This is a creative thesis consisting of two short stories in the post-apocalyptic genre. A genre that highlights suffering, societal trauma, and the effects of trauma and loss on the human psyche. This genre asks the reader to be sympathetic to these extreme plights. Post-apocalyptic narratives also feature classic heroes who come out on top, despite the genre’s harrowing settings. The two stories featured in this creative thesis are an answer to my inquiry into the genre and seeks not only to show what makes post-apocalyptic literature entertaining but also worthy of literary merit. The two short stories that constitute this body of work are “A Muddled Canvas,” and “They Have No Ears to Hear My Pleas.” The first story, “A Muddled Canvas,” asks what responsibility God, the protagonist, has to those who remain after the apocalypse he created. The story follows God as he tries to come to terms with the effects his actions have on his creations. The other story, “They Have No Ears to Hear My Pleas,” follows the life of a therapist turned apathetic to his clients’ issues because of the apocalypse. After so much time spent helping others, he develops a bad case of compassion fatigue.

Syftet med denna uppsats är att undersöka de narratologiska drivkrafterna i de två postapokalyptiska verken The Stand av Stephen King och Girlfriend In a Coma av Douglas Coupland. Med frågor som: Vad är den narratologiska drivkraften? Med kulturkritisk infallsvinkel: vad för karaktärerna med sig in i den nya tiden? Genom närläsning kommer en undersökning ske, där de narratologiska drivkrafterna lyfts fram. Resultatet visar att författarna har använt sig av två olika tekniker. The Stand använder sig av motsatspar enligt A.J. Greimas aktantmodell medan Girlfriend In a Coma använder skiftande fokalisering och berättarröst som narratologisk drivkraft. Båda verken har en katastrof som gemensam faktor. Denna katastrof är den grundläggande narratologiska drivkraften i båda verken. Läsaren vet från början att det är två verk i genren postapokalyptisk skräck, därför läses verken med vetskapen om att vad som helst kan hända, när som helst. / The purpose of this project is to find out what makes the story unfold after the end of the world has taken place in Stephen King’s The Stand and Douglas Coupland’s Girlfriend In a Coma. The project has a cultural critical standpoint. After the apocalypse; what do the characters bring into the new world? The investigation is performed by using close reading. Elements essential to the narratological force are then lifted and presented. The result shows that the authors to the two works have used different techniques. The Stand uses opposites according to A.J. Greima’s actant model, whereas the narratological driving force in Girlfriend In a Coma is the use of shifting focalization. Both works have the same beneficial narratological driving force as back bone: the apocalypse. The reader knows what to expect from this genre, the post-apocalyptic horror genre. These works are read bearing in mind that anything can happen, at any time.

Submitted by Thaisa Person null (thaisa_person@hotmail.com) on 2017-11-15T23:19:58Z No. of bitstreams: 1 dissertação de mestrado Thaisa Person vp.pdf: 1808094 bytes, checksum: bfb1f14f78bb48fa368136356a9136a9 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-11-16T19:54:02Z (GMT) No. of bitstreams: 1 person_t_me_sjrp.pdf: 1808094 bytes, checksum: bfb1f14f78bb48fa368136356a9136a9 (MD5) / Made available in DSpace on 2017-11-16T19:54:02Z (GMT). No. of bitstreams: 1 person_t_me_sjrp.pdf: 1808094 bytes, checksum: bfb1f14f78bb48fa368136356a9136a9 (MD5) Previous issue date: 2017-10-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O apocalipse é um tema recorrente na literatura. As imagens e figuras associadas a ele estão presentes em textos tão diversos quanto a Bíblia ou em obras pertencentes ao subgênero romântico “The Last Man” e, atualmente, em textos que se valem de uma nova abordagem para representar o fim do mundo: o “pós-apocalipse”. Esses textos retratam a dissolução de uma sociedade organizada em torno de leis e de princípios de ética e de cidadania que foi devastada por um evento catastrófico. Os que sobreviveram a esse evento devem encontrar formas de continuarem sobrevivendo, mas, agora, em um mundo desolado e sem leis. Dessa forma, o que há de importante nessas narrativas não é necessariamente o evento catastrófico em si, mas, sim, como se estruturará a sociedade pós-evento, regida primordialmente pela lei da sobrevivência. Neste trabalho, propõe-se o estudo do livro pós-apocalíptico The Road (2006), de Cormac McCarthy e a sua adaptação homônima para o suporte fílmico (2009), dirigida por John Hillcoat. As duas obras retratam a luta pela sobrevivência de um pai e de um filho em meio a um mundo pós-apocalíptico. Além de buscar a sua sobrevivência e a do filho, durante a narrativa, o pai exerce o papel mais difícil neste tempo desolador: o papel de ser pai. Pensando-se nas relações de intertextualidade entre o texto adaptado e sua adaptação, este estudo visa investigar como se constitui a representação de espaço e ambientação na obra literária e na obra fílmica. De acordo com a distinção entre espaço e ambientação proposta por Osman Lins (1976), tenciona-se estudar tais elementos narrativos na obra adaptada e na sua adaptação, a fim de demonstrar o quão importantes e contributivos são para o desenvolvimento do conflito central da narrativa, já que em cada ambiente pelos quais os personagens passam, eles são psicologicamente transformados de alguma forma. Além disso, objetiva-se demonstrar como espaço e ambientação são solidários aos outros elementos da narrativa e como dessa relação entre eles resultam fatores significativos para a história. / The apocalypse is a recurrent theme in literature. The images and figures associated with it are present in texts as diverse as the Bible or the works belonging to the romantic subgenre "The Last Man" and, today, in texts that use a new approach to represent the end of the world: the “post-apocalypse”. These texts depict the dissolution of a society organized around laws and principles of ethics and citizenship that was devastated by a catastrophic event. Those who survived this event must find ways to continue to survive, but now in a desolate and lawless world. Thus, what is important in these narratives is not necessarily the catastrophic event itself, but rather, how will the post-event society be structured, governed primarily by the law of survival. In this work, we propose the study of Cormac McCarthy's post-apocalyptic book The Road (2006) and its homonymous adaptation to the film support (2009), directed by John Hillcoat. The two works depict the struggle for the survival of a father and son in the midst of a post-apocalyptic world. In addition to pursuing his survival and that of his son, during the narrative, the father plays the most difficult role in this bleak time: the role of being a father. Thinking about the intertextual relations between the adapted text and its adaptation, this study aims to investigate how the representation of space and ambiance is constituted in the literary work and in the film work. According to the distinction between space and ambiance proposed by Osman Lins (1976), it is intended to study such narrative elements in the adapted work and its adaptation, in order to demonstrate how important and contributory are to the development of the central conflict of narrative. Since in every environment by which the characters pass, they are psychologically transformed in some way. In addition, it aims to demonstrate how solidary space and ambiance are to the other elements of the narrative and how of this relationship between them result significant factors for the story.

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Mémoire en recherche-création / Cette recherche-création s’articule autour de deux questions : - Selon le « circuit de la culture » (Du Gay et al. 1997), comment la survie dans le réel et la survie dans le fictionnel s’articulent-elles au handicap, et comment peuvent-elles être appréhendées comme un artefact culturel appartenant à l’imaginaire collectif cadrant le faisable et l’intelligible? - Plus spécifiquement, comment une méthodologie issue de la recherche-création, et des études critiques du handicap permettent-elles de « cripper » (Sandahl 2003; McRuer 2006; Kafer 2013) le concept de la survie dans un jeu vidéo post-apocalyptique, et ce afin de reconfigurer les sensibles (Rancière 2000)? La revue de littérature dresse le constat que la survie handicapée est un enjeu rarement traité; que mon travail se situe aux frontières de nombreuses recherches abordant la survie des handicapé-es en contexte de l’actuelle sixième extinction de masse, et de nombreuses créations sur la survie des handicapées en contexte post-apocalyptique. Le cadre théorique prend pour assises conceptuelles les études culturelles afin de penser au-delà de la distinction entre réel et fictionnel et de conceptions stéréotypées du handicap et des in/capacités; ainsi que dans le but de comprendre comment un artefact culturel est un aperçu de l’imaginaire collectif d’une culture. Il prend également pour assises les études critiques du handicap pour lier la notion de handicap avec des enjeux qui semblent de prime abord incompatibles -comme la survie-; pour être critique des futurs imaginés; et pour établir la catégorie du handicap comme politique. Les assises conceptuelles soulignent la nécessité de s’engager avec des théories pratiques ayant des effets sur le réel, en raison de l’urgence soulevées par les conditions de vie présentes et futures des personnes handicapées. De ce fait, la méthodologie de ce projet passe par un processus de recherche-création, qui dans le cas présent, permet de créer un mémoire écrit et un jeu vidéo desquels émergent des réflexions et des pratiques qui participent à reconfigurer les sensibles. / This research-creation explores two core questions : - Based on the « circuit of culture » (Du Gay et al. 1997), how do real survival and fictional survival relate to disability and how can they be understood as a cultural artefact belonging to the collective representations, framing the feasible and the intelligible? - More specifically, how does a methodology resulting from research-creation and critical disability studies enables to « crip » (Sandahl 2003; McRuer 2006; Kafer 2013) the concept of survival in a post-apocalyptic video game in order to reconfigure the sensible (Rancière 2000)? The literature review notes that the future survival of disabled people is an issue rarely discussed and that my research-creation is at the frontiers of numerous researches addressing disabled people’s survival during the actual sixth mass extinction, as well as of numerous creations on disabled people’s survival in a post-apocalyptic context. The theoretical framework takes the cultural studies as a conceptual foundation allowing to think beyond the distinction between a real and fictional world, beyond stereotypical ideas about disability and in/capacities, and with the goal of understanding how a cultural artefact is a glimpse in our collective representations. It also takes critical disability studies as a framework to link the notion of disability with issues whose seem incompatible, such as the notion of survival; to be critical of imagined futurities; and to establish disability as a political category. These conceptual foundations raise the need to engage with practical theories in order to have a real effect in the world, all the more so with the urgent needs of dealing with the present and future living conditions of disabled people. As a result, the methodology of this work involves research-creation, which allowed me to deploy a written dissertation and a video game from which has emerged reflections and practices that participate to reconfigure the sensible.

While considering the role of media in shaping and examining histories, we must also grapple with formal limitations in approaching and understanding the past. The thesis aims to bring video games into critical conversations regarding history, memory, and nostalgia by considering the similar and unique perspectives the medium can bring alongside film, television, radio, and literature. Player positionality and interactivity within the unconventional, non-linear game storytelling form allows for different engagements with history. Focusing on the futuristic, post-apocalyptic role-playing game Fallout 3 (2008), this study interrogates the game’s nuanced presentation of genre as a cultural mediation of the past, the negotiation of memory with history, and our problematic assumptions about technology and narratives of progress. While the study finds games may provide rewarding and potentially critical explorations of history, the self-reflexive nature of video gaming emphasizes the medium’s possibilities, limitations, and implications as a cultural product shaped by the very forces constructing history. / text

Uppsatsen ämnar utforska hur den postapokalyptiska genren brukar historia. Detta görs genom en läsning av Dimitrij Gluchovskijs Metro 2033 (2009), utifrån Espmarks syn på dialogicitet och Aronssons historiebruksteoretiska tankar, där historiskt meningsskapande med olika syften blir till genom berättelser i former som större narrativ, metaforer, metonymier och symboler.Bakhtins kronotop används också, men med Aronssons fokus på dess spatiala sida. Uppsatsen föreslår att figuren kan användas för att visa hur fiktionen kan skapa ett abstrakt rum istället för ett rent konkret eller fysiskt, och därmed få med de känslor och den världssyn som är intimt sammanlänkade med det fysiska rummet. I uppsatsen friläggs hur Metro 2033 återskapar en abstrakt version av det kalla krigets spelplan för att legitimera kärnvapenkrigsmotivet.Förslag ges också på en begreppsapparat för att tala om olika historiska nivåer i den postapokalyptiska fiktionen där vår samtids accepterade historia, förutom att den modifieras fiktivt, också får sällskap av spekulativ pre- och postapokalyptisk historia. Uppsatsen ger flera exempel på hur texten brukar historia, bland annat hur den spekulativa historien kan användas för att kommentera företeelser ur samtidens accepterade historia. Uppsatsen visar också att ett av textens huvudsakliga budskap, uppmaningen till mänskligheten att sluta konstruera och demonisera den andre, medvetet förstärks genom bruket av historia eftersom den historiska dimensionen ger kontinuitet till den framtida visionen. / The aim of this essay is to explore the using of history in post-apocalyptic fiction. This is accom-plished by reading and analyzing Dimitrii Glukhovskii’s Metro 2033. The theoretical basis for the reading is the dialogicity of Espmark and Aronsson’s theory of using of history. It posits that the production of meaning through history is made from narratives of different lengths and shape, such as metaphors, metonymies and symbols. The chronotope of Bakhtin is also applied, but with Aronssons focus on its spatial component. A suggestion is made to apply it in a way that shows how the fiction can refer to, or create, an ab-stract spatial location, rather than a physical, and thereby evoking the feelings and worldviews intimately associated with the location and its time. In the reading of the text this is shown by ar-guing that Glukhovskii recreates the cold war as an abstract chronotope to legitimize his nuclear apocalypse scenario. The essay presents suggestions for definitions of the historical levels in the genre. These are la-beled accepted history of the present, fictive rewriting of the same, and lastly pre- or post-apoca-lyptic speculative history, depending on whether the temporal interest lies prior to or after the im-agined apocalypse. The essay exemplifies a number of ways in which the text uses history, one of which is to use the speculative history to comment on the accepted history of the present. The essay also shows that the intent of the text, the plea to humanity to stop the process of othering, is enhanced by the use of history since the historical perspective offers a retrospective continuity that strengthens the future vision.

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée à la Division de la gestion des documents et des archives. / Cette recherche propose une analyse de la figure de la ruine post-apocalyptique dans le jeu vidéo. Il s’agit de questionner les effets de cette figure sur la construction d’une mémoire du lieu vidéoludique exploré, ainsi que ceux sur la formation d’émotions. Ce mémoire débute par une mise en contexte et la définition des différents concepts de base que nous utiliserons, tels la ruine, les utopies et l’apocalypse. Ensuite, nous procédons à une analyse de la formation d’une mémoire d’un lieu vidéoludique et des effets des ruines post-apocalyptiques représentées sur ce processus, le tout appuyé par une étude de notre corpus : Bastion, Journey et Fallout 3. Finalement, nous faisons le même cheminement afin d’analyser la formation d’émotions en réaction aux différents éléments de design qui forment les ruines post-apocalyptiques dans les jeux observés. / This research proposes an analysis of post-apocalyptic ruins in video games. We will question the effects of this figure on the creation of a memory based on the explored space and on the formation of emotions. This thesis will begin by establishing the context of our definitions and the different concepts we will be using throughout, such as ruins, utopias and the apocalypse. We will then analyse the creation of a memory based on a videogame space and the effects of the represented post-apocalyptic ruins on the process, all of this backed up by a study of our corpus: Bastion, Journey and Fallout 3. In the last part, we will do a similar work to analyse the formation of emotions in reaction to the different design elements that constitute the observed games.

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The graduation work Ultima Thule made up by four parts, the first one is a science fiction world buliding made up of scripts, notes and sketches, the second one is a science fiction comic book in the edition of 200 with the name Everything in one place, this is the first part of the Ultima Thule-world. The third part is this report with text explaining the work process, and the third part was the participation in the Konstfack Spring Exhibition, this is also described in the report. Ultima Thule is a narrative about the end of humanity set in three Swedish cities; Västerås, Uppsala and Stockholm.