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Syftet med denna uppsats är att undersöka och tolka relationen mellan koncepten natur och kultur, så som de är hanterade i Henry David Thoreau’s Walden; or. Life in the Woods (1854) och Into the Wild (1996) av Jon Krakauer, med hjälp av en ekokritisk analys. Båda dessa böcker är baserade på verkliga händelser och upplevelser, och handlar om två individer som valde att lämna samhället bakom sig för att i stället leva ett enkelt liv i naturen. Några av motiven de hade för att göra detta innefattar ett missnöje med samhällena i vilka de levde, en längtan efter extraordinära upplevelser, och en önskan att hitta medel att förbättra jaget. Jag kommer föreslå att de båda huvudkaraktärerna delar åsikter och tankar om naturen och dess relation till deras respektive kulturer. Vidare kommer jag föreslå att några av dessa åsikter och tankar kan och bör implementeras i det svenska skolväsendet i syfte att åstadkomma en mer hållbar syn på naturen och dess relation till kultur och samhälle. Jag kommer föreslå en möjlig metod för att genomföra detta, vilken är inspirerad av Greg Garrard’s lektionsplan ”Three Hours to Save the Planet!”, som finns inkluderad i The Handbook of Sustainability Literacy: skills for a changing world (ed. Arran Stibbe, 2009).

Submitted by Andrea Andrade (andreaalves.andrade@mackenzie.br) on 2018-10-16T21:44:10Z No. of bitstreams: 2 Aguardar o PDF protegido.docx: 11566 bytes, checksum: ca6219c835b5854f7cadbe15c76be2d2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Rejected by Paola Damato (repositorio@mackenzie.br), reason: on 2018-10-25T14:44:04Z (GMT) / Submitted by Andrea Andrade (andreaalves.andrade@mackenzie.br) on 2018-10-27T00:02:30Z No. of bitstreams: 2 Graciene Silva de Siqueira.pdf: 5556380 bytes, checksum: cc50a0e0f88b1fe81e78e0d300d57784 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Giovanna Brasil (1154060@mackenzie.br) on 2018-11-08T17:52:20Z (GMT) No. of bitstreams: 2 Graciene Silva de Siqueira.pdf: 5556380 bytes, checksum: cc50a0e0f88b1fe81e78e0d300d57784 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-08T17:52:20Z (GMT). No. of bitstreams: 2 Graciene Silva de Siqueira.pdf: 5556380 bytes, checksum: cc50a0e0f88b1fe81e78e0d300d57784 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-08-23 / Crown Embalagens S.A. / This research analyzes the adaptation of the non-fiction book Into the Wild, by Jon Krakauer, into a film with the same name directed by Sean Penn. The book narrates the story of Christopher Johnson McCandless, a young middle-class American who abandoned his family and a privileged life to live as a wanderer. This work aims to, firstly, identify transformational procedures undertaken by the director in order to recreate Cristopher Johnson McCandless´s story for the cinema. Secondly, we will examine the process of adaptation of Jon Krakauer´s work into audiovisual medium, with Gérard Genette´s theoretical framework of transtextuality, presented in his book Palimpsestes: la littérature au second degré (1982). Genette identifies five types of relationships between texts: intertextuality, paratextuality, metatextuality, architextuality and hypertextuality. The relationship between the non-fiction book and the movie is emphasized from the perspective of the concept of hypertextuality – in which the book becomes hypotext (original work) and the film, hypertext (derived work). We also examine the relationship between Krakauer´s journalistic text and other genres present in his work through intertextuality, and how the genre diversity was transposed to the language of film by director Sean Penn. / Esta tese propõe uma análise da adaptação do livro-reportagem Into the Wild (Na natureza selvagem), de Jon Krakauer, em um filme homônimo dirigido por Sean Penn. O livro narra a história de Christopher Johnson McCandless, um jovem americano de classe média que abandonou a família e uma vida privilegiada para viver como andarilho. O objetivo deste trabalho é, primeiramente, identificar os procedimentos transformacionais adotados pelo diretor a fim de recriar a história e a trajetória de Christopher Johnson McCandless para o cinema. Em segundo lugar, examinar o processo de adaptação da obra de Jon Kraukauer para uma mídia audiovisual, tendo como fundamentação teórica os estudos de Gérard Genette sobre transtextualidade, expostos em sua obra Palimpsestes: la littérature au second degré (1982). Genette identifica cinco tipos de relações entre textos: intertextualidade, paratextualidade, metatextualidade, arquitextualidade e hipertextualidade. Privilegiamos, neste estudo, a relação entre o livro-reportagem e o filme a partir do conceito de hipertextualidade – no qual o livro torna-se o hipotexto (obra fonte), e o filme, o hipertexto (obra derivada). Também examinamos a relação que se estabelece entre o texto jornalístico de Jon Krakauer e os demais gêneros textuais presentes em sua obra por meio da intertextualidade, e como a diversidade de gêneros foi transposta para a linguagem cinematográfica do diretor Sean Penn.

Abstract To tell the nonfiction biography of Christopher McCandless in Into the Wild Jon Krakauer uses a plethora of references to Henry D. Thoreau. In this thesis I study how Krakauer uses Thoreau while balancing on the fine line that differentiates the historian from the storyteller. Through an analysis of Krakauer’s use of Thoreau’s economic ideas, liberal ideas, and view of nature and wilderness I argue that Krakauer blurs a pragmatic understanding of Thoreau and uses techniques of fiction to characterize McCandless as a late Thoreauvian transcendentalist. By doing so, Krakauer explains and defends the protagonist’s actions from criticism making him appear as a character whose story is exceptional. However, the characterization of the protagonist as a follower of Thoreauvian ideals by means of a partial and romantic interpretation of Thoreau is misleading and does not provide us with a better understanding of the life of McCandless. Moreover, the romantic image of Thoreau advanced by Krakauer reflects Krakauer, or at least his times; particularly, it reflects Krakauer’s own view of wilderness and his concern for its impending demise. Consequently, I conclude that Krakauer’s version of McCandless’s story is perhaps too biased to amount to a strong historical narrative and be considered proper nonfiction. Nevertheless, the romanticized characterization of McCandless aids Krakauer to write a more appealing story.

M.A. University of the Witwatersrand, Faculty of Humanities, 2012. / Humanity’s relationship with nature has, in recent years, undoubtedly been one of contention and turmoil, an issue whose drama is gaining popularity in popular culture and, especially, film. In this dissertation I examine how these challenging human-nature relationships play out in Terrence Malick’s The New World, Werner Herzog’s Grizzly Man and Encounters at the End of the World, Sean Penn’s Into the Wild, and the Jon Krakauer book, of the same title, upon which Penn’s film is based. As one’s views on nature (like all else) are mediated through language, using ecocritical principles slanted towards filmic, as opposed to written, texts, I provide a close examination of the ways in which these artists portray the relationship between language and nature, and the impact this has on our cultural and individual identities. I will also show how these primary texts make use of centuries-old Romantic aesthetics in order to humanise nature for moral ends. The primary texts agree that a large part of the problem in the poor relationship between humanity and nature is due to inadequate metaphors with which humanity views the earth. Thus, each artist promotes a certain kind of anthropomorphic understanding of nature which he believes is pivotal in encouraging better interconnections between humanity and nature. As a result, I provide a critique of the kinds of metaphors used by each respective artist, where some metaphors of nature may support or contradict a certain artist’s aims in his portrayal of human-nature relationships.