Postcolonial theory teaches us that the Empire was as much a textual as a physical undertaking: the Empire was (and is) experienced through its texts. Anthony Trollope was an enthusiastic traveller and helped to "write the Empire" in both his travel narratives and in his novels. This study examines his travel narrative South Africa, and explores how the colony is depicted in this work and in Trollope's "colonial" novels: Harry Heathcote of Gangoil, John Caldigate, An Old Man's Love and The Fixed Period. Trollope's colonies are places of moral danger where the value systems instilled by English society provide the only means for overcoming the corrupting influences of the colonial space. He writes the colonies as images of Britain, but these images are never true reflections of the homeland: there is always an element of distortion present, which serves to subvert the "Englishness" of his colonial landscapes. / English Studies / MA (ENGLISH)

No romance O Deus das Pequenas Coisas (1997) de Arundhati Roy, as transgressões são atitudes que se configuram como abundantes na narrativa, sendo realizadas em sua maioria pelos personagens marginalizados. A fim de obter uma compreensão mais profunda das razões que impulsionam tanto a narrativa quanto os personagens a cometer estas infrações, elas foram divididas em três níveis neste trabalho: pós-colonial, sociopolítico e afetivo. São aqui analisadas as transgressões dos personagens Velutha, Ammu, Estha, Rahel e Sophie. Os níveis das transgressões, suas motivações e os conceitos de trauma individual e cultural são colocados em contraponto para aprofundar a análise da narrativa do romance. No nível pós- colonial, são empregados conceitos de Panikkar (1969), Festino (2007), Forter (2014) e Outka (2011), enquanto Sztompka (2000, 2004), Alexander (2000) e Joseph (2010) permeiam o nível sociopolítico, finalizando o nível afetivo com Caruth (1995), Bose (1998) e Almeida (2002). A hipótese deste trabalho é de que Roy foca nas transgressões para, em primeiro lugar, criticar determinados elementos da sociedade indiana, e para provocar reações em seus leitores. Esta é sustentada através da citação de seus ensaios e discursos na análise do romance. / In The God of Small Things (1997), from Arundhati Roy, the transgressions are substantial throughout the narrative, as the majority of them are performed by marginalized characters. In order to comprehend more deeply the reasons which propel the narrative and the characters to such violations, they were divided into three levels in this work: post-colonial, socio-political and affective. The transgressions analyzed here are the ones performed by the characters Velutha, Ammu, Estha, Rahel and Sophie. The levels of the transgressions, their motivations and the concepts of individual and cultural trauma are all correlated so that the intentions of the narrative are elucidated. In the post-colonial level, the concepts of Panikkar (1969), Festino (2007), Forter (2014) and Outka (2011) are applied, whereas Sztompka (2000, 2004), Alexander (2000) and Joseph (2010) are used for the socio-political level; the affective level is observed with notions from Caruth (1995), Bose (1998) and Almeida (2002). The hypothesis of this work is that Roy focuses on the transgressions of minor characters not only to criticize particular elements from the Indian society but also to trigger the reaction of the readers. This is supported by her essays and speeches quoted along the analysis of the novel.

No romance O Deus das Pequenas Coisas (1997) de Arundhati Roy, as transgressões são atitudes que se configuram como abundantes na narrativa, sendo realizadas em sua maioria pelos personagens marginalizados. A fim de obter uma compreensão mais profunda das razões que impulsionam tanto a narrativa quanto os personagens a cometer estas infrações, elas foram divididas em três níveis neste trabalho: pós-colonial, sociopolítico e afetivo. São aqui analisadas as transgressões dos personagens Velutha, Ammu, Estha, Rahel e Sophie. Os níveis das transgressões, suas motivações e os conceitos de trauma individual e cultural são colocados em contraponto para aprofundar a análise da narrativa do romance. No nível pós- colonial, são empregados conceitos de Panikkar (1969), Festino (2007), Forter (2014) e Outka (2011), enquanto Sztompka (2000, 2004), Alexander (2000) e Joseph (2010) permeiam o nível sociopolítico, finalizando o nível afetivo com Caruth (1995), Bose (1998) e Almeida (2002). A hipótese deste trabalho é de que Roy foca nas transgressões para, em primeiro lugar, criticar determinados elementos da sociedade indiana, e para provocar reações em seus leitores. Esta é sustentada através da citação de seus ensaios e discursos na análise do romance. / In The God of Small Things (1997), from Arundhati Roy, the transgressions are substantial throughout the narrative, as the majority of them are performed by marginalized characters. In order to comprehend more deeply the reasons which propel the narrative and the characters to such violations, they were divided into three levels in this work: post-colonial, socio-political and affective. The transgressions analyzed here are the ones performed by the characters Velutha, Ammu, Estha, Rahel and Sophie. The levels of the transgressions, their motivations and the concepts of individual and cultural trauma are all correlated so that the intentions of the narrative are elucidated. In the post-colonial level, the concepts of Panikkar (1969), Festino (2007), Forter (2014) and Outka (2011) are applied, whereas Sztompka (2000, 2004), Alexander (2000) and Joseph (2010) are used for the socio-political level; the affective level is observed with notions from Caruth (1995), Bose (1998) and Almeida (2002). The hypothesis of this work is that Roy focuses on the transgressions of minor characters not only to criticize particular elements from the Indian society but also to trigger the reaction of the readers. This is supported by her essays and speeches quoted along the analysis of the novel.

Postcolonial theory teaches us that the Empire was as much a textual as a physical undertaking: the Empire was (and is) experienced through its texts. Anthony Trollope was an enthusiastic traveller and helped to "write the Empire" in both his travel narratives and in his novels. This study examines his travel narrative South Africa, and explores how the colony is depicted in this work and in Trollope's "colonial" novels: Harry Heathcote of Gangoil, John Caldigate, An Old Man's Love and The Fixed Period. Trollope's colonies are places of moral danger where the value systems instilled by English society provide the only means for overcoming the corrupting influences of the colonial space. He writes the colonies as images of Britain, but these images are never true reflections of the homeland: there is always an element of distortion present, which serves to subvert the "Englishness" of his colonial landscapes. / English Studies / MA (ENGLISH)