These--Paris. / Bibliography: p. [537]-541.

Texte remanié de: Dissertation--Leipzig, Allemagne--Universität Leipzig. / Bibliogr. p. 462-474.

The thesis recontextualises the fiction of the nineteenth- and twentieth-century writer Rudyard Kipling by exploring aspects of Victorian Buddhism in a selection of his published work. It demonstrates his engagement with a variety of Buddhist histories and cultures, showing a serious artistic and imaginative response to and interpretation of Buddhism. Focusing primarily on the novel Kim, the thesis develops existing criticism, examining the character of the lama. Additionally, it studies features of Victorian Buddhism other than textual sources, drawing on work by scholars in fields such as the history of art and the history of religion. As well as considering varied Buddhist elements in Kim, the thesis examines the theme of the survival of the soul, situating short stories from various periods of Kipling's writing life in the context of scholarly debates about Nirvana and reincarnation. Attention is also given to critically neglected travel writing from the Letters of Marque series written for periodical publication. Kipling's work is shown to be deeply concerned with and sympathetic to Buddhism and Buddhist cultures.

No description available.

In this essay Rudyard Kipling’s novel Kim (1901) is dealt with from a postcolonial perspective, and the aim is to show how three father figures - Colonel Creighton, Mahbub Ali and the lama - individually influence Kim’s education. Furthermore, how their point of view on education and parenting can be used to understand the larger concepts of postcolonialism and the pedagogy of Empire. This essay will argue that Kipling provides three different approaches to education that each can be considered the most suitable for a white orphan in British India during the late nineteenth century. Colonel Creighton is the personification of the imperial mindset, an authoritarian leader who strongly believes in institutions such as schools. Whereas Mahbub Ali, the wild horse from beyond the border and a servant of the Great Game, advocates freedom and a non-institutionalised form of education. Last but not least, the Buddhist lama from Tibet wishes to make Kim his chela and teach him the Wheel of Life. Reading Kipling’s novel Kim helps us to create an awareness of how the world order has changed during the decades and also gives us the opportunity to look at our present time in different lights.

This thesis intends to investigate the ways in which the changing perceptions of landscape during the nineteenth century play out in Kipling’s treatment of Kim’s phenomenological and epistemological questions of identity by examining the indelible influence of space— geopolitical, narrative, and imaginative—on Kim’s identity. By interrogating the extent to which maps encode certain ideological assumptions, I will assess the problematic issues of Kim’s multi-faceted identity through an exploration of both geographical and narrative landscapes and the various chronotopes—Bakhtin’s term for coexisting frameworks of time and space—that ultimately provide a new reading of identity-formation in Kim.

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.

No description available.

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).