Este estudo objetiva analisar três forças motrizes que muito influenciaram a escritura de Monteiro Lobato: o conto, a tradução e a ideologia humanista. Conhecido por sua literatura infantil, pouco se estudou sobre sua obra adulta e menos ainda sobre sua profícua atividade tradutória. Como contista, Lobato pode ser dito – ao lado de Machado de Assis – um dos grandes incentivadores do conto, resgatando-o de sua posição marginal e elevando-o à categoria de gênero literário em uma época geralmente negligenciada pela crítica – sua produção anterior à Semana de Arte Moderna (1922) –, alcançando seu público através de estratégias de marketing inovadoras e, portanto, formando um novo público leitor brasileiro. Seus ideais nacionalistas e suas crenças ideológicas estão presentes em tudo o quanto escreveu, proporcionando ao leitor do século XXI um claro panorama de sua época. O humanismo é, se não a mais visível ideologia em sua obra, a que gerou maior conflito, sobretudo em contraste com sua formação cristã e seu refinado tom pessimista. Tendo traduzido mais de cem livros, Lobato contribuiu indiscutivelmente tanto para a circulação quanto para a edição de obras traduzidas – inglesas e norteamericanas em sua maioria –, enriquecendo, dessa forma, nosso polissistema literário e promovendo uma sensível mudança no status da tradução, marginal e secundária na época. Ele consciente e cuidadosamente escolhia o que traduzia com o intuito de alcançar um objetivo: dar ao público leitor brasileiro – especialmente ao infantil – literatura estrangeira de qualidade. Segundo ele, Kipling estava arrolado entre os “sumos” contistas, o que o levou a traduzir e publicar suas obras, experiência que resultou tanto na apropriação quanto na expropriação daqueles textos, o que pode ser facilmente verificado por qualquer leitor atento tanto da contística quanto do epistolário de Lobato, nas muitas estratégias por ele empregadas: empréstimos, invocações de personagens, reconstrução de histórias e imagens das narrativas de Kipling.

Este estudo objetiva analisar três forças motrizes que muito influenciaram a escritura de Monteiro Lobato: o conto, a tradução e a ideologia humanista. Conhecido por sua literatura infantil, pouco se estudou sobre sua obra adulta e menos ainda sobre sua profícua atividade tradutória. Como contista, Lobato pode ser dito – ao lado de Machado de Assis – um dos grandes incentivadores do conto, resgatando-o de sua posição marginal e elevando-o à categoria de gênero literário em uma época geralmente negligenciada pela crítica – sua produção anterior à Semana de Arte Moderna (1922) –, alcançando seu público através de estratégias de marketing inovadoras e, portanto, formando um novo público leitor brasileiro. Seus ideais nacionalistas e suas crenças ideológicas estão presentes em tudo o quanto escreveu, proporcionando ao leitor do século XXI um claro panorama de sua época. O humanismo é, se não a mais visível ideologia em sua obra, a que gerou maior conflito, sobretudo em contraste com sua formação cristã e seu refinado tom pessimista. Tendo traduzido mais de cem livros, Lobato contribuiu indiscutivelmente tanto para a circulação quanto para a edição de obras traduzidas – inglesas e norteamericanas em sua maioria –, enriquecendo, dessa forma, nosso polissistema literário e promovendo uma sensível mudança no status da tradução, marginal e secundária na época. Ele consciente e cuidadosamente escolhia o que traduzia com o intuito de alcançar um objetivo: dar ao público leitor brasileiro – especialmente ao infantil – literatura estrangeira de qualidade. Segundo ele, Kipling estava arrolado entre os “sumos” contistas, o que o levou a traduzir e publicar suas obras, experiência que resultou tanto na apropriação quanto na expropriação daqueles textos, o que pode ser facilmente verificado por qualquer leitor atento tanto da contística quanto do epistolário de Lobato, nas muitas estratégias por ele empregadas: empréstimos, invocações de personagens, reconstrução de histórias e imagens das narrativas de Kipling.

These stories are representative of an idea that is repeatedly expressed both in the concrete details of Kipling's stories and in the way he uses language. It is possible to see that Kipling, the archetypical man of the empire, may not always have been the empire's man in his work; and causes for that may be found in the alluring, very non-English place he lived in for several years of his youth: India.

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Voyageur durant toute sa vie, connaisseur de l’Inde, des États-Unis, de l’Afrique du Sud et du Sussex, défenseur de l’Empire britannique quand sa stabilité territoriale est menacée, Rudyard Kipling possède une expérience de l’espace mondial directe et physique qu’on retrouve problématisée sur les plans thématique, narratif et stylistique dans sa fiction. La notion de frontière produit à tous niveaux des relations de différentiation et d’opposition mais aussi de contact et d’échanges : le voyage se fait conquête, aventure ou vagabondage, le rapport à l’espace est politique ou poétique. L’espace impérial est nécessairement délimité et Kipling conçoit un Empire agent fédérateur d’une mosaïque de nations. Stylistiquement, la phrase de Kipling parvient de même à fédérer des langues et registres variés sans nuire à l’unité textuelle et la narration se fonde sur l’articulation entre les éléments individuels et l’ensemble. L’instance narrative crée des lignes de convergence qui relient entre eux les récits en créant des réseaux d’œuvre à œuvre, aboutissant à la construction partielle d’un monde cohérent et à une possibilité d’ouverture dans cet espace balisé. L’économie interne des œuvres les révèle en tant qu’objets composites et unifiés, faisant jouer poèmes et illustrations au sein de recueils de nouvelles, intrigue principale et micro récits dans les romans. Le texte est figuration à part entière lorsqu’il inclut une carte annotée et qu’il crée un espace typographique signifiant et moderne. Mettant en regard l’espace représentant et l’espace représenté, l’agencement du texte et celui du monde narratif qu’il peint, l’espace littéraire kiplingien fonctionne de façon dynamique. / Rudyard Kipling was a traveller all his life and a champion of the British Empire at the time when its territorial stability was put at risk; he knew India, the U.S.A., South Africa and Sussex intimately. His direct and physical experience of the globe frames the thematic, narrative and stylistic characteristics of his novels and short story collections. Through the notion of borderline, relationships of differentiation, opposition, contact and exchange are built up thematically, in the narrative and in the style: the traveller is represented as a conqueror, an adventurer or a wanderer and global space is apprehended either politically or poetically. Imperial space is necessarily delineated and Kipling conceives of an Empire federating a mosaic of nations. Likewise, Kipling’s sentences stylistically patch up diverse languages, dialects and registers without endangering their textual unity and his narration hinges on the relation between separate elements and the whole text. The narrative authority creates converging lines between stories and networks appear between books, building up a coherent fictional world which suggests the possibility of an opening in this highly demarcated space. In their internal organisation, the books are at once composite and unified, the main narrative interacting with poems and illustrations in the short story collections and with micro narratives in the novels. Text becomes truly figurative in the annotated maps and when the typographical space is modern and significant. Kipling’s literary space dynamically confronts physical territories and a linguistic representative space, the textual organisation and the narrative world it depicts.

La tesi investiga i Departmental ditties' di Rudyard Kipling. Il capitolo uno delinea in particolare la permanenza dell'autore in India come sub-editor' della Civil and Military Gazette, che tra il febbraio e l'aprile del 1886 pubblica la serie dei Departmental Ditties'. Il capitolo due esamina i dieci microtesti originari. Il capitolo tre discute le maggiori alterazioni testimoniate dalla sequenza poetica nelle sue prime quattro edizioni in Departmental ditties and other verses (1886, 1888 E 1890). / The dissertation investigates Rudyard Kipling's 'Departmental Ditties'. Chapter One refers in particular to Kipling's sojourn in India as sub-editor of the Civil and Military Gazette, which between February and mid-April 1886 published the 'Departmental Ditties' series. Chapter Two investigates the ten original poems. Chapter Three discusses the main alterations of the sequence by comparing its first four editions in the poetic collection departmental ditties and other verses (1886, 1888 and 1890).

This thesis is focused on an animal protagonist in literary texts which could be used in education because of their didactic potential. The aim of this thesis is to describe the form of representation of an animal protagonist (and nature in general) in chosen literary texts and to design the possible ways how to use these texts in education. The first part is dedicated to a theme of animal in the cultural context, especially in the literature with a short ethology-digression. The second part deals with a literary-theoretical analysis of texts from Rudyard Kipling, Jack London, Vitaly Bianki and Ceridwen Dovey. The third part of this thesis is focused on the didactic potential of analyzed texts aiming to econarratology. In the last chapter are described possibilities of the didactic work with all the formerly analyzed texts. Keywords animal protagonist, anthropomorphism, literature for children and youth, Rudyard Kipling, Jack London, Vitaly Bianki, Ceridwen Dovey, education, econarratology, didactic potential

This dissertation focuses on the triangulated relationship among female sexuality, patriarchy, and empire and examines literary and historical texts to understand how Britons increasingly identified as imperialists over the course of the nineteenth century. This project, the first book-length study of its kind, features analyses of canonical works like Mansfield Park, David Copperfield, and Adam Bede as well as analyses of paintings, etchings, conference proceedings, newspaper advertisements, colonial reports, political tracts, and medical records from Britain and its colonies. I challenge critical conceptions of the fallen woman as a trope of domestic fiction whose position as outcast illustrates the stigmatization of female sex during the nineteenth century, and I argue that the depiction and punishment of fallen women in multiple genres reveal an interest in protecting and maintaining an imperial system that claims moral superiority over the people it colonizes. My critical stance is both feminist and postcolonial, and my work complicates readings of fallen women in Victorian literature while also adding significantly to scholarship on gender and empire begun by Anne McClintock and Philippa Levine. I claim that during the nineteenth century, the fallen woman comes to represent that which will threaten patriarchal and imperial power, and her regulation reveals an intent to purify the British conscience and strengthen the nation’s sense of itself as a moral and exceptional leader in the world. My investigation into fallenness and empire through a wide range of texts underscores the centrality of imperialism to British society and to the lives of Britons living far removed from colonial sites like India or East Africa.

In 1898, H G Wells published The War of the Worlds, a scathing indictment of colonialism from the perspective of the colonized. The following year, Rudyard Kipling penned The White Man’s Burden, describing colonial conquest as driven by duty, for the sake of the subjugated. They shared a vantage point from the literary pedestal of fin-de-siècle London, but what they saw was very different.            The War of the Worlds can be read as an allegory of colonialism where the tables are turned and the colonial masters are suddenly exposed to a ruthless and technologically superior power. What can be inferred about the Martians’ motives? Can they be perceived as driven by duty, by wishing to take care of or serve their captives’ needs? With the information provided in the The War of the Worlds, could a Martian Kipling write “The Green Man’s Burden” to motivate the invasion of the Earth?           Using postcolonial tools of analysis, this essay digs into the britishness of Wells’ colonizers and colonized, as well as into the britishness of Wells’ own perspective. Some postcolonial theorists argue that representatives of the colonial powers cannot represent the subjugated. Does his background and nationality disqualify Wells to describe the effects of colonialism? I argue that it does not. Staying in the social space of the West helped Wells erode the ideology of colonialism by tailoring it to be received and understood by his target audience, his contemporary countrymen.

This essay explores the ways colonial short stories by Rudyard Kipling can be used in many different aspects of language teaching in upper secondary school.The analysis takes inspiration from Edward Said’s Orientalism, where he discusses and argues for the prevalence of the phenomenon of Orientalism in the zeitgeist of Western society during the age of European occupation and colonization. Additionally, the essay aims at showing the value of using the selected short stories as a means of teaching students a certain vocabulary that is necessary for identifying how Kipling’s portrayal of the Indian population frames them as vastly different from their British colonizers. Lastly, the essay suggests how teachers can use these attitudes and descriptions as valuable material for facilitating the inculcation of those democratic values that Skolverket expects schools to advocate.The analysis reveals several of the attitudes that Said highlighted, such as depictions that both implicitly and explicitly portray the Indian population as backward, uncivilized, and nonconforming to the values and attitudes that were ascribed to the colonizers at the time. There is also a large degree of an alleged racial, cultural, and religious superiority present in the stories. These attitudes could be employed as a basis for promoting discussions surrounding democratic values. The analysis also includes methods for explicit vocabulary development, suggesting how teachers can apply these to enable successful learning and development of new words and their connotations. Certain selected words are discussed thoroughly, since they display useful information regarding the portrayal of the Indian population, and some are discussed briefly to aid certain arguments.