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Display: 20

    • Page 35

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    • • Curriculum Change submissions at the University Level are accepted throughout the year. The committees meet regularly (bimonthly) during the first two months of the school year (September & October). Following that time both the Graduate and...
    • Page 52

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    • “WE SPARED NO EXPENSE” 52 Conclusion In the convergence of the themes about technology and the narratives about class, it is possible to arrive at a few conclusions about the role of the Jurassic Park franchise as a Marxist text. Each character...
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    • “WE SPARED NO EXPENSE” 43 scientific process Hammond is. Essentially, that the park is always destined to fail because Hammond does not understand the production. Jurassic World (2015). There is at least one line in Jurassic World that encapsulates...
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    • “WE SPARED NO EXPENSE” 30 Analysis of Themes and Context Analysis of the chosen artifacts yielded four separate themes that were consistent across each text. While each individual text likely had themes that were unique to that narrative, I chose...
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    • “WE SPARED NO EXPENSE” 29 example, Hammond, founder of the park, would take a big business perspective toward the technology, while the scientists at the park may be driven in different directions by both. Finally, as a popular science fiction...
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    • “WE SPARED NO EXPENSE” 26 Marxist analysis in literature available), and it is therefor reasonable to expand this quality to dialogue (Eagleton, 1976). Narrative dialogue, therefore, must be treated as such. This method of rhetorical analysis also...
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    • “WE SPARED NO EXPENSE” 25 see whether or not the original message is preserved through each iteration, or whether that message is altered to suit each new medium and each new rhetorical situation. In order to best examine message content in the...
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    • “WE SPARED NO EXPENSE” 23 Method Jurassic Park as an Artifact In response to the posed research question, I will analyze a selection of three artifacts from the franchise: the first Jurassic Park novel, the first Jurassic Park film adaptation, and...
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    • “WE SPARED NO EXPENSE” 16 justification of Marxist analysis, Marx describes the relationship between base and superstructure as mutually influential, that each element exerts some influence on the other. So, cultural artifacts, for example, have...
    • Page 93

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    • “Do not make up other options that are not listed.” By employing stronger wording the user understands that it is not optional. As previously stated Southern Utah University does not have a positive reputation for the coherence and correctness of...
    • Page 53

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    • you do not like it, you do not eat. He also said that because we are doing a neat menu that includes local greens, cheese and honeys, the members would love it if the chef came out after the meal to meet everyone and tell them where he sourced...
    • Page 184

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    • years before and was located in the Knell Bldg. Many of the same people were involved in both the bank and the hlercantile. The bank needed a new building, so they built across the street on the corner, 75 north main, and occupied the southeast...
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    • xi Marshall Plan Foundation and Southern Utah University; Mag. Elke Greindl for her advice, cultural insight, effective classroom instruction, and friendly nature; and fellow students Rebecca Nielsen for her efforts conceptualizing the research...
    • Page 9

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    • x ACKNOWLEDGEMENTS While my name appears as the sole researcher and author of this study, it would not have been possible without the continual support of many people. At some point I hope to be able to repay them for their help, but for now it is...
    • Page 9

    • Writing--Technique; Fiction--Technique
    • Writing the Great American Novel 9 K.M. Weiland in her book Outlining your Novel takes the writer step by step through the outlining process. In Chapter One, she answers the questions of should you outline, what are the benefits of outlining, then...
    • Page 53

    • Writing--Technique; Fiction--Technique
    • Writing the Great American Novel 53 Appendix Three Your Suspense Toolbox Macro Suspense Suspense is what is going to happen next to your lead character and does it mean death to the hero. Each scene must end with suspense to keep the reader turning...
    • Page 29

    • Writing--Technique; Fiction--Technique
    • Writing the Great American Novel 29 There are two rules for Box 4. Hero needs to be heroic—no one else can resolve the story or the author has failed the reader. Hero can perish, but must resolve the major elements of the story before he does Slide...

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