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The purpose of this study is to determine what effect six real women in Jack London's life had upon the development of fictional women found in thirty-eight of London's short stories. The six women were Flora Wellman London, Bess Maddern London, Charmian Kittredge London, Anna Strunsky, Mabel Applegarth, and Ina Coolbrith. The study will reveal previously unpublished information about these women based on letters, interviews with people who knew them, and previously uncited newspaper and magazine articles. It will also offer, in most cases, the first chronologically organized in-depth biographical profiles ever recorded of these women. The major attributes of these women were scrutinized, their behavior patterns and physical appearances were chronicled, and their relations both with and independent of Jack London were analyzed. The effect the above mentioned six women had on Jack London was that they significantly helped cause him to portray women in a particular (and unusual) way.Thirty-eight of London's short stories which feature female protagonists were analyzed. These fictional females were studied for attributes, behavior patterns, and appearances. The final step was to correlate the attributes and characteristics of the fictional women to those of the real women.An overview of the entire study reveals three key points: (1) although usually portrayed as very masculine and independent, Jack London was a person whose philosophies, educational development, and political viewpoints were greatly influenced by the six women focused upon in this study; (2) strong evidence suggests that twenty-eight of the fictional women in the thirty-eight short stories which featured major female protagonists were modeled upon either the six real women focused upon in this study or upon other real women (Freda Moloof, Mrs. Hans Nelson whom London knew during his lifetime; and (3) although the general critical opinion regarding London's failure to create a series of believable fictional women is still valid, it is not absolute; some of the women whom London created in his short stories were modeled upon real women in his life, and their reflected real characteristics are vivid enough to make them powerful, three-dimensional, believable characters.

Esta dissertação analisa duas obras não ficcionais de Jack London: O povo do abismo (publicada em 1903) e O cruzeiro do Snark (publicada em 1911). Escritas em um período cuja construção da etnografia não havia sido ainda sistematicamente pensada, buscamos interpretar nessas obras algumas características de narrativas etnográficas, a partir da antropologia interpretativa. São observados, como suporte teórico, os preceitos do exercício etnográfico, segundo autores como Clifford Geertz, James Clifford, Franz Boas, Bronislaw Malinowski e Roberto DaMatta. Para que contextualizemos esta pesquisa, são abordadas as realidades socioculturais dos Estados Unidos durante o período de vida de Jack London (1876 – 1916), assim como as características da antropologia no final do século XIX e início do século XX. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-11-12T17:04:27Z No. of bitstreams: 1 Dissertacao Marcos Mantovani.pdf: 8345127 bytes, checksum: db1b4a86f0e08f59fd3d57c972891ad5 (MD5) / Made available in DSpace on 2015-11-12T17:04:27Z (GMT). No. of bitstreams: 1 Dissertacao Marcos Mantovani.pdf: 8345127 bytes, checksum: db1b4a86f0e08f59fd3d57c972891ad5 (MD5) / This dissertation analyses two non-fiction books written by Jack London: The people of the abyss (published in 1903) and The cruise of the Snark (published in 1911). Written over a period during which ethnography’s construction hadn’t been systematically elaborated yet, we aim to interpret these books as having some characteristics of ethnographic narratives, according to the interpretative anthropology. As theoretical support, the precepts of ethnographic exercise are observed, according to authors like Clifford Geertz, James Clifford, Franz Boas, Bronislaw Malinowski and Roberto DaMatta. To establish the context of this research, we analyze the socio-cultural realities of the USA during the life of Jack London (1876 – 1916), as well as the characteristics of anthropology at the end of the 19th century and at the beginning of the 20th.

Esta dissertação analisa duas obras não ficcionais de Jack London: O povo do abismo (publicada em 1903) e O cruzeiro do Snark (publicada em 1911). Escritas em um período cuja construção da etnografia não havia sido ainda sistematicamente pensada, buscamos interpretar nessas obras algumas características de narrativas etnográficas, a partir da antropologia interpretativa. São observados, como suporte teórico, os preceitos do exercício etnográfico, segundo autores como Clifford Geertz, James Clifford, Franz Boas, Bronislaw Malinowski e Roberto DaMatta. Para que contextualizemos esta pesquisa, são abordadas as realidades socioculturais dos Estados Unidos durante o período de vida de Jack London (1876 – 1916), assim como as características da antropologia no final do século XIX e início do século XX. / This dissertation analyses two non-fiction books written by Jack London: The people of the abyss (published in 1903) and The cruise of the Snark (published in 1911). Written over a period during which ethnography’s construction hadn’t been systematically elaborated yet, we aim to interpret these books as having some characteristics of ethnographic narratives, according to the interpretative anthropology. As theoretical support, the precepts of ethnographic exercise are observed, according to authors like Clifford Geertz, James Clifford, Franz Boas, Bronislaw Malinowski and Roberto DaMatta. To establish the context of this research, we analyze the socio-cultural realities of the USA during the life of Jack London (1876 – 1916), as well as the characteristics of anthropology at the end of the 19th century and at the beginning of the 20th.

LD2668 .T4 1966 S83 / Master of Science

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The thesis deals with a visual concept for a feature film based on the novel „The Scarlet Plague“ by Jack London. It consists of two parts: a theoretical part and a practical part, which contains author’s own design for the film. The first, theoretical part describes the history of the genre, and analysis the visual concepts of a few post-apocalyptic films that are relevant to the concept chosen for „The Scarlet Plague“, particularly Rise of the Planet of the Apes (director Rupert Wyatt, 2011), Dawn of the Planet of the Apes (director Matt Reeves, 2014), Waterworld (director Kevin Reynolds, 1995), I am Legend (director Francis Lawrence, 2007), Mad Max: Fury Road (director Georges Miller, 2015). In the second, practical part, the approach to the concept of „The Scarlet Plague“ is described and accompanied with the visual execution of selected scenes.

The fact that Jack London's novels seem to fall into two classes--those which he wrote for money and those which he wrote to deliver a social message--has led to this study of his life and novels. It is the aim of this thesis to show that his life was one of conflict between individualism and socialism and that this conflict is reflected to a varying degree in his novels.

“Human/Nature: American Literary Naturalism and the Anthropocene” examines works of fiction from the genre of American literary naturalism that sought to represent the emergence of the environmental crisis known today as the Anthropocene. Reading works by Jack London, Frank Norris, Charlotte Perkins Gilman, and Charles W. Chesnutt, I show how the genre’s well-known tropes of determinism, atavism, and super-individual scales of narration were used to create narratives across vast scales of space and time, spanning the entire planet as well as multi-epochal stretches of geologic time. This reading expands existing definitions of American literary naturalism through a combination of literary analysis, engagement with contemporary theory, and discussion of the historical context of proto-Anthropocenic theories of the late-19th and early-20th centuries. Whereas most earlier understandings of naturalism have focused on human nature as it is determined by environmental conditions, I follow the inverse: the impact of collective human action on the physical environment. Previous definitions of naturalism have only told part of the story of determinism, making it impossible to recognize until now the genre’s unusual capacity to aesthetically capture humanity’s pervasive impact on the planet. Each of the dissertation’s four chapters focuses on a single author, a single aesthetic strategy, and a single problematic in Anthropocene discourse. My first chapter argues that Jack London’s late work (1906–1916) balanced his attempts to understand the human as a species with a growing interest in sustainable agriculture, resulting in a planetary theorization of environmental destruction through careless cultivation. But London’s human-centered environmental thinking ultimately served his well-known white supremacism, substantiating recent critiques that the Anthropocene’s universalism merely reproduces historical structures of wealth and power. Rather than the human per se, Frank Norris put his focus on finance capitalism in his classic 1901 novel The Octopus, embodying the hybrid human/natural force that he saw expanding over the face of the planet in the figure of the Wheat, a cultivated yet inhuman force that is as much machine as it is nature. I show how Norris turned Joseph LeConte’s proto-Anthropocenic theory of the Psychozoic era (1877) into a Capitalocene aesthetics, a contradictory sublimity in which individuals are both crushed by and feel themselves responsible for the new geologic force transforming the planet. While London and Norris focus on the destructive capacities of human agency, Charlotte Perkins Gilman’s 1915 novel Herland takes a utopian approach, depicting a society of women with total control of their environment that anticipates conceptions of a “good Anthropocene.” Gilman built on the theories of sociologist and paleobotanist Lester Ward as well as her own experience in the domestic reform movement to imagine a garden world where the human inhabitants become totally integrated into the non-human background. Yet Gilman’s explicitly eugenic system flattens all heterogeneity of culture, wealth, and power into a homogenous collective. My final chapter builds on the critique of the Anthropocene’s universalism that runs through the preceding chapters by asking whether and how the Anthropocene can be approached with more nuance and less recourse to universals. I find an answer in the stories of Charles W. Chesnutt’s The Conjure Woman (1899) and the theory of the Plantationocene, which sees the sameness of the Anthropocene not as “natural” but as produced by overlapping forms of racial, economic, and biological oppression. Registering this production of homogeneity and its counterforces at once, Chesnutt models what I call Anthropocene heteroglossia, juxtaposing multiple dialects and narrative forms in stories set on a former plantation, depicting heterogeneous social ecologies as they conflict and coexist in markedly anthropogenic environments.