Allant d’une autobiographie où la fictionnalisation du vécu confine à l’invraisemblable, à des biographies imaginaires où des personae de l’auteur construisent librement la figure de leurs « biographiés », Anthony Burgess jongle avec les pactes de vérité et la fabulation-affabulation. Les vertiges cognitifs des métabiographies postmodernes affleurent en filigrane, mais à la mélancolie de l’impossible résurrection textuelle du sujet biographique, les biofictions érudites de Burgess substituent la prolifération d’existences virtuelles, de mythes, fantasmes et simulacres, pour mieux mettre en question les formes institutionnelles du genre, savantes et commerciales. Au cœur de l’entreprise [auto]biofictionnelle de Burgess, se dessine une tension contradictoire entre un désir de restituer ces « vies » dans leur réalité charnelle, individuelle, démythifiée, et l’inclination mytho-poétique du romancier qui leur impose le filtre de sa vision du monde catholique et manichéenne. Le Marlowe, le Shakespeare, le Mozart, le Napoléon, le Keats de Burgess ne sont-il que des spectres romanesques, dont les référents historiques ont été vampirisés par le romancier-biographe ? Les biofictions de Burgess, où se rencontrent, en même temps que plusieurs subjectivités artistiques, divers modes d’appréhension de l’écriture et de la vie [essai critique, chronotope biographique, flux de conscience moderniste, citation intertextuelle], réaffirment le caractère indissociable de la vie, de la création et de l’oeuvre. Sa quête romantique-humaniste qui cherche à restaurer la singularité existentielle de ses prédécesseurs conteste de l’intérieur la textualité thanatographique moderne. / In his autobiography, where his fictionalizing his « real life » borders on the unbelievable, as well as in his fictional biographies, where authorial personae freely create the figures of their biographees, Anthony Burgess juggles his way between authorial truth commitments and blatant invention. The epistemological void revealed by postmodernist metabiographies is not thoroughly absent, but Burgess’s erudite « biofictions » eschew such melancholy brooding on the impossibility to resurrect the biographee, and, instead, celebrate virtual possibilities of existence, myths, fantasies and simulacra – and, doing so, deflate the naïve seriousness of academic or popular versions of the genre. At the core of Burgess’s literary experiments in the [auto]biographical mode lies a contradictory tension between his desire to fully convey the bodily, individual, de-mythified reality of these lives, and the novelist’s mytho-poetical tendency to filter them through the lens of his Catholic and Manichean worldview. Are his Marlowe, Shakespeare, Mozart, Napoleon and Keats but spectral fictional figures, whose historic real selves have been cannibalized by the idiosyncrasy of the novelist-biographer ? Burgess’s « biofictions » are a confluence of several artistic selves, but also of several ways to comprehend the relationship between life and writing [critical essay, biographical chronotope, modernist flow of consciousness, intertextual quotation], thus reasserting the organic connection between life, creation, and the work of art. His romantic-humanist quest for the singular existential selves of his artist predecessors challenges, from within the text, modern thanatographic textuality.

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This essay aims at analysing and understanding different choices made by Caj Lundgren when he translated Anthony Burgess’s novel A Clockwork Orange (1962), more specifically when he translated the fictive language called Nadsat, which is one of the features that made this novel famous. The method used to analyse Lundgren’s translation is based on Reiß and Veermer’s (1984/2014) concept of skopos and functional equivalence. Conclusions drawn are that Lundgren uses a compensatory translation strategy, and that a model can be created for identification of Russian words in the original text’s Nadsat and the transfer of these words to the target text as Swedish Nadsat. In a comparison between Lundgren and two Russian translators’ strategies, their strategies are shown to differ, which could be caused by different translation problems dependent on the target languages. / Denna uppsats mål är att analysera olika val som Caj Lundgren gjorde i sin översättning av Anthony Burgess roman A Clockwork Orange (1962), specifikt avseende originalets fiktiva språk, som Burgess döpte till nadsat. Metoden som använts för analysen baseras på Reiß och Veermers (1984/2014) term skopos och funktionell ekvivalens. Slutsatser som dras är dels att Lundgren använder sig av en kompensatorisk strategi vid översättning, dels att ett schema kan uppställas för identifiering av ryska ord i originalets nadsat och deras överföring till måltexten som svensk nadsat. I en jämförelse mellan Lundgrens och två ryska översättares strategier visas att deras strategier skiljer sig åt, vilket kan bero på översättningsproblematik avhängig målspråken.

Approximately 600 to 500 million years ago, a major evolutionary radiation called the “Cambrian Explosion” gave rise to nearly all of the major animal phyla known today. This radiation is recorded by various fossil lagerstätten, such as the Burgess Shale in Canada, where soft-bodied animals are preserved in exquisite detail. Many Cambrian fossils are enigmatic forms that are morphologically dissimilar to their modern descendants, but which still provide valuable information when interpreted as stem-group taxa because they record the actual progression of evolution and give insight into the order of character acquisitions and homologies between living taxa. One such group of fossils is the anomalocaridids, large presumed predators that have had a complicated history of description. Their body has a trunk with a series of lateral lobes and associated gills, and a cephalic region with a pair of large frontal appendages, a circular mouth apparatus, stalked eyes and a cephalic carapace. Originally, two taxa were described from the Burgess Shale, Anomalocaris and Laggania, however data presented herein suggests that the diversity of the anomalocaridids was much higher. Newly collected fossil material revealed that a third Burgess Shale anomalocaridid, Hurdia, is known from whole-body specimens and study of its morphology has helped to clarify the morphology and systematics of the whole group. Hurdia is distinguished by having mouthparts with extra rows of teeth, a unique frontal appendage, and a large frontal carapace. Two species, Hurdia victoria and Hurdia triangulata were distinguished based on morphometric shape analysis of the frontal carapace. A phylogenetic analysis placed the anomalocaridids in the stem lineage to the euarthropods, and examination of Hurdia’s well-preserved gills confirm the homology of this structure with the outer branches of limbs in upper stem-group arthropods. This homology supports the theory that the Cambrian biramous limb formed by the fusion of a uniramous walking limb with a lateral lobe structure bearing gill blades. In this context, new evidence is present on the closely allied taxon Opabinia, suggesting that it had lobopod walking limbs and a lateral lobe structure with attached Hurdia-like gills. The diversity of the anomalocaridids at the Burgess Shale is further increased by two additional taxa known from isolated frontal appendages. Amplectobelua stephenensis is the first occurrence of this genus outside of the Chengjiang fauna in China, but Caryosyntrips serratus is an appendage unique to the Burgess Shale. To gain a better understanding of global distribution, a possible anomalocaridid is also described from the Sirius Passet biota in North Greenland. Tamisiocaris borealis is known from a single appendage, which is similar to Anomalocaris but unsegmented, suggesting this taxon belongs to the arthropod stem-lineage, perhaps in the anomalocaridid clade. Thus, the anomalocaridids are a widely distributed and highly diverse group of large Cambrian presumed predators, which provide important information relevant to the evolution of the arthropods.

Thesis (M.A.)--Southwest Texas State University, 1940. / Includes bibliographical references (leaves 65-67).

Thesis (M. Phil.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 144-147).

Thesis (M.A.)--Southwest Texas State University, 1940. / Includes bibliographical references (leaves 65-67).

[pt] Esta tese discute criticamente e questiona pressupostos teóricos que orientam a recepção de escritas de si como textos referenciais definidos pela tripla identificação entre autor, narrador e personagem. Em seu lugar, sugere-se um modelo que acentua o caráter construtivo de discursos (auto)biográficos, ambiguamente localizados entre fatos e ficções. Neste âmbito, propõe-se analisar comparativamente autobiografia e romance autobiográfico, a partir de conceitos tais como biografema e espaço biográfico. Tais conceitos possibilitam uma dinâmica relacional que proporciona construções (auto)biográficas alternativas que buscam dar conta da flexibilidade e complexidade inerente ao conceito de identidade como concebido no cenário contemporâneo. Baseado na hipótese de que textos referenciais recebem menor investimento afetivo por parte do leitor quando comparados a textos cujos processos de deciframento são mais complexos, como no caso de textos literários, evidencia-se a criação de um espaço relacional entre o primeiro tomo da autobiografia do romancista inglês Anthony Burgess, O pequeno Wilson e o grande Deus (1993), e um romance de sua autoria, Enderby por dentro (1990). A partir deste espaço, são abordados fragmentos autobiográficos recorrentes nos dois títulos que, por serem construídos por meio de estratégias distintas, provocam diferentes efeitos e afetos. Quando comparados, tais efeitos geram novas dimensões de compreensão acerca da complexidade da identidade da figura em foco. Neste sentido, a tese busca comprovar a hipótese de que na escrita (auto)biográfica, a própria motivação e finalidade documental referencial pode ser minimizada em favor da proposta estética, que tem o potencial de proporcionar maior complexidade à identidade (auto)biográfica. / [en] This thesis critically approaches and questions theoretical grounds that argue that so-called writings of the self are referential texts defined by the triple identification of author, narrator and character. Another model is suggested, one that stresses the constructive nature of (auto)biographical discourses which are ambiguously located between factuality and fictionality. In this regard, we propose to compare autobiography and autobiographical novel, using concepts such as biographeme and biographical space. These concepts can generate a relational dynamics that makes it possible to build alternative (auto)biographical constructions, which, in turn, can keep the flexibility and complexity inherent to the notion of identity in contemporary studies. Based on the hypothesis that referential texts are not as affectively received by the reader as texts whose deciphering processes are more complex – literary texts, for example –, we point to the creation of a relational space between the first volume of Anthony Burgess s autobiography, Little Wilson & Big God, and his novel Inside Mr. Enderby. Considering such space, we approach autobiographical fragments of the said author that recur in both titles, which, as they are structured through different strategies, provoke different effects and affects. When compared, such effects generate new dimensions of understanding regarding the complexity of the identity of the figure which is focussed. Following this line of thought, the thesis tries to prove the hypothesis that in (auto)biographical writing referentiality can be minimised in the name of aesthetic purposes, since art would have the potentiality to confer more complexity to (auto)biographical identity.

Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Inglesa / The aim of the present work is to demonstrate that The Doctor is Sick sets out the way in which the subject abandons the institutionalized boundaries of the sign, understood under the structuralism constraints, and discovers a New World characterized by the sign deconstruction. The analogy for that purpose is an Old World that functions as a living body machine, and a New World that is unstable, infinite and subject-dependent; characterized as an anti-hegemonic corpse. As a patient/doctor, the subject dissects what was unknown and invisible by providing an anatomical reading of his lethargic route.

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