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You searched for subject:(Brian Evenson). Showing records 1 – 3 of 3 total matches.

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Leiden University

1. Wagner, Isabelle. Brian Evenson: A movement from a position of faith to a position of unbelief.

Degree: 2016, Leiden University

This thesis aims to document how the development of faith can be seen in the literary work of a person, who moved from belief and participation in a certain religion to skepticism and excommunication. In what follows the focus will be on Brian Evenson, author of Horror and Science Fiction, who was an active member of the Church of Latter Day Saints until he asked for his excommunication in 2000 in order to pursuit his art. Evenson’s literary output ranges over a time when he was faithful, holding a church office as a lay bishop and working for the Mormon Brigham Young University until the present day where he is very critical towards specific aspects of the LDS church and of the concept of religion in general. Brian Evenson has published 15 works of fiction in the genre of Horror and Science Fiction, thereby providing a big body of work to concider. The work of Evenson will be divided into three different parts, to better track his development; the writing published before his decision to leave the LDS church, the book that was written alongside Evenson’s choice to be excommunicated and everything written thereafter. In the pursuit of the question, how Evenson’s position to his religion and faith is displayed in all his writing a very particular focus is placed. His conflict with the church and his struggle with faith can be traced through specific reoccurring topoi in his stories and the themes, which dominate his writing. Further Evenson has repeatedly discussed how his personal life influences his writing in interviews, essays and epilogs of his books; thereby allowing to draw a connection between his religious development and writing. Advisors/Committee Members: van der Wall, E.G.E. prof. dr (advisor).

Subjects/Keywords: Horror Literature; Mormon; Brian Evenson; American Literature

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APA (6th Edition):

Wagner, I. (2016). Brian Evenson: A movement from a position of faith to a position of unbelief. (Masters Thesis). Leiden University. Retrieved from http://hdl.handle.net/1887/41851

Chicago Manual of Style (16th Edition):

Wagner, Isabelle. “Brian Evenson: A movement from a position of faith to a position of unbelief.” 2016. Masters Thesis, Leiden University. Accessed September 24, 2020. http://hdl.handle.net/1887/41851.

MLA Handbook (7th Edition):

Wagner, Isabelle. “Brian Evenson: A movement from a position of faith to a position of unbelief.” 2016. Web. 24 Sep 2020.

Vancouver:

Wagner I. Brian Evenson: A movement from a position of faith to a position of unbelief. [Internet] [Masters thesis]. Leiden University; 2016. [cited 2020 Sep 24]. Available from: http://hdl.handle.net/1887/41851.

Council of Science Editors:

Wagner I. Brian Evenson: A movement from a position of faith to a position of unbelief. [Masters Thesis]. Leiden University; 2016. Available from: http://hdl.handle.net/1887/41851

2. Bougerol, Maud. Esthétique de la réserve dans l'œuvre de Brian Evenson : Aesthetics of reticence in Brian Evenson's work.

Degree: Docteur es, Langues et litteratures etrangeres, 2018, Normandie

Ce travail de thèse a pour objectif d’étudier l’une des modalités particulières de la réception de l’œuvre de Brian Evenson : la réserve. A la lecture de l’œuvre de Brian Evenson, des béances apparaissent, signes d’un évidement d’une partie du texte antérieur au début du récit. Le lecteur fait alors l’expérience du manque. En quête d’un tout qui serait à reconstituer, ainsi que d’une unité rassurante et pourtant si illusoire, le lecteur entreprend de tenter de combler les creux du texte grâce à son imagination. Il produit des interprétations, mais celles-ci reposent sur des univers qui apparaissent comme déréférencés, et dont les points de repère s’effacent. Il fait ainsi une expérience de lecture de l’incertitude, tant les univers présentés par le texte sont instables, criblés d’anomalies linguistiques. Ses interprétations sont aussi source d’équivoque, mettant ainsi en échec de manière permanente toutes ses tentatives de résolution. Or, ces trébuchements successifs sont aussi facteurs de l’expression d’une prolifération interprétative qui fait retentir celle, diégétique et linguistique, qui est à l’origine des ambiguïtés du texte. Ainsi, l’échec des tentatives du lecteur de suppléer au manque donnent lieu à un deuxième temps de l’expérience de lecture, au sein de laquelle il est invité à faire résonner, dans la chambre d’écho que constituent l’œuvre, toutes les potentialités du texte. Le lecteur produit ainsi, au moyen de son imagination, une forme d’excès au texte qui vient suppléer, par substitution, celui qui ne s’écrit plus qu’en creux des espaces blancs. La prolifération langagière et le jaillissement perpétuel du sens que ce nouvel excès autorise assurent une expérience de lecture du foisonnement qui se superpose à celle, initiale, de la perte.

This dissertation focuses on one of the more singular modes of reception in Brian Evenson’s body of work: reticence. While reading Brian Evenson’s works, the reader is made aware of gaps, that seem to point to the existence of a missing part of the text, hollowed out from the narrative before it has even started. The reader then experiences a form of deficiency that he identifies in the text as coming from what is missing. As he tries to reconstruct the text and to make it whole once again, as illusory as that concept might be, the reader attemps to fills the gaps through the workings of his imagination. He then produces interpretations, but those rest on constructed worlds that see their rare landmarks being gradually erased. His reading experience is imbued with uncertainty, mainly because the worlds the stories are set in are unstable and populated with linguistic anomalies. Moreover, his interpretations generate more uncertainty, thus thwarting his attempts to resolve the ambiguities of the text permanently. However, while stumbling on the elusive meaning and the prevailing ambivalence, he discovers that the proliferation of his interpretations brings forth that of the narrative and linguistic proliferation at the root of the many ambiguities of the text. Thus,…

Advisors/Committee Members: Tissut, Anne-Laure (thesis director).

Subjects/Keywords: Brian Evenson; Littérature contemporaine américaine; Réception; Postmodernisme; Prolifération; Expérience de lecture; Réserve; Manque; Ambiguïté; Brian Evenson; Contemporary american literature; Reception; Postmodernism; Proliferation; Reading experience; Reticence; Deficiency; Uncertainty; 813

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APA (6th Edition):

Bougerol, M. (2018). Esthétique de la réserve dans l'œuvre de Brian Evenson : Aesthetics of reticence in Brian Evenson's work. (Doctoral Dissertation). Normandie. Retrieved from http://www.theses.fr/2018NORMR096

Chicago Manual of Style (16th Edition):

Bougerol, Maud. “Esthétique de la réserve dans l'œuvre de Brian Evenson : Aesthetics of reticence in Brian Evenson's work.” 2018. Doctoral Dissertation, Normandie. Accessed September 24, 2020. http://www.theses.fr/2018NORMR096.

MLA Handbook (7th Edition):

Bougerol, Maud. “Esthétique de la réserve dans l'œuvre de Brian Evenson : Aesthetics of reticence in Brian Evenson's work.” 2018. Web. 24 Sep 2020.

Vancouver:

Bougerol M. Esthétique de la réserve dans l'œuvre de Brian Evenson : Aesthetics of reticence in Brian Evenson's work. [Internet] [Doctoral dissertation]. Normandie; 2018. [cited 2020 Sep 24]. Available from: http://www.theses.fr/2018NORMR096.

Council of Science Editors:

Bougerol M. Esthétique de la réserve dans l'œuvre de Brian Evenson : Aesthetics of reticence in Brian Evenson's work. [Doctoral Dissertation]. Normandie; 2018. Available from: http://www.theses.fr/2018NORMR096


Brigham Young University

3. Gunter, James Christiansen. The Rhetoric of Violence.

Degree: MA, 2008, Brigham Young University

This thesis seeks to understand how we read and understand the use of depictions of violence by examining its rhetorical presentation. Although the media gives us a mixed understanding of the way that experiencing violence secondarily (that is, through all types of media) affects us, scholarship in this area has proved clear connections between viewing/experiencing depictions of violence and raised levels of aggression. On the other hand, there is a clear difference between gratuitous depictions of violence and socially useful depictions of violence (i.e., the difference between a slasher movie and a holocaust movie) that that area of scholarship does not expressly take into account. I argue that the language of trauma studies has the ability to evaluate the impact of violent texts on audiences and that Kenneth Burke's Dramatistic Pentad has the ability the examine depictions of violence to uncover explicit and hidden ideologies that affect the presentation of the violence and, thus, our reception and interpretation of that violence. Working in conjunction, these two theories can help audience's understand depictions of violence on an ideological level and help them to assess the violence's potential traumatic impact on themselves and others within certain contexts. To demonstrate this theory of understanding violence, I make two short analyses of Native Son and The Lovely Bones and demonstrate an in-depth analysis of Fight Club and Blood Meridian in order to give an example of the type of reading I am advocating and its potential for understanding and interpreting depictions of violence in ways that uncover both social benefit and harm. In the end, I hope that this theory of reading violence might extend beyond the sample readings I have done and into other types of media, so that we can all understand the ways that violence is used rhetorically for social and political purposes and be able to both use it and interpret it responsibly.

Subjects/Keywords: Kenneth Burke; Wayne Booth; Rhetoric; Violence; Rhetorical analysis; Rene Girard; Freud; Cathy Caruth; Dominick LaCapra; Dominick La Capra; Susan Brison; Cormac McCarthy; Chuck Palahniuk; Richard Wright; Alice Sebold; Flannery O'Connor; Brian Evenson; Blood Meridian; Fight Club; Native Son; The Lovely Bones; Altmann's Tongue; interpretation; English Language and Literature

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Gunter, J. C. (2008). The Rhetoric of Violence. (Masters Thesis). Brigham Young University. Retrieved from https://scholarsarchive.byu.edu/cgi/viewcontent.cgi?article=2466&context=etd

Chicago Manual of Style (16th Edition):

Gunter, James Christiansen. “The Rhetoric of Violence.” 2008. Masters Thesis, Brigham Young University. Accessed September 24, 2020. https://scholarsarchive.byu.edu/cgi/viewcontent.cgi?article=2466&context=etd.

MLA Handbook (7th Edition):

Gunter, James Christiansen. “The Rhetoric of Violence.” 2008. Web. 24 Sep 2020.

Vancouver:

Gunter JC. The Rhetoric of Violence. [Internet] [Masters thesis]. Brigham Young University; 2008. [cited 2020 Sep 24]. Available from: https://scholarsarchive.byu.edu/cgi/viewcontent.cgi?article=2466&context=etd.

Council of Science Editors:

Gunter JC. The Rhetoric of Violence. [Masters Thesis]. Brigham Young University; 2008. Available from: https://scholarsarchive.byu.edu/cgi/viewcontent.cgi?article=2466&context=etd

.