Search

Moral Occult and Manicheism are the most important concepts that form melodramatic mode. The concept of Moral Occult is based on moral norms which are transformed with the transfer of the traditions from one generation to another. Likewise, the concept of Manicheism is based on various religious practices forming the belief that names itself. Movies, in which melodramatic mode takes place, has universalized in time and are still getting great attention from the audience. Behind this attraction lies the primitive society mindset and the connection between the concepts of Moral Occult and Manicheism. Movies of Douglas Sirk are the representatives of melodramatic mode in cinema. Magnificent Obsession (1954), All That Heaven Allows (1955), Written on the Wind (1956), Imitation of Life (1959), all of which can be said to have marked the 1950s, stand out with the Moral Occult and Manicheist themes. By bearing in mind that the moral principles, emerging as an outcome of the continuity of primitive societies’ traditions, turn into religions afterwards, the aim of this study is to look at the origin that forms the Moral Occult and Manicheism concepts. By benefitting from cultural anthropology and theology that form the origin of Moral Occult and Manicheism, the reason why melodrama is so popular with the audience will be explained through the readings of four films by Douglas Sirk., Melodramatik modu oluşturan en önemli kavramlar Moral Ökült ve Maniheizm’dir. Moral Ökült kavramı geleneklerin nesillerden nesillere tekrarı ile dönüştüğü ahlaki normlar, Maniheizm kavramı ise adını aldığı inancı oluşturan birçok dinsel pratiğin üzerine kuruludur. Melodramatik modun yer aldığı sinema eserleri evrenselleşmiş olup seyirciden yıllardır büyük ilgi görmektedir. Bu ilginin ardında ilkel toplum zihniyeti ile Moral Ökült ve Maniheizm kavramları arasındaki bağlantı yatmaktadır. Douglas Sirk filmleri melodramatik modun sinema alanındaki temsilcileridir. Yönetmenin 1950’li yıllara damga vuran Magnificent Obsession (Mukaddes Azap, Douglas Sirk, 1954), All That Heaven Allows (Her Şey Senin İçin, Douglas Sirk, 1955), Written on the Wind (Aşk Rüzgarları, Douglas Sirk, 1956), Imitation of Life (Zehirli Hayat, Douglas Sirk, 1959) adlı filmleri Moral Ökült ve Maniheist temalarıyla öne çıkmaktadır. Bu çalışmanın amacı ilkel toplumların geleneklerinin sürekliliği ile ortaya çıkan ahlak kurallarımızın aynı silsileyle dine dönüşmesi düsturundan yola çıkarak Moral Ökült ve Maniheizm kavramlarını oluşturan orijine göz atabilmektir. Kültürel antropoloji ve teoloji alanlarından faydalanılarak Douglas Sirk’in dört filmi üzerinden yapılacak analiz ile melodram sinemasının seyirci nezdindeki popülerliğine dair cevaplar aranacaktır.

I min masteroppgave undersøker jeg to romaner av Torborg Nedreaas: Av måneskinn gror det ingenting (1947) og Ved neste nymåne (1971), og analyserer disse ved hjelp av Peter Brooks’ Reading for the Plot: Design and intention in narrative (1984). Mitt forskningsprosjekt vil bidra til en økt forståelse for Nedreaas’ forfatterskap, og da spesielt hennes bruk av plott og hvordan hun strukturerer plottet. Gjennom plottanalysene viser jeg viktigheten av plottet, og hvordan det kan brukes til å kontrollere leserens forståelse og fremme lysten til å lese. Jeg har undersøkt to romaner med svært ulik oppbygning, men mine funn viser at Nedreaas strukturerer plottene slik at hun fremmer leselyst og vekker leserens nysgjerrighet. Både i Ved neste nymåne og Av måneskinn gror det ingenting blir leserens forståelse kontrollert gjennom bruk av de kvinnelige hovedpersonene som sansningssenter, som fører til naturlige utelatelser av elementer fra plottet. Dette vekker et behov hos leseren for å finne svar, og disse svarene blir gradvis avslørt gjennom plottet. Det er ikke før mot slutten av fortellingen at plottet virkelig gir mening, når leseren når «dødsøyeblikket» i de to romanene, og etter dette vil hele plottet gi større mening sett retrospektivt. Ved å analysere plottet i de to romanene setter jeg søkelys på en ny side ved Nedreaas’ forfatterskap, som tidligere har fått lite oppmerksomhet. Struktureringen av plottet i de to romanene er et viktig med tanke på leseropplevelsen, og noe som fortjener mer plass når man snakker om Nedreaas’ forfatterskap. Nedreaas nyanserer Brooks’ teori gjennom plottingen sin. Hun viser at behovet for repetisjon er mer enn å bevege seg mot dødsøyeblikket. I Av måneskinn gror det ingenting kommer behovet for repetisjon fra den navnløse kvinnens traumatiserte tilstand, og i Ved neste nymåne kommer det fra Herdis’ ønske om å heve seg over repetisjonstrangen, før hun innser at det er ting i livet som hun ikke kan kontrollere selv. In this master’s thesis I’m examining two novels by Torborg Nedreaas: Av måneskinn gror det ingenting (1947) and Ved neste nymåne (1971). I analyse these novels by using Peter Brooks’ Reading for the Plot: Design and intention in narrative (1984). My research project will contribute to a better understanding of Nedreaas’ authorship, especially her use of the plot and her plotting. Through my plot analysis I show how important the plot is, and how it can be used to control the readers understanding and narrative desire. The two novels have a very different structure, but my findings show that Nedreaas structures her plots in a way that promotes the narrative desire. Both novels make extensive use of repetition. In both Ved neste nymåne and Av måneskinn gror det ingenting the readers understanding is controlled through using the female main characters as a focalisation point, which leads to certain elements of the plot being left out in a natural way. It isn’t until the end of the story that the plot truly makes sense, when the reader reaches the moment of death in the two novels. After this the plot will get a bigger meaning retrospectively. By analysing the plot in these two novels I’m looking into a new side of Nedreaas’ authorship, that previously has gotten little attention. The structuring of the plot in the two novels are important, especially when you have the reading experience in mind. This is something that deserves a lot more space when Nedreaas’ authorship is being discussed. Nedreaas nuances Brooks’ theory with the way she creates the plot in her novels. She shows that the need for repetition is more than moving towards the death. In Av måneskinn gror det ingenting the need for repetiton comes from the female main character being traumatized, and in Ved neste nymåne it comes from Herdis’ need to get away from the instinct of repetition until she realizes that there are certain things in life she can’t control. Mastergradsoppgave i nordisk språk og litteratur NOLISP350 MAHF-NORD MAHF-LÆNO

In 2001 a patent application was filed to the United States Patent and Trademark Office. That patent sought to create “a method of advertising and promoting a book in a visual media,” which included “selecting at least one portion of the book” and staging a scene representing that content. Today the book trailer has become a treasured tool for book promotion in publishing houses, and the videos rarely stay inside the defined lines stated in the patent application. Often the book trailer as a media genre is discussed as a variant of its well-established cousin, the movie trailer. But there’s a fundamental difference between the two. While the movie trailer is pieced together from snippets of the actual source material, the book trailer must first translate the text-based original format into an (abbreviated) audiovisual form. This may be why the book trailer offers much more room for interpretation than its movie counterpart.This paper explores the relationship between the book trailer and its associated book and focuses specifically on how it uses the video form’s visual and auditory features to immerse the viewer into the narrative and ultimately lead that person into choosing the book. The history of the book trailer is unfolded through theories on remediation and convergence culture, and the paper seeks to reach a comprehensive definition of the book trailer. Furthermore a book trailer typology is suggested as a means of sub-categorizing the genre’s various forms and functions.The analysis of the study focuses on seven prototypical book trailers which are examined through Peter Brooks’ plot theory on design and intention in narrative. It is concluded that time as a means of building suspense is an instrument the book trailer, as opposed to the book, does not have available. Therefore, the book trailer must draw on other techniques to entice the viewer with a desire to know more about the narrative. Furthermore, as discovered when examining the potential future of the book trailer, it holds the potential of playing a more significant part in promotional campaigns. A focus on the book trailer as a book trailer could be the way forward in including stakeholders in the publishers’ communication and creating an interesting story world through strategies of transmedia storytelling.

Émile Zola’s account of the Franco-Prussian War and the Commune, La Débâcle (1892), provides the basis for an account of the way in which the literary language of war speaks to the physical geography of mimetic fiction as broadly conceived, and in particular its precise concern for mud, earth, soil, and its wider concern for land and its borders.

This article analyzes Joyce Carol Oates’s hybridism in her 2011 memoir, A Widow’s Story, as a powerful means of self-assertion and self-reconstruction. It suggests that to write about her painful experience of bereavement Oates resorts to hybridism—generic, narrative and typographic in particular—as it is both a characteristic of her fiction and a means of dramatizing her experience. This hybridism helps her not only express her emotional “derangement” but also recover her identity as a writer. Thus her narrative manifests confusion and continuity, chaos and control, inconsolability and consolation at one and the same time.

International audience

”To Bleed Ink – about the fascination and the quality of Jussi Adler-Olsen’s book,”The Keeper of Lost Causes” is a thesis in the Master Degree, Danish at Roskilde University. The thesis is written with the intention to give an insight of the fascination of the thriller genre together with the quality of it. With the choice of Jussi Adler-Olsen’s first novel about Division Q, ”The Keeper of Lost Causes”, an image of the reader’s fascination of the thriller novel is given, and furthermore how it is possible to talk about literary quality as related to the novel. With the help from three reader-response-criticism theories, a light is shed on the lin-guistic elements, which yields the reader’s interest of the novel. Amongst others, Wolfgang Iser’s theory about the empty spaces relative to the reader’s role in the reading are defined and in extension to this, Peter Brooks theory about plot and plotting is described respectively as the foundation of the thriller and the activation of the reader in the reading process. Further-more, Sigmund Freud, Julia Kristeva and Michael Clasen are involved with focus on the frightening element in the thriller. Henceforth, the theory about quality is described. With help from Erik Bjerck Hagen et al, a methodically approach to literary quality is explained which results in a debate about who sets the norms for literary quality. Thus the analysis of ”The Keeper of Lost Causes” will have its theoretical background from these theories. With an analysis of the plot, the reception and the frightening, the ques-tion of why the reader finds the thriller novel interesting will be brought to focus. Henceforth an analysis of the quality within the novel and also the reviewer’s valuation of it portrays a more concerning literary way to evaluate the quality of ”The Keeper of Lost Causes”. Thus it results in a discussion about who sets the norms for literary quality and if it is even still rele-vant to discuss the literary quality. Therefore, the thesis focuses on portraying an already ex-isting debate of the literary quality.

In the opening, animated sequence of AMC's 'Mad Men', a silhouetted figure - a businessman - appears with his back turned towards us. In business suit, briefcase in hand, this figure is shown entering an office that, almost immediately, begins to melt. As wall pictures, a desk, chairs and office fan dissolve, the black‐suited figure is now reeling through the air, having jumped or fallen from the office skyscraper. As his body drops and turns during the fall, it passes giant billboards of 1960s advertising images and slogans. Over the blonde head of a glamorous model is the promise that you will 'enjoy the best America has to offer' and that 'it's the gift that never fails'. The cartoon credit sequence ends with the falling figure, not reaching ground zero, seated on a couch - his back again turned towards us - looking into a blank, white distance with his arm outstretched in an (overly) familiar gesture of business confidence.