Texte remanié de: Thèse de doctorat--Littérature américaine--Paris, 2003. Titre de soutenance : Anatomie de la violence dans l'oeuvre romanesque de Charles Bukowski. / Bibliogr. p. 319-333.

Thesis (M.A.)--Cleveland State University, 2009. / Abstract. Title from PDF t.p. (viewed on June 17, 2009). Includes bibliographical references (p. 44-45). Available online via the OhioLINK ETD Center. Also available in print.

The style and themes central to Bukowski's prose have roots in the literary tradition of the grotesque. Bukowski uses grotesque imagery in his writings as a creative device, explaining the negative characteristics of modern life. His permanent mood of angry disgust at the world around him is similar to that of the eighteenth-century satirists, particularly Jonathan Swift. Bukowski confronts the reader with the uglier side of America--its grime, its corruption, the constricted lives of its lower class--all with a simplicity and directness of style impeccably and clearly distilled. Bukowski's style is ebullient, with grotesquely evocative descriptions, scatological detail, and dark humor.

<p>Till min uppsats valde jag att koncentrera mig på två verk, <em>Post Office</em> och <em>Factotum</em>, av författaren Charles Bukowski (1920-1994). Huvudpersonen i båda romanerna kallas Henry Chinaski och är en mycket komplicerad karaktär. För att kunna analysera dennes självdestruktivitet samt syn på kvinnor och arbete anlade jag ett mansforskningsperspektiv, något som jag också utförligt beskriver.</p>

Till min uppsats valde jag att koncentrera mig på två verk, Post Office och Factotum, av författaren Charles Bukowski (1920-1994). Huvudpersonen i båda romanerna kallas Henry Chinaski och är en mycket komplicerad karaktär. För att kunna analysera dennes självdestruktivitet samt syn på kvinnor och arbete anlade jag ett mansforskningsperspektiv, något som jag också utförligt beskriver.

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Syftet med denna uppsats är att undersöka sexuella relationer och mötet mellan man och kvinna i Charles Bukowskis författarskap med fokus på den självbiografiske protagonisten Henry Chinaski i romanerna Postverket och Kvinnor. I analysen undersöker uppsatsen tre aspekter av mötet mellan man och kvinna: Det initierande mötet, det fysiska mötet och vad vi kallar kärlek. Uppsatsen utgår främst från Yvonne Hirdmans genusteorier och diskuterar tabun om särhållandet mellan manligt och kvinnligt. Genom att undersöka den manliga normen samt manlig och kvinnlig sexualitet appliceras dessa sedan genom närläsning av de bägge verken. Trots att protagonisten ständigt bekräftar den manliga normen dras slutsatsen att Bukowski i sitt författarskap utmanar det sexuella maktsystemet. Han visar på kvinnliga karaktärer som tar för sig och initierar till sexuella relationer i en tid där deras sexualitet fortfarande var tabubelagd. / This thesis examines sexual relations and the meeting between man and woman in Charles Bukowski’s authorship through the autobiographic protagonist Henry Chinaski in the novels Post Office and Women. The focus of the analysis is based on three aspects of the meeting: The initial meeting, the physical meeting and finally, love. Furthermore, the thesis discusses the taboo of dissociation between masculinity and femininity with focus on Yvonne Hirdman’s gender studies theories. By examining the male norm in addition to male and female sexuality these theories are applied to the novels by using a close reading method. In conclusion, the thesis finally declasres that, although the male norm is confirmed bythe protagonist, Bukowski challenges, and criticizes the balance of power between thesexes. The female characters portrayed in the novels express their sexuality and initializesexual relationships in a time when women’s sexuality still was stigmatized.

A Queer Reading of Charles Bukowskiʼs Women and Love is a dog from hell This thesis aims to examine how the representation of gender is portrayed in relation to sex and power in Charles Bukowski’s novel Women and poetry collection Love is a dog from hell. The theoretical frame of the analysis is based on Judith Butlerʼs queer theory regarding the heterosexual matrix and gender performativity. The analysis consists of a textual comparison where a specific selection of poems is analysed parallel to the novel to see how they interact and how they oppose each other, through a queer reading. The analysis is divided in three parts where the first one discusses the construction of masculinity in Charles Bukowskiʼs protagonist Henry Chinaski and how this is presented differently in the two literary genres. The second part reveals how sex is presented in relation to power and how active and passive women are considered as sexually acceptable. The final part of the analysis discusses how women are portrayed in the novel and in the poetry. Further it demonstrates the consequences for women who do not act as expected in relation to their gender roles. In addition to this, the thesis investigates how the poetry functions as a tool to apply depth to the characters in the novel. It also points out how the sexual relationships work as a way of maintaining the masculine superiority over women. The repetitive way in which the protagonist fails to fulfil his sexual performance points towards an image of Chinaski as queer, something that previous scholarship has failed to notice. In conclusion, this essay shows how a queer reading can work as an instrument to read a text that is generally interpreted as heteronormative, macho and misogynistic. The queer reading in the thesis demonstrates a different interpretation of predetermined gender roles in two of Bukowski’s literary works.

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / AdaptaÃÃes fÃlmicas de textos literÃrios sÃo frequentes no meio cinematogrÃfico na contemporaneidade e possuem grande alcance midiÃtico sendo capaz de levar a imagem do autor e sua obra a pÃblicos variados Sob essa perspectiva a adaptaÃÃo fÃlmica age como uma traduÃÃo ao reescrever um texto produzido em determinada linguagem para outra Nesse sentido esta pesquisa visa analisar o processo de adaptaÃÃo do romance Factotum (1975) do escritor norte-americano Charles Bukowski com foco na construÃÃo da personagem principal Henry Chinaski alter-ego do autor e herÃi de vÃrios de seus contos e romances A obra foi adaptada para o cinema em uma produÃÃo homÃnima franco-norueguesa, escrita e dirigida pelo cineasta norueguÃs Bent Hamer em 2005 Partimos da ideia que a mudanÃa de focalizaÃÃo entre os meios e o apagamento de determinadas caracterÃsticas da escrita do autor como o humor e a ironia acarretam uma ressignificaÃÃo do texto traduzido Para a anÃlise utilizam-se principalmente fundamentos teÃricos da teoria dos Polissistemas de Even-Zohar (1995) acerca dos fatores culturais envolvidos no processo de traduÃÃo e as relaÃÃes do objeto resultado desse processo no meio que se insere assim como as discussÃes teÃricas de Toury (1995) e Lefevere (2007) sobre os estudos de traduÃÃo Para as questÃes literÃrias (teÃrico e prÃticas) apresentadas sÃo utilizadas as discussÃes de Bahktin (1988) Maingueneau (2001) Rosenfeld (1974) e Lejeune (2008) acerca da escrita autobiogrÃfica No que diz respeito à fortuna crÃtica de Bukowski utilizam-se ainda biografias, compilaÃÃes de cartas e entrevistas revisÃes crÃticas de seu trabalho assim como seus poemas contos e romances Conclui-se que houve perceptÃveis mudanÃas de informaÃÃo enquanto estratÃgia de traduÃÃo para adequar o produto traduzido ao texto de chegada como a mudanÃa no ethos do personagem e a inserÃÃo de um tom sentimental nas suas relaÃÃes amorosas, entre outros Dessa forma a traduÃÃo cinematogrÃfica ressignificou para o espectador traÃos importantes do universo literÃrio de Bukowski

Si Charles Bukowski n’a jamais énoncé de théorie présidant a son œuvre, ni fait de recherche métrique explicite, et ne s’est jamais réclamé d’une quelconque école littéraire, ce rejet de toute forme d’élitisme littéraire relève en réalité d’une poétique paradoxale, qui cherche à faire s’effondrer les barrières entre écriture et oralité, entre l’œuvre et le corps qui l’a produite, entre l’œuvre et la vie de son auteur. Une poétique de la présence est portée par une utopie où la frontière entre monde et langage disparait, pour remettre le corps du poète au centre du processus littéraire. L’écriture poétique refuse sa part d’absence, celle du corps et de la voix, celle du moment d’écriture, pour devenir presque performance. Il en résulte une transparence trompeuse, dont la clarté est si éblouissante que, plutôt que de l’exposer, elle dissimule sa profondeur entre les lignes du texte. / If Charles Bukowski never formulated a theory presiding over his work, nor made explicit metrical research, and never claimed any literary school, this rejection of any form of literary elitism is, in fact, a paradoxical poetics, which seeks to break down the barriers between writing and orality, between the work and the body that produced it, between the work and the life of its author. A poetics of presence is carried by a utopia where the boundary between world and language disappears, to put the poet's body at the center of the literary process. The poetic writing refuses its share of absence, that of the body and the voice, that of the moment of writing, to become almost a performance. The result is a deceptive transparency, the clarity of which is so dazzling that, rather than exposing it, it conceals its depth between the lines of the text.