Sustainable Development As Deus Ex Machina
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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. -
ENGLISH 2810: Television As Literature (V
ENGLISH 2810: Television as Literature (v. 1.0) 9:00 – 10:15 T/Th | EH 229 Dr. Scott Rogers | [email protected] | EH 448 http://faculty.weber.edu/srogers The Course The average American watches about 5 hours of television a day. We are told that this is bad. We are told that television is bad for us, that it is bad for our families, and that it is wasting our time. But not all television is that way. Some television shows have what we might call “literary pretensions.” Shows such as Twin Peaks, Homicide: Life on the Street, The Wire, Buffy the Vampire Slayer, Firefly, Veronica Mars, Battlestar Galactica, and LOST have been both critically acclaimed and the subject of much academic study. In this course, we shall examine a select few of these shows, watching complete seasons as if they were self-contained literary texts. In other words, in this course, you will watch TV and get credit for it. You will also learn to view television in an active and critical fashion, paying attention to the standard literary techniques (e.g. character, theme, symbol, plot) as well as televisual issues such as lighting, music, and camerawork. Texts Students will be expected to own, or have access to, the following: Firefly ($18 on amazon.com; free on hulu.com) and Serenity ($4 used on amazon.com) LOST season one ($25 on amazon.com; free on hulu.com or abc.com) Battlestar Galactica season one ($30 on amazon.com) It is in your best interest to buy or borrow these, if only to make it easier for you to go back and re-watch episodes for your assignments. -
Leonard, Philip. "Global Catastrophe." Orbital Poetics: Literature, Theory, World
Leonard, Philip. "Global Catastrophe." Orbital Poetics: Literature, Theory, World. London: Bloomsbury Academic, 2019. 107–140. Bloomsbury Collections. Web. 28 Sep. 2021. <http:// dx.doi.org/10.5040/9781350075115.ch-005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 23:01 UTC. Copyright © Philip Leonard 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 5 Global Catastrophe The end of the world, Shakespeare’s Lear tells us, will come when a vengeful nature overwhelms all that is known: Blow, winds, and crack your cheeks! Rage, blow! You cataracts and hurricanoes, spout Till you have drench’d our steeples, drowned the cocks! You sulphurous and thought-executing fires, Vaunt-couriers to oak-cleaving thunderbolts, Singe my white head! And thou, all-shaking thunder, Strike flat the thick rotundity o’ the world, Crack Nature’s moulds, all germens spill at once That make ingrateful man! (3.2.1–9) At this moment in the play, Lear has descended into madness following the catastrophic collapse of both family and kingdom. The bonds of blood and the principle of sovereign authority have been betrayed, and as a result civilization as he understands it has fallen into disarray. ‘Blow, winds, and crack your cheeks’ is his desperate apostrophe to an enraged nature that is unmoved by the plight of a humanity that struggles with its place in the world, and Lear addresses the unruly storm that engulfs him not to seek deliverance or absolution, but to yield to a greater authority. -
Conventions of the Play
Conventions of the Play Nikpreet Singh (SVV@G_D@VVG) Colin Ludwig Mu’az Abdul-aziz Julian Stanley IB English 12 Formal Structure Prologos ● Entire part of an ancient Greek play that precedes the parodos (an ode sung by the chorus at the entrance). Formal Structure Episodes ● One series of events throughout the course of the drama. Formal Structure Exodus ● Final scene or departure How do you think the final messenger influenced the exodus? DQ 1 Discussion: 1) Who? 2) Purpose? 3) Impact? “You are right; there is sometimes danger in too much silence” (1324). Use of Peripeteia and Anagnorisis Peripeteia = turning point or shift in the drama Page 2088 when the chorus begins speaking Anagnorisis = “recognition” When a character makes a crucial finding ● Find an example on page 2083 Conventions of a play Use of Chorus- Acts as a narrator for the play, giving info not given from the actors themselves How does Sophocles use the chorus as a proactive character and how would the story change if he used a different form of narration? DQ 2 ● Uses the chorus to ask question to Creon and find out what he’s thinking ● Chorus is the one who tells the messenger to go look for Conventions of a play Conventional Characters- Stereotypical characters that are usually flat Messengers used to deliver off stage to the audience Blind Seer- embodies a contradiction High Status Characters High on the social ladder, placed in a position of power In Antigone, status contributes to the pride of Creon and how he handles Antigone’s ‘crime’ Conventions of the Tragic Hero Aristotle’s Poetica: •This text is Aristotle’s theory on drama, and the general effects of drama on humanity. -
The Expression of Orientations in Time and Space With
The Expression of Orientations in Time and Space with Flashbacks and Flash-forwards in the Series "Lost" Promotor: Auteur: Prof. Dr. S. Slembrouck Olga Berendeeva Master in de Taal- en Letterkunde Afstudeerrichting: Master Engels Academiejaar 2008-2009 2e examenperiode For My Parents Who are so far But always so close to me Мои родителям, Которые так далеко, Но всегда рядом ii Acknowledgments First of all, I would like to thank Professor Dr. Stefaan Slembrouck for his interest in my work. I am grateful for all the encouragement, help and ideas he gave me throughout the writing. He was the one who helped me to figure out the subject of my work which I am especially thankful for as it has been such a pleasure working on it! Secondly, I want to thank my boyfriend Patrick who shared enthusiasm for my subject, inspired me, and always encouraged me to keep up even when my mood was down. Also my friend Sarah who gave me a feedback on my thesis was a very big help and I am grateful. A special thank you goes to my parents who always believed in me and supported me. Thanks to all the teachers and professors who provided me with the necessary baggage of knowledge which I will now proudly carry through life. iii Foreword In my previous research paper I wrote about film discourse, thus, this time I wanted to continue with it but have something new, some kind of challenge which would interest me. After a conversation with my thesis guide, Professor Slembrouck, we decided to stick on to film discourse but to expand it. -
Law, Technology, and Public Health in the COVID-19 Crisis
Privacy in Pandemic: Law, Technology, and Public Health in the COVID-19 Crisis Tiffany C. Li* The COVID-19 pandemic has caused millions of deaths and disastrous consequences around the world, with lasting repercussions for every field of law, including privacy and technology. The unique characteristics of this pandemic have precipitated an increase in use of new technologies, including remote communications platforms, healthcare robots, and medical AI. Public and private actors alike are using new technologies, like heat sensing, and technologically influenced programs, like contact tracing, leading to a rise in government and corporate surveillance in sectors like healthcare, employment, education, and commerce. Advocates have raised the alarm for privacy and civil liberties violations, but the emergency nature of the pandemic has drowned out many concerns. This Article is the first comprehensive account of privacy in pandemic that maps the terrain of privacy impacts related to technology and public health responses to the COVID-19 crisis. Many have written on the general need for better health privacy protections, education privacy protections, consumer privacy protections, and protections against government and corporate surveillance. However, this Article is the first comprehensive article to examine these problems of privacy and technology specifically in light of the pandemic, arguing that the lens of the pandemic exposes the need for both wide-scale and small-scale reform of privacy law. This Article approaches these problems with a focus on technical realities and social * Visiting Clinical Assistant Professor, Boston University School of Law; Fellow, Yale Law School Information Society Project. The author thanks Tally Amir, Chinmayi Arun, Jack M. -
Greek Theory of Tragedy: Aristotle's Poetics
Greek Theory of Tragedy: Aristotle's Poetics The classic discussion of Greek tragedy is Aristotle's Poetics. He defines tragedy as "the imitation of an action that is serious and also as having magnitude, complete in itself." He continues, "Tragedy is a form of drama exciting the emotions of pity and fear. Its action should be single and complete, presenting a reversal of fortune, involving persons renowned and of superior attainments, and it should be written in poetry embellished with every kind of artistic expression." The writer presents "incidents arousing pity and fear, wherewith to interpret its catharsis of such of such emotions" (by catharsis, Aristotle means a purging or sweeping away of the pity and fear aroused by the tragic action). The basic difference Aristotle draws between tragedy and other genres, such as comedy and the epic, is the "tragic pleasure of pity and fear" the audience feel watching a tragedy. In order for the tragic hero to arouse these feelings in the audience, he cannot be either all good or all evil but must be someone the audience can identify with; however, if he is superior in some way(s), the tragic pleasure is intensified. His disastrous end results from a mistaken action, which in turn arises from a tragic flaw or from a tragic error in judgment. Often the tragic flaw is hubris, an excessive pride that causes the hero to ignore a divine warning or to break a moral law. It has been suggested that because the tragic hero's suffering is greater than his offense, the audience feels pity; because the audience members perceive that they could behave similarly, they feel pity. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Philosophical Fables for Ecological Thinking: Resisting Environmental Catastrophe Within the Anthropocene
Centre for Research in Modern European Philosophy, Kingston School of Art, Kingston University Philosophical Fables for Ecological Thinking: Resisting Environmental Catastrophe within the Anthropocene Alice GIBSON Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy in Philosophy February 2020 2 Abstract This central premise of this thesis is that philosophical fables can be used to address the challenges that have not been adequately accounted for in post-Kantian philosophy that have contributed to environmental precarity, which we only have a narrow window of opportunity to learn to appreciate and respond to. Demonstrating that fables may bring to philosophy the means to cultivate the wisdom that Immanuel Kant described as crucial for the development of judgement in the Critique of Pure Reason (1781), I argue that the philosophical fable marks an underutilised resource at our disposal, which requires both acknowledgment and defining. Philosophical fables, I argue, can act as ‘go-carts of judgement’, preventing us from entrenching damaging patterns that helped degree paved the way for us to find ourselves in a state of wholescale environmental crisis, through failing adequately to consider the multifarious effects of anthropogenic change. This work uses the theme of ‘catastrophe’, applied to ecological thinking and environmental crises, to examine and compare two thinker poets, Giacomo Leopardi and Donna Haraway, both of whom use fables to undertake philosophical critique. It will address a gap in scholarship, which has failed to adequately consider how fables might inform philosophy, as reflected in the lack of definition of the ‘philosophical fable’. This is compounded by the difficulty theorists have found in agreeing on a definition of the fable in the more general sense. -
Plot Devices in Jane Austen's Novels
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Plot Devices in Jane Austen's Novels: Sense and Sensibility Pride and Prejudice and Persuasion A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in English at Massey University JANE ELIZABETH BROOKER 1981 ii. ABSTRACT Th is thesi s evaluates vari ous p l ot devices occurring in three novels by Jane Austen. The novels studied are Sense and Sensibility (1811), Pride and Prejudice (1813), and Persuasion (1 818) . I have chosen novels from different periods of Jane Austen ' s career as a novelist . One of the novels, Pride and Prejudice is regarded as having a virtually flawless plot , while both Sense and Sensibility and Persua sion are considered to have major plot flaws . To evaluate Jane Austen's use of plot devices , I have iso lated the main devices in each novel . Each chapter of the thesis is devoted to one t ype of plot device. The plot devices analysed come under the headings of Journeys and Character Positioning, Revelations, Elopements , Illnesses, Alternative Suitors, Minor Characters, and Conclusion. At the end of each chapter I have summarised the main points and compared the devices discussed in the chapter . The con clusion is divided int o three parts , dealing separately with the three novels . In my analysis of plot devices I have looked particularly for consistency of characterisation, and for plausible events. -
High School Creative Writing Course Planning in This Course Students Will Read, Critique, and Compose Original Poetry, Essays, Short Fiction, and Creative Non-Fiction
High School Creative Writing Course Planning In this course students will read, critique, and compose original poetry, essays, short fiction, and creative non-fiction. Students will examine the works of published writers as well as peers to discover, expand, and refine their own skills, voice, and repertoire. Students will share their work for both written and oral peer critique. Publication will be strongly encouraged as students develop portfolios of their writing. Enduring Understandings Academic Vocabulary • What understandings about the big ideas are desired? (what you want students to understand & be able to use several years from now) • What misunderstandings are predictable? • Creative writing is a process using six interrelated Mentor text repetition elements: ideas, organization, diction, syntax, voice, Voice masculine rhyme and convention. Style feminine rhyme • The way a writer looks at the world impacts his/her Tone half/slant rhyme work. Theme assonance • Words have power and should be used to impact Purpose consonance readers for a specific purpose. Hook alliteration line • A variety of styles and genres can be used to build a Pitch metaphor writing portfolio and develop a writer’s voice. Critique simile • Critiquing and editing establishes a framework for Narrative personification improving one’s writing using multiple drafts. Styles of conflict symbol • Audience impacts an author’s creative choices and Plot stanza how they tell a story. characterization foot • Genres: poetry, fiction, creative non-fiction exposition meter -
Focus on Freeport #13: Deus Ex Machina
Focus on Freeport #13: Deus Ex Machina A d20 System Freeport Adventure in three parts for four 5th to 6th level characters., By Jeff Quick Copyright 2001, Green Ronin Publishing Part Two: Forsaken Places In which the adventurers learn what has become of the old God of Retribution’s abode. Clerics around the city have been losing their holy symbols for All doors and windows are tightly boarded up. Breaking through the last few weeks, and various relics and worship implements the 2 inches of wood requires a successful Strength check (DC have gone missing. A group of rogues and clerics in service to 25). To prevent intrusion from determined vandals, the Trickster the Trickster God have been pulling ther majority of the heists. clerics have reinforced potential entries on the first floor with They have very recently stolen the holy symbol of the party’s sheets of iron from the inside. Windows on the second floor are cleric. The party has tracked them to the belfry of the abandoned each guarded with a glyph of warding. None of the rooms are lit temple to the God of Retribution. on the second floor. Anyone who doesn’t know the layout already must bring his or her own light. In part two of this adventure, the PCs must wind their way through a series of traps, setbacks, and misdirections to the Clerics and occupants of nearby temples have reported basement of the old temple of the God of Retribution. There they occasionally hearing inhuman shrieks and loud crashing noises must search for a secret door which will lead them to the secret from the second floor, screeching metallic noises from the first storage room where the holy symbols are being held.