This project seeks to give Stephen King and Pet Sematary full consideration through applying a multi-faceted ecocritical approach to a novel so clearly founded on the relationship between the land and its inhabitants. Through my analysis of the environment’s role in Pet Sematary, I will engage with important questions asked by both Historical and New Materialists in order to examine as completely as possible the relationship between Indigenous peoples and colonist conceptions of property, land use, and nonhuman agency present in the pages. Study of this sort engages in a critique of settler colonial ideals through a thorough examination of one of popular culture’s most successful and apparently errant offenders of intentional appropriation of Indigenous belief. Ultimately, this project seeks to reclaim not only Pet Sematary or King’s oeuvre, but the horror genre more broadly. Given the genre’s affordances for critiquing material histories, this project asserts horror’s utility for the development of new understandings of old fears and particularly as a means of asserting nonhuman agency. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

Le présent mémoire se veut une étude d'un genre littéraire peu connu à ce jour, soit le genre particularisé par Stephen King et qui lui est unique. Nous croyons en effet juste d'écrire qu'il s'agit de « son » genre, puisqu'il est le chef de file d'une utilisation subversive des genres littéraires fantastique, gothique et gore. Tous les critiques le diront, l'écriture de King se reconnaît aisément grâce à un style narratif singulier, à un sens du suspens inégalé et à un humour noir et caustique littéralement impitoyable. Nous avons décidé de bâtir notre recherche sur ces fondations, mais en nous penchant plus particulièrement sur l'utilisation que fait l'auteur américain des trois genres littéraires nommés ci-haut. En effet, plutôt que de faire appel à un genre en particulier, King utilise les trois genres simultanément, tout particulièrement dans le roman The Shining, et nous pensons que cette hybridation générique permet un éclatement de la structure morale de l'oeuvre, qui l'accompagne d'une critique parfois acerbe de la société américaine. En outre, nous verrons que le manichéisme commun aux récits d'horreur est revu et repensé dans les textes de King, ce qui permet à l'auteur de remettre en cause la victoire indéfectible et toujours plus ou moins prévisible, dans les romans noirs, du Bien dans sa grande guerre contre le Mal. Nous avons divisé ce mémoire en trois chapitres distincts, le premier étant voué à une revue des connaissances concernant les trois genres littéraires étudiés, et les deuxième et troisième aux analyses proprement dites des romans Salem 's Lot, Carrie et The Shining. Parallèlement à l'étude de Salem 's Lot, nous proposons une analyse du roman Dracula de Bram Stoker. Nous croyons cette analyse pertinente puisque Stephen King a écrit son deuxième roman en hommage au texte de l'auteur irlandais. L'utilisation du genre gothique est commune aux deux auteurs, mais la critique sociale présente dans les deux romans semble diamétralement opposée. Nous avons décidé de découvrir en quoi le vampire de Stoker est si différent de celui de King et pourquoi ce qu'ils représentent métaphoriquement est si divergent. Notre analyse de Carrie et de The Shining approfondira la notion d'hybridation générique et nous amènera à conclure que l'utilisation simultanée de plusieurs genres littéraires donne la possibilité à l'auteur d'inclure dans le sous-texte de ses oeuvres les plus achevées une critique sociale beaucoup plus subtile que ne lui permet l'utilisation d'un seul genre, comme c'est le cas dans Salem 's Lot. Tout au long du mémoire, nous nous attarderons aussi sur le type de peur que crée chacun des genres comme effet de lecture: la terreur pour le fantastique, l'horreur pour le gothique et la répulsion pour le gore. Nous décrirons ces trois registres de peur dans le premier chapitre et nous verrons que c'est la terreur qui permet la meilleure réflexion sur l'objet de la peur et que c'est pourquoi le roman The Shining est sans contredit le plus effrayant, sur le plan de la critique sociale, des trois romans de Stephen King à l'étude dans ce mémoire. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Genres littéraires, Hybridation générique, Stephen King, Fantastique, Gothique, Terreur, Société américaine.

Indiana University-Purdue University Indianapolis (IUPUI) / Beginning as a collection of short stories published in The Magazine of Fantasy & Science Fiction in 1978 and novelized in 1982, The Gunslinger is the first novel in Stephen King’s Dark Tower series. This thesis explores the textual journey of the novel that serves as the foundation for a series that has left its mark throughout King’s broader fictional canon. After finishing the final three novels of the series, King revised The Gunslinger to bring it closer to the narrative essence of the series’ subsequent novels. Collation of all three versions of the text—the serialized Fantasy & Science Fiction stories, the 1982 novelization and the 2003 revised and expanded version—reveals a sometimes overlapping pattern of revisions to the novel. These revisions concentrate on character, the novel’s cosmological framework, and languages and dialects King uses later in the series. The impact of these revisions extends beyond the plot elements of the series itself, as a number of King’s most popular novels—The Stand, ’Salem’s Lot, and It among them—have plot arcs that bend toward the Dark Tower mythos. King returned to the novel’s three main characters—Roland, Jake, and the man in black—to refine their actions and clarify their motivations. This also gave him the opportunity to provide the reader with more of their interwoven histories, a strategy that established the background for the role each character plays later in the series. In addition to introducing details about the main characters of the series, King enhances and redefines the world of The Gunslinger; the revisions reveal connections both within and outside of the Dark Tower multiverse. King also uses revision to introduce a variety of languages and dialects Roland encounters on his journey through an endless path of worlds. Finally, the textual evolution of The Gunslinger documents King’s development of a theme central to his entire canon: the multifaceted theme of salvation and sacrifice. In controlling the evolution of the Dark Tower series, particularly with his return to revise The Gunslinger, Stephen King shows that he is capable of maintaining a complex saga with a great degree of literary vision and craftsmanship.

Dissertação (mestrado)—Universidade de Brasília, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2016. / Submitted by Camila Duarte (camiladias@bce.unb.br) on 2016-07-28T15:37:43Z No. of bitstreams: 1 2016_NatháliaLouiseCorvelloFilgueiras.pdf: 1396952 bytes, checksum: 5de42e0e378d3e927ce9457828fede9d (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-08-23T18:01:10Z (GMT) No. of bitstreams: 1 2016_NatháliaLouiseCorvelloFilgueiras.pdf: 1396952 bytes, checksum: 5de42e0e378d3e927ce9457828fede9d (MD5) / Made available in DSpace on 2016-08-23T18:01:10Z (GMT). No. of bitstreams: 1 2016_NatháliaLouiseCorvelloFilgueiras.pdf: 1396952 bytes, checksum: 5de42e0e378d3e927ce9457828fede9d (MD5) / O romance The Shining, de Stephen King, retrata os acontecimentos insólitos vividos pela família Torrance num hotel isolado nas montanhas do Colorado, EUA. A história de horror logo conquistou o público e tornou-se um bestseller, em especial após a adaptação para o cinema, com direção de Stanley Kubrick. Traduzida para o português brasileiro no mesmo ano de sua publicação nos Estados Unidos, a obra literária ganhou novas edições no Brasil desde então, embora mantendo a primeira tradução (Albuquerque, 1977) praticamente inalterada. Uma das características literárias The Shining é a presença de marcas de oralidade – um recurso literário que pretende simular a língua falada na escrita –, o que lhe confere um tom de informalidade e traz nuanças relacionadas à origem e faixa etária dos personagens, por exemplo. Todavia, as marcas de oralidade foram omitidas na tradução brasileira. Tal fato não constitui, por si só, uma desvantagem do texto traduzido em relação ao texto de partida, mas apresenta um leque de possibilidades que poderiam explicar a escolha pelo apagamento das marcas. Entre essas possibilidades, estão, por exemplo, as normas da editora, que desaconselhariam a utilização de um registro informal, talvez para se adequar às práticas do sistema literário em que a tradução se insere. Neste trabalho, investigarei os motivos que explicam as escolhas tradutórias de Albuquerque e as consequências sofridas na tradução por uma estratégia de neutralizar a oralidade na narrativa. Além disso, analisarei as mudanças relativas à oralidade feitas em uma revisão feita décadas após a primeira publicação da tradução e realizarei uma comparação crítica entre a tradução publicada e uma proposta de tradução realizada por alunas de graduação da Universidade de Brasília, com o objetivo de representar traços da língua falada em português brasileiro, identificando as vantagens e desvantagens referentes à tentativa de tradução de tal recurso literário. _________________________________________________________________________________________________ ABSTRACT / The novel The Shining by Stephen King, portrays the unusual events experienced by the Torrance family in a secluded hotel in the mountains of Colorado, USA. The horror story soon conquered the public and became a bestseller, especially after the film adaptation, directed by Stanley Kubrick. Translated to Brazilian Portuguese in the same year it was published in the United States, the literary work gained new editions in Brazil since then, while maintaining the first translation (ALBUQUERQUE, 1977) virtually unchanged for many years. One of the literary features The Shining is the presence of orality marks - a literary resource which simulates the spoken language in writing - which gives narrative an informal tone and brings nuances regarding the origin and age of the characters, for example. However, orality marks have been omitted in the Brazilian translation. This fact is not, by itself, a disadvantage of the translated text in relation to the original text, but offers a range of possibilities that could explain the choice of omitting such a literary resource. Among these possibilities are, for example, the rules of the publisher, which may recommend the use of an informal register, perhaps to suit the literary system of practices in which the translation is inserted. In this work, I will investigate the reasons that explain the translational choices of Albuquerque and the consequences suffered in translation by a strategy which neutralizes the orality in the narrative. Also, I examine the changes regarding orality made in the translation reviewed decades after its first publication, and I work a critical comparison between the published translation and a proposal of translation written by undergraduate students at the University of Brasilia, in order to represent features of spoken language in Brazilian Portuguese, identifying the advantages and disadvantages of such translation.

Orientador : Prof. Dr. Marcelo de Paiva de Souza / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 29/09/2016 / Inclui referências : f. 139-141 / Resumo: The present work reports on the results of experimental investigations about the structural and the electrical properties of bismuth (Bi) and manganese (Mn) compound films with different relative atomic content, grown by thermal evaporation on glass substrates. The structural analysis comprised profilometry, X-ray diffraction (XRD), Raman scattering, scanning electron microscopy (SEM) and energy dispersive X-ray spectroscopy (EDS), and the analysis of the electrical properties comprised the obtainment of voltage versus current (VxI) curves with the variation of the temperatures. The structural analysis revealed that the films have granular structure, where the grain shape varied from polyhedral form on the absence of Mn to a smoothed surface irregular shape as Mn was added. All samples showed X-ray diffraction peaks associated to phases of Bi and Bi oxides, and the samples with Mn revealed some crystalline phases containing Bi and its oxides. The film of pure Mn revealed only an amorphous phase. Chemical analysis by EDS showed the presence of significant amount of unintentional C and O elements, the first of them not chemically associated to elements Bi or Mn. IxV curves traced for Bi - Mn films on the four-point planar architecture revealer ohmic character. From the resistivity curves as a function of the temperature the activation energies were obtained. The IxV curves revealed an unexpected nonzero offset (parallel displacement along the voltage axis) apparently not associated to either photoelectric, thermoelectric, magnetoelectrics effects, or even experimental artifacts. It was investigated the electrical behavior of a Bi film along the transversal geometry. Two of such devices presented a slight non-linearity at room temperatures, which gradually increased with the reduction down to 20 K. Two other devices presented a sudden jump on the non-linearity in the temperature window of about 80 - 90 K, and below that, the behavior the variation pursued slowly. This non-linearity is assigned by us to the effect of potential barriers formed at the microscopic level granulations throughout which the flow of electric current occurs via tunneling. At present moment it is not envisaged the nature of the mechanism that governs the sudden increase of the non-linearity. / Abstract: The present work reports on the results of experimental investigations about the structural and the electrical properties of bismuth (Bi) and manganese (Mn) compound films with different relative atomic content, grown by thermal evaporation on glass substrates. The structural analysis comprised profilometry, X-ray diffraction (XRD), Raman scattering, scanning electron microscopy (SEM) and energy dispersive X-ray spectroscopy (EDS), and the analysis of the electrical properties comprised the obtainment of voltage versus current (VxI) curves with the variation of the temperatures. The structural analysis revealed that the films have granular structure, where the grain shape varied from polyhedral form on the absence of Mn to a smoothed surface irregular shape as Mn was added. All samples showed X-ray diffraction peaks associated to phases of Bi and Bi oxides, and the samples with Mn revealed some crystalline phases containing Bi and its oxides. The film of pure Mn revealed only an amorphous phase. Chemical analysis by EDS showed the presence of significant amount of unintentional C and O elements, the first of them not chemically associated to elements Bi or Mn. IxV curves traced for Bi - Mn films on the four-point planar architecture revealer ohmic character. From the resistivity curves as a function of the temperature the activation energies were obtained. The IxV curves revealed an unexpected nonzero offset (parallel displacement along the voltage axis) apparently not associated to either photoelectric, thermoelectric, magnetoelectrics effects, or even experimental artifacts. It was investigated the electrical behavior of a Bi film along the transversal geometry. Two of such devices presented a slight non-linearity at room temperatures, which gradually increased with the reduction down to 20 K. Two other devices presented a sudden jump on the non-linearity in the temperature window of about 80 - 90 K, and below that, the behavior the variation pursued slowly. This non-linearity is assigned by us to the effect of potential barriers formed at the microscopic level granulations throughout which the flow of electric current occurs via tunneling. At present moment it is not envisaged the nature of the mechanism that governs the sudden increase of the non-linearity.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2011. / Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2015-01-23T14:25:26Z No. of bitstreams: 1 2011_SergioRibeiroKneipp.pdf: 908123 bytes, checksum: 0e41fa9cea701a8fa46e6a137ba0ec79 (MD5) / Approved for entry into archive by Ruthléa Nascimento(ruthleanascimento@bce.unb.br) on 2015-02-12T16:46:33Z (GMT) No. of bitstreams: 1 2011_SergioRibeiroKneipp.pdf: 908123 bytes, checksum: 0e41fa9cea701a8fa46e6a137ba0ec79 (MD5) / Made available in DSpace on 2015-02-12T16:46:33Z (GMT). No. of bitstreams: 1 2011_SergioRibeiroKneipp.pdf: 908123 bytes, checksum: 0e41fa9cea701a8fa46e6a137ba0ec79 (MD5) / Há um senso comum na academia ao afirmar que o cinema é influenciado pela literatura. Porém esta influencia não acontece apenas no mundo cinematográfico alguns estudos vão ainda mais longe e localiza o germe dessa influência em períodos anteriores à própria invenção do cinema, da fotografia e até da escrita. Com avanço da tecnologia e o crescimento da indústria cinematográfica este ambiente ganhou uma linguagem própria, com isso passou a observar um fenômeno inverso, a literatura sofrendo influencia da linguagem cinematográfica. A meta deste trabalho é a de identificar elementos que seriam, em tese, originários da própria linguagem cinematográfica e que hoje se encontrariam incorporados na moderna literatura. O objeto de estudo utilizado neste trabalho foi o livro O Iluminado de Stephen King.

Cette étude s'intéresse à la façon dont la fiction d'horreur arrive à provoquer chez ses lecteurs des réactions psychosomatiques de dégoût et de peur. Nous avons l'intention d'aborder ce genre à travers une approche centrée à la fois sur le texte et sur les procédés affectifs inhérents au processus de la réception, afin d'étudier la manière dont le récit d'horreur sollicite l'investissement émotionnel du lecteur. En prenant appui sur les stratégies narratives à l'œuvre dans la fiction de Brian Evenson, d'H. P. Lovecraft et de Stephen King, nous tenterons de circonscrire un certain nombre d'éléments textuels influençant la réception affective de ces textes et participant à l'émergence des effets de peur ; notre hypothèse étant que le roman d'horreur a recours à deux esthétiques visant différents effets sur la réception, soit une horreur corporelle et une horreur cognitive. Alors que la première vise à susciter des réactions physiques d'abjection chez le lecteur, la seconde s'attache davantage à créer de l'angoisse et de la terreur. Le dégoût ou le malaise ainsi suscités deviennent une caractéristique qui participe à la définition des sous-catégories du genre. Ces classifications ne sont toutefois pas étanches, puisqu'elles peuvent se combiner dans un même récit. Nous nous demanderons comment ces deux esthétiques se situent par rapport à un objectif commun, celui de générer des émotions et des sensations chez le lecteur, et aux moyens de quelles composantes formelles elles tentent d'y parvenir. Nous visons, à travers notre examen des stratégies narratives à l'œuvre dans les textes de fiction horrifique et des effets recherchés lors de la réception, à une meilleure compréhension de la dimension affective de la lecture. / This master's thesis looks at how horror fiction manages to provoke psychosomatic reactions of disgust and fear in its readers. We intend to study this genre through an approach that focuses both on the text and on the affective processes inherent to the reception process, to analyse how the horror narrative involves the reader's emotional investment. By analyzing the narrative strategies at work in the fiction of Brian Evenson, H. P. Lovecraft, and Stephen King, we will attempt to identify a few textual elements that influence the affective reception of these texts. Our hypothesis is that the horror novel employs two narrative strategies to achieve different effects: body writing and cognitive writing. While the former aims to elicit physical reactions of abjection in the reader, the latter is more concerned with creating anguish and terror. The disgust and unease thus triggered become characteristics that help define the subcategories of the genre. These classifications are not hermetic, however, since they can be combined in the same story. We will be looking at how these two strategies relate to a common goal - generating emotions and sensations in the reader - and by means of which aesthetic components they attempt to achieve this. Through our examination of the narrative strategies at work in horror fiction texts and the effects sought during their reception, we aim to achieve a better understanding of the affective dimension of reading.

While most research in King studies focuses on Stephen King’s contribution to the horror genre, this thesis approaches King as a participant in American popular culture, specifically exploring the role the author-protagonist plays in his writing about writing. I have chosen Bourdieu’s theoretical construct of habitus through which to focus my analysis into not only King’s narratives, but also into his non-fiction and paratextual material: forewords, introductions, afterwords, interviews, reviews, articles, editorials and unpublished archival documents. This has facilitated my investigation into the literary field that King participates within, and represents in his fiction, in order to provide insight into his perception of the high/low cultural divide, the autonomous and heteronomous principles of production and the ways in which position-taking within that field might be effected. This approach has resulted in a study that combines the methods of literary analysis and book history; it investigates both the literary construct and the tangible page. King’s part autobiography, part how-to guide, On Writing (2000), illustrates the rewards such an approach yields, by indicating four main ways in which his perception of, and participation in, the literary field manifests: the art/money dialectic, the dangers inherent in producing genre fiction, the representation of art produced according to the heteronomous principle and the relationship between popular culture and the Academy. The texts which form the focus of the case studies in this thesis, The Shining, Misery, The Dark Half, Bag of Bones and Lisey’s Story demonstrate that there exists a dramatisation of King’s habitus at the level of the narrative which is centred on the figure of the author-protagonist. I argue that the actions of the characters Jack Torrance, Paul Sheldon, Thad Beaumont, Mike Noonan and Scott Landon, and the situations they find themselves in, offer an expression of King’s perception of the literary field, an expression which benefits from being situated within the context of his paratextually articulated pronouncements of authorship, publication and cultural production.