This thesis explores the themes of family, loss and belonging in Wes Anderson's Rushmore (1998), The Darjeeling Limited (2007), and Moonrise Kingdom (2012). The thesis connects objects and places...Show moreThis thesis explores the themes of family, loss and belonging in Wes Anderson's Rushmore (1998), The Darjeeling Limited (2007), and Moonrise Kingdom (2012). The thesis connects objects and places within these films to the abovementioned themes, and shows parallels between the use of objects in these films and the way in which objects are used in George Eliot's novel The Mill on the Floss (1860) - objects have a multiplicity of functions in both. Key to Anderson's films are relations between characters, and objects and places in the films signify these bonds. In the end, the characters in the films find a place to belong in the other.Show less
This thesis takes three works of prose fiction from the Victorian and Edwardian period that contain animal characters that interact with the human world. The fantastic narratives that will be...Show moreThis thesis takes three works of prose fiction from the Victorian and Edwardian period that contain animal characters that interact with the human world. The fantastic narratives that will be explored are: Lewis Carroll’s Alice’s Adventures in Wonderland (1865); Rudyard Kipling’s The Jungle Books (1894-5); and Kenneth Grahame’s The Wind in the Willows (1908). Furthermore, it argues that anthropomorphism and zoomorphism act as core elements in these narratives to describe the complex formation of identity in Victorian Britain and to provide an opportunity covertly to criticize issues in the Victorian social class system. Furthermore, the thesis analyses these magical worlds as places where children’s imagination can play with the animal-human divide.Show less
This thesis examines how Ruth Ware's The Turn of the Key (2019), Floria Sigismondi's The Turning (2020) and Mike Flanagan's The Haunting of Bly Manor (2020) portray the governess as the true victim...Show moreThis thesis examines how Ruth Ware's The Turn of the Key (2019), Floria Sigismondi's The Turning (2020) and Mike Flanagan's The Haunting of Bly Manor (2020) portray the governess as the true victim of the story, instead of the children, as perhaps happens in Henry James's The Turn of the Screw (1898).Show less
This thesis explores some of the different ways that scholars and authors have dealt with the Arthurian legends when working within different cultural contexts. The aim of this thesis is to analyze...Show moreThis thesis explores some of the different ways that scholars and authors have dealt with the Arthurian legends when working within different cultural contexts. The aim of this thesis is to analyze the use of Arthurian legends over time and to compare the relevance of those legends in cultures familiar with the story, such as America, and cultures less familiar with the story, such as Japan. The comparison will be aimed at shedding light on how differences in the interpretations of Arthurian legends between America and Japan reflect, or are caused by, differences in each culture’s familiarity with said legends.Show less
Jonathan Edwards’ “Personal Narrative” is a chronological, retrospective account of Edwards’ spiritual life interposed with comments and reflections on his experiences with the Divine. He describes...Show moreJonathan Edwards’ “Personal Narrative” is a chronological, retrospective account of Edwards’ spiritual life interposed with comments and reflections on his experiences with the Divine. He describes multiple powerful, highly emotional encounters as he recounts his religious development from his childhood to the present. It stands as a central text of eighteenth-century spirituality, a touchstone of religious thinking in this period. This thesis argues that concerns with the fallibility of language are central to Jonathan Edwards’ “Personal Narrative” (c.1740), as he struggles adequately to describe spiritual experience in words even as that experience is said to go beyond language, including in its emotional and bodily effects.Show less
William Shakespeare’s A Midsummer Night’s Dream is, among many other things, a play that subtly criticises the patriarchal society in which it is set, advocating a more equal society instead, and...Show moreWilliam Shakespeare’s A Midsummer Night’s Dream is, among many other things, a play that subtly criticises the patriarchal society in which it is set, advocating a more equal society instead, and this interpretation is confirmed and built upon by Henry Purcell and Benjamin Britten in their respective operas based on the play.Show less
Throughout the years, young adult dystopian fiction has become a well-known and widely-read genre. Simultaneously, the division of the world into typically masculine or feminine matters has changed...Show moreThroughout the years, young adult dystopian fiction has become a well-known and widely-read genre. Simultaneously, the division of the world into typically masculine or feminine matters has changed as well. This same idea applies to literary genres. Science fiction has been dominated by male characters and writers throughout the years, for instance in books such as Aldous Huxley’s Brave New World and George Orwell’s Nineteen Eighty-Four, or in television series like Star Trek and Babylon 5. Nevertheless, the more contemporary young adult dystopian novels, as a subgenre of science fiction, have seen an emergence of other heroic protagonists, namely girls. These girls, such as Katniss Everdeen in Suzanne Collin’s Hunger Games, are suddenly able to exert agency in a genre that initially mainly had male protagonists, and in which female characters were merely supporting those real heroes. In fact, the modern female protagonists use their gendered traits to drastically change the society they live in. While these capacities were usually not given to young women in dominant patriarchal societies, nowadays it has been made possible by the increasing presence of conventions of the romance genre in science fiction, and its subgenre, dystopian fiction. The combination of the conventions of both genres results in a change of subject matter of dystopian fiction, but also a change in the intended audience. This is because both genres have a different focus as well, as the focus of science fiction is scientific and technical developments and societal problems, whereas the focus of romance fiction is romantic behaviour, emotions, and relationships. The increasing popularity of contemporary young adult dystopian fiction shows that adolescents are ready for a change. My thesis will analyse the portrayal of female characters in a popular Young Adult dystopian fiction series, namely Suzanne Collins’ The Hunger Games (2008-2010), and it will examine how the genres of science fiction and romance have merged together, and what the consequences have been. To ensure a thorough analysis that is supported by relevant and substantiating theories, the thesis is divided into two parts. The first part contains thorough analyses of the romance genre, the science fiction genre, and the latter’s subgenre dystopian fiction. The focus is on these genres, for the reason that the text in question, The Hunger Games, fuses these genres, and one of the objectives of this thesis is to place Young Adult dystopian fiction between the two seemingly conflicting genres, in order to show that these two genres have combined their characteristics. By examining these genres individually, I shall eventually demonstrate to what extent these genres merged together, and what the consequences have been in terms of role division and the distribution of power between the male and female characters. The second part of my thesis explores the portrayal of female characters in Suzanne Collins’ The Hunger Games, to research the extent to which certain characteristics of the romance genre and the strong female characters have invaded the science fiction and dystopian genre, and what the effects have been in this particular series. In other words, the second part will demonstrate how romance in The Hunger Games has resulted in the creation of a strong female character, Katniss Everdeen, who exerts agency and who is able to use her femininity in order to rebel against and change the government of Panem. This part consists of three chapters, all of which contain an analysis of one book of the trilogy. The three analyses will show how the female protagonist in the series has obtained agency by embracing her own femininity, which has been made possible by the addition of important characteristics of the romance genre, and how this change in agency, created by the combination of the two genres, enables her to fight against and bring down the totalitarian government, and create a better place for all Panem’s citizens.Show less
One thing that stands out when looking at Alfred Hitchcock's films is the director's interest in domestic space. By looking at the 'Hitchcock House' from top to bottom, from outside to inside, this...Show moreOne thing that stands out when looking at Alfred Hitchcock's films is the director's interest in domestic space. By looking at the 'Hitchcock House' from top to bottom, from outside to inside, this thesis argues that domestic architecture in Hitchcock's films has a symbolic function. Influenced by Victorian literature and German Expressionism, Hitchcock's 'topography' is characterized by houses whose architectural style, rooms and elements reflect the narrative and the protagonists' characters. In addition, Hitchcock's houses at times become characters in their own right, trapping and wounding their inhabitants. Besides that Hitchcock attributes a symbolic meaning to his domestic sets, he also uses them to play with the private/public contrast, one of the most important conventions of social space.Show less
Compared to the protagonist of the classic Who series, since 2005 the Doctor has darkened considerably. This finding of moral complexity in the character best shows itself in ambiguities in the way...Show moreCompared to the protagonist of the classic Who series, since 2005 the Doctor has darkened considerably. This finding of moral complexity in the character best shows itself in ambiguities in the way in which the Doctor addresses and discusses (with 'laymen' in the show, such as his companions, or passers-by who somehow get involved) the show’s monsters and villains, and himself.Show less
