................................................................................................................................13 CHAPTER IV..............................................................................................................................................19 CHAPTER V................................................................................................................................................27 CHAPTER VI..............................................................................................................................................33 CHAPTER VII.............................................................................................................................................37 CHAPTER VIII............................................................................................................................................43 -
TV/Series, Hors Séries 1 | 2016 Lost, Or a Guide for the Lovesick 2
TV/Series Hors séries 1 | 2016 Lost: (re)garder l'île Lost, or a Guide for the Lovesick Pacôme Thiellement Translator: Brian Stacy Electronic version URL: http://journals.openedition.org/tvseries/4978 DOI: 10.4000/tvseries.4978 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Pacôme Thiellement, « Lost, or a Guide for the Lovesick », TV/Series [Online], Hors séries 1 | 2016, Online since 01 December 2020, connection on 05 December 2020. URL : http:// journals.openedition.org/tvseries/4978 ; DOI : https://doi.org/10.4000/tvseries.4978 This text was automatically generated on 5 December 2020. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Lost, or a Guide for the Lovesick 1 Lost, or a Guide for the Lovesick Pacôme Thiellement Translation : Brian Stacy 1 In a work on Bouvard and Pécuchet, Raymond Queneau singled out two defining lines in the History of the novel: that of the Iliad, and that of the Odyssey. Every great work is either an Iliad or an Odyssey, the odysseys being far superior in number than the iliads: the Satiricon, The Divine Comedy, Pantagruel, Don Quixote and of course Ulysses are odysseys, that is to say, des récits de temps pleins. The iliades are, on the contrary, searches for lost time: facing Troy, on a deserted island or at the Guermantes'1. 2 Lost falls along both, but more importantly, it splits its narrative content into two levels: a contemplative level, that of the Brahmins, of the priests, the story of the election to become protector of the island, which is also a story of discipleship and obedience; and another level, active but true to sacred principles, that of the ksatriyas or knights, the story of "adventures" seeking the return of a loved one, Desmond's storyline. -
"Lost" As an Example of the Orphic Mysteries: a Thematic Analysis
UNLV Retrospective Theses & Dissertations 1-1-2008 "Lost" as an example of the orphic mysteries: A thematic analysis Rachael Wax University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Wax, Rachael, ""Lost" as an example of the orphic mysteries: A thematic analysis" (2008). UNLV Retrospective Theses & Dissertations. 2435. http://dx.doi.org/10.25669/n2lv-18ci This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. LOST AS AN EXAMPLE OF THE ORPHIC MYSTERIES: A THEMATIC ANALYSIS by Rachael Wax Bachelor of Arts University of Nevada, Las Vegas May 2006 A thesis submitted in partial fulfillment of the requirements for Master of Arts Degree in Journalism and Media Studies Hank Greenspun School of Journalism and Media Studies Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas December 2008 UMI Number: 1463538 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted.